Essa escultura combina procedimentos recorrentes na prática de Bruno Baptistelli: a apropriação de objetos encontrados (um galho de árvore), o uso de itens de caráter pessoal (um tênis) e o deslocamento de objetos de reconhecimento coletivo (uma máscara africana) para um novo contexto. O galho, recolhido na rua do bairro onde o artista reside, durante uma caminhada em que usava um tênis da marca Puma, torna-se suporte tanto para o calçado quanto para a máscara. A máscara, adquirida em São Paulo, evoca uma ideia abstrata — por vezes romantizada — de África, frequentemente presente no imaginário de pessoas que não são do continente. — This sculpture brings together recurring procedures in Bruno Baptistelli’s practice: the appropriation of found objects (a tree branch), the use of personal items (a sneaker), and the displacement of objects of collective recognition (an African mask) into a new context. The branch, collected from the street in the neighborhood where the artist lives during a walk in which he was wearing Puma sneakers, becomes a support for both the shoe and the mask. The mask, acquired in São Paulo, evokes an abstract—at times romanticized—idea of Africa, one that often inhabits the imagination of people who are not from the continent. — This sculpture brings together recurring procedures in Bruno Baptistelli’s practice: the appropriation of found objects (a tree branch), the use of personal items (a sneaker), and the displacement of objects of collective recognition (an African mask) into a new context. Collected from the street in the neighborhood where the artist lives, during a walk in which he was wearing Puma sneakers, the branch becomes a support for both the shoe and the mask. The mask, acquired in São Paulo, evokes an abstract, romanticized idea of Africa—one that often inhabits the imagination of those who are not from the continent.