Mikado is based on a meticulous and careful selection process, in which Hoyos assigns a sequential value to each of the game's components: the sticks, the lids, the boxes, the instructions. He dissects the whole and amplifies it through a visual exercise of accumulation, from which patterns emerge derived from the very formality and constitution of the elements. With more than 40,000 sticks, he creates his own dynamic: a game that is alternative to the rules with which it was originally conceived. It is, therefore, a game of the game. A joint relationship of patterns, perspectives, and rhythms.

Mikado follows a recontextualization and material redefinition that questions the value assigned to objects. The colored lines of each stick construct a genuine approximation to a visually intricate aesthetic. The structures that emerge from this minimal unit reveal the volumetric character acquired by the process of selection and accumulation. A seemingly rigid and irrelevant element is thus transformed into a fundamental piece that determines its place within the ensemble and as a whole that generates movement.

In this sense, the work is based on an interest in the smallest details, those that often go unnoticed or are completely unrecognizable. The artist draws attention to the seemingly valueless, confronting us with its monumentality to reclaim its aesthetic dignity. At the same time, she establishes a critical dialogue with the dynamics of overproduction that characterize our society, which have generated a surplus of goods, often stored in warehouses or depots, eventually destined for disposal. Thus, in this encounter between the small and the monumental, she proposes a new perspective on what consumption has rendered invisible.