For many years, women belonging to the Gunadule people, currently located between Panama and Colombia, dyed their bodies with geometric designs using natural pigments in their environment. Later, during the 19th century and due to constant contact with people outside the community, these designs became a form of textile art known as Mola.

The Molas are, in essence, lines that seek to supply two purposes: the first is related to protecting women (a symbol of fertility and guardian of traditions) from evil spirits who, when faced with their labyrinth forms, preferred to flee. The second purpose is related to the figurative Molas, which seeks to portray the activities that build the daily life of this town. Some anthropological studies have associated the visual complexity of the Molas with the fact that the Gunadule people are in a hydrographically complex region. To a certain extent, they turn out to be a tribute to the territory that offers them everything. It is as if Mother Earth, like the Gunadule Woman, carries her own Mola of rivers, roads, mountains, and jungles. The Mola, in essence, symbolizes the relationship of women with their territory and with the spiritual plane.

Alike the Gunadule woman, the sculptures of the Bumangués artist Fernando Pinto cover their surfaces with Molas; labyrinths, and geometric, and abstract designs that remind us of the importance of connecting with the transcendent. Always faithful to respect for raw material and the techniques to work it, Pinto confronts us with these pieces that, like Molas, seem to be messengers between the material world and the metaphysical. For some time now, Fernando Pinto has been investigating and learning to understand stone as the guardian and container of the ancestral memory of the earth, a body that connects us with the vast history of who we are and that we sometimes ignore.

The beginning of the pandemic was when the artist, almost unconsciously, began to make more "labyrinthine" pieces starting from the ones of the Onda series until he reached those that resemble the Molas. This is due to a familiar feeling in which we all go through a personal maze and connect with more transcendental thoughts. Thus, the proposal is an invitation to remember the labyrinth principle: we know that there is a way out, but we lack the knowledge about when we will find it. Meanwhile, we can worry about communicating through the pieces with the profound.