Entitled La Parade (The Parade), the artwork consists in a mixed-media installation made of ten pencil drawings (56.5 x 77cm each) and two large sculptures.
Resembling enlarged toys, both sculptures depict baby animal figures that appear to suffer from some kind of illnesses or injuries. A hand-carved wooden bird stands on a wooden stretcher, while, a few meters away, a plaster-made horse also seems to be in a pretty bad condition. Completely bald, the latter looks like he lost his coat, mane and tail. His ears and parts of his legs too, are missing: wooden rods help him stand and offer him a precarious stability.
Placed behind the aforementioned sculptures, eight realistic drawings offer piecemeal information about a scene within which both creatures appear: it is as if the images documented a scenery where both sculptures had a role.
Using multiple framings and viewpoints, the plot revolves around a group of children who attend an undefined procession, either as participants or as spectators. Among the participants, two kids carry the wooden bird while the plaster horse acts as a mount to a third one. Nearby, a little girl holds an impaled teddy bear as if it were a flag or a demonstration placard. Here and there, in- between balloons, sketches and child characters, creatures from various cultures appear, creating an uncanny collage. At the end of the cortege stands a camel figure issued from the Tang Dynasty, ornamented with balloons, some of which are deflated. His three remaining legs are drawn as flayed. Finally, a 14th century Mictlantechutli sculpture, the Aztec god of death, seats among the spectators while secretly holding a sketch of the entire scene.
Lacking any contextual indication, the surreal scene resembles an oneiric odyssey and remains at the juncture between a parade, a demonstration, a cortege or a staged performance.