The work was realized by a particular cartapesta process, typical to Puglia, that did not mar the military antiquities on display in the courtyard museum of the Castle of Otranto. I pressed layers of paper upon the surface of the cannonballs and left the wet paper to dry in the sunlight. The intention was to embrace not only the texture of the weapon but also to capture the essence of invasion and the lingering energy embedded within the material, and to transfer that energy into the sculptures.