What sets this study apart within Fernández’s process is its very construction. The image was created not on a single sheet, but across four pieces of paper pieced together to form a fragile, makeshift whole. The children and teddy bear exist within this delicate assemblage, their forms literally held together by seams and joins that risk rupture. Allegorically, this choice resonates profoundly with the subject itself: the paper becomes a metaphor for childhood fractured by technology, the figures “broken apart” and precariously bound, just as imagination, creativity, and presence are pieced together only tenuously in a world absorbed by screens. The fragility of the surface becomes a mirror to the fragility of their condition.

Visually, the work reveals Fernández’s move from smaller sketches into the bold, graphic language that would define his style. Thick black lines carve out the silhouettes, shadows anchor the figures with weight, and every contour has been pared down to essentials. By reducing detail and eliminating background, Fernández magnifies the emotional void of the scene. The stark contrast of black and white underscores the children’s isolation, foreshadowing the silence suggested by the later title.

This experiment was not only about technical form but also about medium. After finalising the drawing, Fernández cut it into a stencil and tested it on a wall, marking a continuation of his engagement with street art. This act of translation, from studio sketch to public wall, was itself transformative. It allowed him to experience first-hand the immediacy of street practice, where passersby encountered the work unexpectedly. Observing their reactions confirmed the resonance of his imagery: even in its raw, trial state, the piece provoked reflection and conversation about the consequences of childhood immersion in technology.