Vujičić wrapped the entire structure—its iron piping, circular basin, and concrete base—in a monumental white cotton textile. Through a slow process of oxidation, water dripping from the suspended iron ring imprinted the fabric with stains of rust and crystallized iron oxide (Fe₂O₃). These marks, left to form autonomously, became drawings produced by the passage of water, air, and time. The transformation of pure white into blood-red hues alludes to both the material alchemy of pigments and the spiritual symbolism of corrosion.