Gramcko was an artist who was driven by matter, approaching the materials in her work with a sculptural ethos. She veered away from industrial materials that represented the new and instead, incorporated both organic and inorganic scrap materials, grounding them in an earth-toned palette.

She used the cells (celdillas) torn from car batteries, as well as light sockets, lightbulbs, metal parts and green, red, or yellow plastic lids. If the automobile was the emblem and the means of traversing a petro-city plagued by highways, devolving into chaos, where a practically non-existent public transport system could not meet the needs of new residential and commercial developments, then the assemblages of things that Gramcko collected provide a symbolic compendium of the static and fossilized waste from this urban instrument of transport and circulation that had made Caracas—alongside Mexico City and Sao Paulo—the twentieth century’s South American center of accelerated progress and consumption.