For one hour, Fornieles walked on a mechanical treadmill with a dead goat across her shoulders, referencing the young men who walked around the city walls in ancient Rome and Greece as part of a coming-of-age ritual. The sacrificial body of the goat was attached to her body with red cords extending from her mouth and vagina, representing the cycles of life and death running through the body. Devoid of any electrical propulsion, the treadmill was powered by the movement of walking. As the artist’s body drove the machine, it caused the goat to move as if reanimated. The shadow cast behind the performance conjoined the woman, animal and machine into the shape of a mythological creature.