His sculptures extend this logic through discarded and obsolete technological objects — salvaged circuit boards, redundant hardware, spent consumer electronics — approached not as commentary on digital excess but as archaeological material, selected for symbolic weight rather than former function. The understanding that what a civilization discards often contains the only genuine intuitions from which new form can grow sits at the core of this work. Drawing on the ancient Greek concept of Kairos — qualitative, charged time as opposed to administered clock time — Ballocca locates meaning in the interval between gesture and construction, between natural pigment and industrial residue, between the ancient and the technological. His practice finds in that suspension a space where something genuinely new becomes possible.