The project SplendorIA asks whether, in our pursuit of technologies that transcend human capacity, we may be slipping into a new idolatry. In this sense, not only AI but the very concept of “progress” may be acting as a distorting mirror. When technology is turned into a necessity—indeed, into a subject of worship and fanaticism—is there truly a step into the light, or a leap into the dark void? Borja Morgado photographs enormous stone monoliths that inevitably take us back to the film 2001: A Space Odyssey. In them, massive structures of calcium carbonate impose their presence through precise geometry and unyielding materiality. These stone monoliths generate an overwhelming architectural sensation. Each image presents mute constructions that acquire a monumental character, evoking spaces of veneration and reverence. These reflections lead to a series of markedly vertical works in which I focus on sacred architecture, monumentality, and the passage between light and darkness. These pieces assume a role akin to stained-glass windows in sacred architecture. Such windows, commonly used to cover openings and admit light into dark spaces, function here as a concept rather than a literal object. Instead of glass, these pictorial “windows” symbolize the transition from the unknown to the revealed, acting as a means to fill those vanos—those gaps and voids of knowledge—and to illuminate the enigmas of human becoming. In parallel, I develop a small-format pictorial ensemble that reinterprets floral fragments from Baroque paintings by women depicting the Christian tradition of the Annunciation. These reinterpretations incorporate digital distortion effects, transforming the classical advent of God that binds the natural and the divine into a convergence of the divine and the technological, the natural and the artificial. It is as if the new technological god announcing its arrival were altering reality as we know it.