Medellín formed part of Vhils' first journey through Colombia in March 2010, a period that also included interventions at the Bogotá Stencil Art Festival and in Santiago de Cali. Hosted by the artist-run space Taller Siete in the Bomboná district, he produced two works that carried the early development of Scratching the Surface out of the gallery and onto the street. One portrait was carved into an interior workshop wall, exposing successive layers of paint, plaster and brick; the other was created on the weathered remains of an abandoned house, where the work was left to evolve alongside the site's gradual decay. Together, these interventions reflect the project's initial engagement with architecture as a living archive, treating the accumulated surfaces of Medellín not as passive supports but as material records of the city's social and physical transformation.