Transcendent End

Digging the negative space in a given stone, the very negative space becomes a pathway and a tangible representation of time’s passage. I treat this carved “spacetime” as a speculative model—less a literal claim about physics than a way to imagine passage through what exceeds ordinary perception. The Möbius strip, with its continuous surface and unstable inside/outside, offers a guiding logic: a form that twists, returns, and refuses a single direction, inviting the viewer to follow continuity without resolution.

I often leave visible the marks of nature, quarrying, and grinding. These traces register pressure and release, abrasion and fracture—evidence of both control and contingency. Rather than illustrating scientific laws, the work stages an encounter with complexity: order entangled with disorder, intention interrupted by the material’s resistance. In that tension, the sculpture opens a space for contemplation, where the physical act of carving becomes a way to approach the spiritual—inviting attention to what persists beyond easy explanation.