Yin-Yang

A vertical column of dense found wood, dark reddish-brown, carved by subtraction and varnished, raised on a thin black rod set into a square base swirled with red and black. As the eye climbs, grain stops being grain: faces surface, mouths open, bodies stack along the full height. The piercings run clean through the wood, an oval near the top, a long slit, two paired rounds that read as eyes. These voids open passages; the light moving through them gives the column a spectral presence, negative space owned as volume.

Detail of the upper section of the wood sculpture, oblong pierced cavities and aligned ocular holes following the flowing grain of the varnished wood.

Vertical found-wood sculpture with red-brown finish, pierced with cavities along its full height, standing on a metal rod and a square base with a dark red motif.

Full view of the standing found-wood figure on its metal rod, with a succession of hollowed cavities from top to bottom.

Close-up of the central cavities of the carved wood, teardrop openings and a pair of small holes suggesting an emerging face.

Macro of the varnished wood showing dense grain, an almond-shaped cavity and two round holes hollowed side by side.

Close detail of a pierced cavity and a knot in the carved wood, glossy surface with contrasting veins.

Lower section of the found-wood sculpture, a swelling hollowed by a dark hole against a pale background.

Detail of the base mount, black metal rod fixed to the found wood by a screw, with an engraved mark visible in the grain.

Yin-Yang, detail of the through-cavities

Yin-Yang, in a contemporary building lobby

Reading notes

One can read it as a memory that rises. The verticality has something ceremonial, as in Tim Whiten; the cavity here is a volume: what the wood no longer contains, the gaze holds. A piece that gives itself slowly.