The piece began with a single length of metal rod and a decision to bend it, then another decision to bend it again. Each curve answered the previous one.
Metal is often treated as the stubborn material: cold, fixed, obedient only to force. Up close it behaves differently. A rod has its own springback, its own stiffness, its own preferred radius. It resists some shapes and quietly offers others. Working this way means treating the material as a collaborator with opinions. The hand proposes a line, the rod accepts, refuses, or answers with something slightly different, and the next move comes from that answer. Form here is less imposed than negotiated.
Spontaneity matters in this process, but it is not the same as randomness. Imagination leads, material corrects, and the result is a chain of small decisions that no single moment could have planned. Welded joints mark where a decision stopped being provisional. Looking closely, the whole piece can be read as a record of thinking: loops that open, close, and cross, each one the consequence of the loop before it.
Suspended from chains in front of a heavy, warm curtain, the sculpture is mostly empty space. It is drawn in three dimensions with lines that cast thin shadows across the fabric behind. Walk around it and the eye dissolves into abstraction, then reassembles from another angle. Seeing is not a single act. It is a process that continues, adjusts, and sometimes changes its mind, much like the making did.
