Claro Walnut with aluminum inlays.
10 lbs. 27” x 7” x 2”
Natural voids in wood are often viewed as defects to be concealed or repaired. Monolith No. 1 approaches them differently. The cavity remains exposed, while precisely machined metal elements occupy the surrounding space as if responding to internal forces rather than correcting them. Monolith No. 1 juxtaposes organic unpredictability with geometric order. The walnut records decades of growth, stress, and decay; the aluminum introduces a vocabulary of engineering, measurement, and intervention. Neither material dominates. Instead, they exist in a state of negotiated tension. Rather than depicting damage or restoration, Monolith No. 1 asks how order is established in the presence of irreversible change. The sculpture suggests that stability is not the absence of fracture, but the ongoing act of adapting to it.
Claro Walnut with aluminum inlays.
10 lbs. 27” x 7” x 2”
Natural voids in wood are often viewed as defects to be concealed or repaired. Monolith No. 1 approaches them differently. The cavity remains exposed, while precisely machined metal elements occupy the surrounding space as if responding to internal forces rather than correcting them. Monolith No. 1 juxtaposes organic unpredictability with geometric order. The walnut records decades of growth, stress, and decay; the aluminum introduces a vocabulary of engineering, measurement, and intervention. Neither material dominates. Instead, they exist in a state of negotiated tension. Rather than depicting damage or restoration, Monolith No. 1 asks how order is established in the presence of irreversible change. The sculpture suggests that stability is not the absence of fracture, but the ongoing act of adapting to it.
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