ZERO

ZERO is an ongoing exploration of temporality and form that occupies the threshold between two-dimensional print and three-dimensional object. Drawing from the cyclical nature of time in Eastern philosophy and the spatial awareness of traditional Chinese Shanshui (ink landscape) painting, the series translates the concept of landscape into a new material reality.

The works are constructed through deliberate, slow accumulation. Textures sampled from real tree rings — time made visible — are hand-printed onto wood, then hand-sawn and built up layer by layer. The dense, curving lines of the rings form a visual language close to topographic contour: not simply wood grain, but the cross-section of a mountain, the trace of moving water. This is the same gesture as Shanshui brushwork, which has always been a method for describing the texture and movement of natural surfaces. Placed together, the two languages form a closed loop — one the mark left by nature growing, the other the human hand recording it.

The circle is one of the oldest cross-cultural forms — complete, a structure that holds both growth and return, a symbol of openness and natural rhythms. It is from this form that the series takes its name: ZERO, the shape that is both beginning and end. A circular void anchors each piece, holding a space of stillness within a structure of outward growth. Uncorrected irregularities remain as honest registers of the material's resistance and the presence of the hand. In a culture of constant acceleration, these works propose that repetition, material honesty, and the power of gentleness can construct a space worth inhabiting.