This body of work investigates how material carries memory—how surface, pressure, gesture, and erosion converge to record time in physical form.

Drawing from the visual logic of carved wood, worn artifacts, and shifting landscapes, the works explore carving not as decoration, but as a method of inscription. Each surface becomes a site where making and unmaking coexist, where human gesture and natural transformation leave overlapping traces.

Rather than depicting specific references, the works translate them into layered relief structures. Forms emerge through accumulation, abrasion, and compression, echoing both handcrafted interventions and natural processes of formation and decay. Across the series, surface functions as both image and record—an active space where material retains the imprint of time.

Fragments of cultural objects, sculptural traditions, and landscape perception are absorbed into a unified visual language. These references are not presented as narrative, but as residues—embedded within the material itself, where history is felt rather than illustrated.

Within this framework, carving becomes a way of thinking through matter. Each work holds tension between construction and erosion, presence and disappearance, form and its dissolution into time.