Kensho brings together my interests in mathematics and sculpture to explore the Buddhist concept of enlightenment. Within a finite elliptical boundary, a continuous, Möbius-like form suggests endless movement. For me, this relationship offers a metaphor: if infinity can be expressed within a bounded form, perhaps we can also recognise limitless potential within ourselves.
The geometry holds another subtle discovery. Despite the twisting interior, a straight line can pass through the central openings from one side of the sculpture to the other without bending. What first appears complex reveals an unexpected simplicity when viewed from the right position.
Carved from Carrara marble and mounted above a black granite base, Kensho changes as the viewer moves around it. Openings reveal and conceal the inner form, making the act of looking part of the sculpture’s meaning. It invites us to consider how a shift in perspective can reveal possibilities that were present all along.
