This work divides into two distinct fields. Below, circuitry, bulbs, and a mannequin hand create a luminous assembly—mechanical, precise, rigid. Above, the padded velvet panel functions as ground, a receptive surface that softens the composition and sets the harder elements into relief.

The contrasts run through the work. Hard meets soft. Machine faces fabric. Orderly grids confront a surface that suggests touch and impression. The lower section follows the logic of technology—cold, efficient, exacting. Above, the panel offers its counterpoint: warmth, absorption, memory of contact. The sculpture holds these dualities in uneasy suspension—masculine and feminine, yin and yang, functional and sensual. Each pole calls the other into being, not to resolve but to create a charged encounter, where figure and ground, technology and flesh remain bound within a single frame.

Even the human presence is divided. The plastic hand below is rigid and mechanical. It does not reach. Fixed in place, it can not move. The impulse to touch shifts to the viewer, who imagines pressing upward, testing the velvet, feeling its give. That unfulfilled desire defines the tension of the piece: a hand reaching for technology while softness lies just above—a metaphor for connection displaced by circuitry, sensation replaced by screens. The human presence is gone.

Housed in a repurposed spoon box, the work contrasts its original function—orderly storage of domestic utensils—with its new role as a site of polarity. Transformed from service into spectacle, the everyday container becomes a stage for opposing fields.

Placed in a broader lineage, the work recalls the strategies of Dada and Surrealist object-theater, where ordinary things were reassembled into charged juxtapositions. Its use of industrial remnants and their recontextualization echoes Duchamp’s readymades, while the tension between geometric structure and sensory experience touches on Constructivism and later Kinetic Art. Yet the composition remains distinct—no longer functional and not only aesthetic, but an object where machine and body, ground and figure, confront one another.