This sculpture presents a controlled study of light as a primary visual element. In earlier works, materials often retained visible wear and history as part of the composition. Here, that approach is set aside in favor of clarity and restraint, allowing light and form to define the work directly.
At the base, a section of clarinet stands upright, recalling earlier constructions in which musical instruments were adapted into lamps. In this context, the instrument no longer produces sound or function; it serves as a vertical support—an axis that elevates and stabilizes the circular field above.
The circular form is constructed from buckram, a material traditionally used in hat-making to provide structure. Here, it becomes the primary surface through which light is perceived. Its concentric ridges, with slight variations in height, catch and disperse the light, producing a subtle modulation of tone. Rather than reflecting light uniformly, the surface breaks it into gradients—warmer at the center, cooler toward the perimeter—allowing color and intensity to shift across the field.
Behind the buckram, a secondary layer coated in black gesso absorbs rather than reflects light. This deepens the surrounding field and allows a muted purple glow to emerge from behind the surface. Light is both scattered forward and held back, giving the circular form depth without revealing its source.
The composition is largely symmetrical, organized around a central axis and balanced distribution of light. This equilibrium is disrupted by a slender brass rod along the right edge. The rod introduces a tangential interruption, breaking the symmetry while also blocking part of the underlying light. As a result, cooler tones remain more pronounced on the left, while the right side is subtly restrained.
Taken as a whole, the work treats light not as illumination for use, but as a material in its own right—structured, modulated, and capable of defining form through its interaction with surface.