These works are created through repeated physical engagement with metal.

Using rotary tools, I carve directly into the surface—removing material, leaving wounds.

The marks of the tool are intentionally preserved.

Each trace records movement, pressure, rhythm, and time,

forming a surface that is neither decorative nor purely technical, but experiential.

These works do not seek completion through the erasure of marks.

Instead, they value the preservation of the act itself.

The metal becomes a field of memory, inscribed through intuition, repetition, and touch.

The wounds that emerge become the beginning of imagination.

This series approaches carving not as a fixed tradition,

but as a living act that exists between drawing, engraving, and sculpture.