Built from a cracked and three-dimensional surface, the painting recalls parched soil, fractured stone, or a scarred surface, at once both resilient and vulnerable.

Clay here is not metaphor alone but structure, grounding the work in deep histories of myth and science. Across cultures, clay has been imagined as the origin of human life, and contemporary hypotheses suggest that life itself may have emerged on its mineral surfaces. By incorporating clay directly into the canvas, the painting becomes a site where those ancient and scientific narratives converge.

The surface, shifting between glossy mineral shine and brittle earthen matte, embodies the tension between decay and renewal, fragility and endurance. In this way, the painting is not a static image but an “art-being”: a body of earth that carries memory, radiates vitality, and insists on the blurred boundary between the living and the nonliving.