What is inside, and what is outside? Is there something in between? When does one become the other? These questions stay with me, both psychologically and physically.

Monad is where they became one piece: 144 pyramids, modeled in Rhino and printed in PLA, many failing before they worked. I named it after Leibniz’s monad, a unit with no windows, closed in on itself, yet mirroring the entire universe. It felt true to how I hold feelings I find hard to say out loud.

The pyramids stand on a mirror laid flat on the floor, doubling each form until the field reads as nearly infinite. Some are covered in hanji, Korean mulberry paper, which turns part of the surface translucent.

Between physical reality and psychological depth, the work stays where inside and outside remain perpetually ambiguous.

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