KORA

The installation proposes an inward journey: a rough, enveloping circular wall, lined with metal filings, defines a space containing a central surface of sandpaper and matches arranged as a contained spiral. The wall rises as a boundary and enclosure—a threshold that, despite its stern appearance, grants a single point of entry. Upon passing through this opening, the viewer enters a realm of abrasion and silence, where the floor-based artwork presents itself not as a monument, but as an experience of circumambulation.

In Tibetan Buddhism, *kora* is the practice of circling a sacred object or place as a meditative gesture. Here, that gesture is absorbed by the materials themselves: sandpaper and metal filings—substances that wear down and transform—embody the friction of thought and the resistance of the body. The work is not the object of the ritual, but the material manifestation of the pilgrimage itself: a static *kora* that holds the energy of repetitive movement within its spiral.

The surrounding wall intensifies the paradox: dividing and protecting, isolating and summoning. Its roughness creates a tension between repulsion and attraction, between the impulse to pull away and the need to pass through. At this abrasive boundary, the visitor confronts the nature of margins: that which separates also invites one to inhabit, to circle, and to brush against.

The installation as a whole becomes a metaphor for the inner experience: a materialized meditation where division is not merely an obstacle, but an invitation to experience the friction against one’s own edges. The viewer is called to enter, to circle in silence, and to recognize the possibility of transformation within the friction of the materials.