Correspondences

Stone sculpture series

The work proposes a deep-time inversion of technological culture: what if our displays were not made to emit light, but to store it? What if every mineral component of our machines - silica, copper, lithium - already held a residual memory of the forces that shaped them?

The frames follow the transformative logic of the alchemical and geological systems, which understand matter as active, sentient, and perpetually in flux. Before geology became a modern science, alchemists and natural philosophers described metals as “seeded” within the Earth by celestial radiations, slowly ripening underground through heat, pressure, and invisible currents. 

Drawing from pre-modern cosmologies where astrology and geology formed a single system of correspondences, the work invokes the idea that metals and stones are “children of the stars.” In these early cosmologies, minerals and geologies were formed by the stars and planets, each variation gestating in the Earth’s body under planetary influence. The stone frames become a threshold between these worlds —a geological screen tuned to cosmic scale.

Here, stone serves as both an instrument and an archive. Its surface speaks of extraction, entanglement, and endurance. The proportions borrowed from the screen, an interface of speed and circulation, are slowed down to geological tempo. What remains is an image withheld, a quiet record of the Earth’s own processes of inscription. In its restrained material presence, Correspondences, each of the frame gestures toward imaginary planetary systems, formed through the layered inclusions and mineral constellations within the stones from which it is cut.