Three-Legged Idol series (2022~2024)

The Three-Legged Idol series makes explicit a structural principle that had appeared earlier in works such as Wind (2016): the three-legged stance. Each sculpture is organized around a visible tripod or a variation of one, using found tree branches, driftwood, cast and fabricated metals, or combinations of them. The tripod establishes a deliberate structural constant. Once the sculpture can stand, the rest of the form is allowed to become more irregular, heterogeneous, and spatially unpredictable.

The repeated stance functions less as a repeated image than as a structural rule from which materially and formally different works can develop.

Across the series, mineral, biological, industrial, and decorative materials accumulate around this common structure: seashells, coral, fossils, animal bone, stone, aluminum, brass, glass, paper, resin, wood, gold and silver leaf, and other found elements. Materials are cast, oxidized, polished, coated, encased, fused, or left partially recognizable. These dense combinations also contain an early material genealogy of what later developed into prima materia, where substances of different origins and physical properties enter the same continuous body.

When the series was first presented, its mythological and ceremonial references, individual titles, and material abundance were more prominent. Seen within this exhibition, the repeated tripod brings another concern forward: the physical problem of how a sculpture stands. The three-point stance provides a stable underlying condition while allowing the form above it to move toward imbalance, suspension, and greater unpredictability. That structural problem continues into the newer floor-standing works, where the tripod may become less visible even as its relation to gravity remains active.