Title： “The Unseen Realm”
Materials: Plaster, white translucent oil paper
Dimensions: 20*25*10cm
 
The Unseen Realm” — Existence and Concealment in Minimalism
 
This piece originates from my contemplation of “concealment” and “revelation.” A layer of white wax paper gently veils the structure beneath, acting as a thin barrier that renders the underlying materials faintly visible. Cotton, coarse salt, paste, hardener—these seemingly unrelated elements are sealed, solidified, and transformed into sedimentations of time and touch. I often wonder: does everything that exists undergo a state of being “covered”? They do not disappear but rather persist in another form, waiting in silence until a certain moment brings them to light.
 
Martin Heidegger once proposed that “being itself is a kind of concealment.” In my minimalist practice, I continually engage with this idea—not stripping away excess merely for the sake of aesthetics, but to allow the work to return to its most essential form. I choose white not just as a color but as a vessel—an emptiness that contains all possibilities, allowing materials, light, and time to converge within it. The wax paper acts as a liminal state—it does not fully obscure, yet it prevents us from completely accessing the truth beneath, much like human consciousness, which hovers between the knowable and the unknowable.
 
Minimalism is not about the elimination of meaning; rather, it allows meaning to emerge with the least interference. I let the materials exist in their most elemental state—the softness of cotton, the granular texture of salt, the fluidity of paste. They adapt to each other, yet they also resist. This is not merely a material experiment but a philosophical practice—an inquiry into whether there exists another mode of perception between the “visible” and the “invisible.”
 
Perhaps what truly matters is not what we see, but the “unseen realm” that has yet to reveal itself.