CONVERGENCE (TWO RED) holds a tension between structure and dissolution. A perfect cube — 10×10×10 cm — contains two layered red pigments that, over time, migrate outward and merge. The rigidity of the form contrasts with the inevitability of its transformation.

Where COALESCENCE is horizontal and painterly in proportion, CONVERGENCE is volumetric — a self-contained world. The cube is one of the most loaded forms in art history: rational, absolute, monumental. Here, it is made from soap. It is designed to disappear.

This contradiction is the work. The most minimal, permanent-seeming form contains the most ephemeral material and process. The collector acquires geometry. What they live with is change.

CONVERGENCE is part of my One to Zero practice — a sustained inquiry into whether disappearance can be a form of completion. Three elements fade in sequence: scent, colour, and form. Everything visible will go. What remains is memory, held uniquely by each person who shared space with the work.

The environment co-authors the outcome. I cannot predict it. Neither can the collector.