The work Triaxial Pillars II constantly fluctuates in the space. The metallic particles in the fluid repeat an ascending and descending motion, and, simultaneously, dynamic patterns of filaments and hollows emerge. This fluidic motion makes us experience ambivalence about the substantiality of matter, entangled among technical objects and aesthetic things.

This kinetic movement work consists of multiple planetary and helical structures with twenty-three axes. The double acrylic cylinder is filled with nano-sized photonic crystals. These photonic crystals, dispersed in a colloidal state, react to the magnetic field generated by the kinetic devices, and attract the aluminum and bronze particles in the fluid. At that time, the photonic crystals change the fluid to a metallic surface along the filament of the magnetic field, acting like an agent that transmits or reflects light where the magnetic field is applied or not, as if it were the gate of light. It cannot reveal itself as dark matter, but indirectly reveals its invisible nature through other particles. In addition, four air diffusers in the cylinder, controlled by solenoids, spout out air with various pressures in helical patterns, which lifts the metal particles sunk by gravity to the top and record their movements on the surface of the fluid.

Triaxial Pillars II is the subject of an event in which matter itself is being interwoven into the world. Those material imaginations through matter, or into matter, provide us with an affective material poésie that allows us to get out of the image restricted by language. We can enter the world of materials from a material world bounded by values, uses and symbols, in which materials are entangled and intra-act and become events every moment. It becomes reality through its materiality; the realization of the real.