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A suspended circular disc contains the impact of an expansive force that seems to have shattered it from within. In this fused glass piece, the surface does not function as a passive translucent membrane, but as an active tension field where angular shards of opaque, colored glass collide and rearrange themselves. Planes of bright yellow, glowing orange, and salmon pink clash sharply against black triangles, earthen brown wedges, and clean sky-blue sheets, generating a syncopated rhythm that denies any stillness.

The iron armature that elevates the disc reinforces that sense of contained instability. Rather than acting as a closed perimeter frame, the ring breaks away and yields to the consequences of the blast: in the upper right quadrant, the glass clearly fractures. There, a network of black wire filaments, bent into zigzags and almost orthopedic coils, intervenes in the rift, binding the parted edges like mechanical staples or sutures across an open wound.

That same black wire line infiltrates the layers of glass at the center of the plane. It functions simultaneously as gestural drawing and as the trace of a magnetic field holding the scatter of fragments in place. Interacting with frontal light, the vitreous sheen and sharp edges of the shards refract the surrounding space, lending the material a vibrating, almost auditory quality.

What commands the viewer's gaze is the precarious balance between the destruction of the plane and its manual reconstruction. The piece does not stage the complete dissolution of the object, but rather the exact moment following collapse, when fragmented matter discovers a new order through metal ligatures, suspended in a taut stillness that still preserves the memory of the blast.