2026
Aluminum alloy, wood, electric motor
50 x 50 x 90 cm
Endless March consists of three groups of cavalry sculptures whose forms are compressed, layered, and uniformly coated in a single red surface, placed upon a continuously rotating wooden table driven by an electric motor. The gestures of the riders evoke charge, confrontation, and warfare as archetypal historical narratives, yet specific references to time, place, and event are deliberately removed, transforming them into a highly condensed and decontextualized visual unit. Actions that would normally lead toward an outcome are here suspended within an unresolved moment, while the introduction of rotational movement disrupts this state of stillness, placing the work into a cyclical motion without clear beginning or end. Conflict no longer possesses a defined point of emergence or conclusion, but instead continues endlessly through a stable and continuous rhythm.
This work was created in mid-2026, during a period in which wars and geopolitical conflicts across the world continued to intensify and overlap. From the prolonged continuation of the Russia–Ukraine war to the worsening instability in the Middle East and the escalating tensions between the United States and Iran, conflict increasingly became a persistent global condition rather than an isolated event. War was no longer perceived as something temporary or exceptional, but as an ongoing state embedded within everyday information, media circulation, and lived reality.
The work adopts the image of the “cavalry rider” not to return to a specific historical era, but to juxtapose past and present through an ancient symbol of warfare. As a military image rooted in history, cavalry has long lost its practical function in the contemporary world, yet its symbolic associations with conquest, advancement, conflict, and power continue to persist. When these figures are recombined, compressed, and set into mechanical motion, they no longer belong solely to the past, but instead resemble recurring fragments of history repeatedly returning into the present.
The rotation within the work does not produce dramatic transformation, but rather maintains an almost constant state of movement. It functions less as an action or performance than as a system in continuous operation. This stable yet unstoppable motion reflects the contemporary condition of warfare itself: conflicts persist simultaneously across different regions while being continuously circulated through media and information networks, causing the public experience of war to become repetitive, continuous, and gradually numbed through constant exposure.
At the same time, the work places war within a structure resembling display and presentation. The wooden table carries the familiarity of domestic furniture, reducing the scale of what would traditionally be perceived as monumental or heroic imagery and relocating it into a space of observation. War is no longer distant, nor confined to historical texts or news imagery, but remains physically present before the viewer in a state of perpetual operation. What the work ultimately attempts to reveal is a contemporary condition in which conflict appears never to truly end, and history continuously repeats itself in different forms throughout human society.