Desert sand cannot bond into durable concrete; it resists the monolith, the icon, the monument that would lock a single story into form. Architecture becomes an uneditable text—its rigid form must fracture, opening onto landscapes of imagination and infinite readings.
Once compressed into rigid moulds, this carbon-fired desert sand served foundries until deemed spent—unfit even for construction, which must import coarser aggregates. Shono retrieves the rejected material and enacts a counter-ritual: the mould is shattered, the mono-form erased, and millions of particles surge across the gallery floor.
The fracture is the thesis. A single, fixed body dissolves into a restless field; grains gather, drift, and scatter, refusing any final geometry. Narrative shifts with them: from fixed block to perpetual potential. Industrial residue becomes a medium of imagination, its past eclipsed by speculative futures.
The choice is timely. Saudi Arabia builds at high velocity while ecological limits tighten. By working with sand—matrix of microchips, glass, concrete, and dunes—Shono shows that each particle carries simultaneous endings and beginnings.
Material research turns to world-unmaking and world-making. Through line, erosion, and entropy, discarded casting sand opens a terrain where new stories proliferate. Every attempt to fix, confine, or finish is destined to be ground down and to begin again in the ceaseless movement of the grain.