Yin and Yang

The work has a pronounced monumental form and a strongly symbolic expression. Yin and Yang do not illustrate opposition, as is often believed, but the fragile balance between opposites. The upper form – an oval, almost suspended table – seems to float on a rigid vertical base, like a world of ideas resting on concrete reality.

The two circular voids in the volume subtly refer to duality: light and shadow, full and empty, interior and exterior. The sculpture does not clearly separate the two principles, but incorporates them into a single form. Yin and Yang are not two distinct parts, but two presences that are born from each other.

The gaps do not weaken the stone; on the contrary, they give it meaning. They show that absence is as necessary as matter, that silence supports sound, and darkness defines light. The texture of the stone is intentionally uneven. The chisel marks remain visible, suggesting that balance is not something smooth or definitive, but the result of continuous tension. Nothing is perfectly rounded; everything is slightly unstable, like life itself.

The volume seems like it could roll over, but it doesn't – it remains in balance, on the edge. The vertical base, massive and simple, functions as an axis and a guarantor of stability. It represents order, structure, law.

Above it, the round shape is free thinking, spirit, question. Together, they form a silent dialogue between discipline and freedom – extremely appropriate in an educational space. Placed in a high school courtyard, the sculpture becomes a metaphor for education: the student is exactly between these two forces – rigor and imagination, rules and exploration, certainty and doubt. “Yin and Yang” does not offer answers, but teaches an essential lesson: harmony does not mean the absence of conflict, but the ability to bear it. In essence, this work speaks of inner balance. About the fact that man is never just light or just shadow, but a form in which opposites coexist, correct and support each other.