In-Between consists of a vertically standing concrete pedestal supporting a horizontally positioned, polished stainless-steel cylinder. Clock faces are embedded at both ends of the cylinder, forming a dual, opposing temporal structure. The mirrored surface reflects, elongates, and subtly distorts the dials, producing layered visual impressions of time.
Within the quiet of the exhibition space, the sound of the advancing second hand becomes perceptible. Time asserts itself through rhythm and duration—stable, continuous, and difficult to ignore. Real time, reflected time, and the viewer’s own presence overlap within the mirrored surface, rendering temporal perception fluid and unsettled.
The concrete base introduces a sense of architectural weight and stability, while simultaneously underscoring the fragile equilibrium of the structure above. Although the timekeeping system operates with precision, the viewer’s trust in its reliability gradually loosens through visual and perceptual dislocation.
In In-Between, time emerges as a structure under constant negotiation—constructed, maintained, heard, and repeatedly confirmed. The work places the viewer in a suspended state between certainty and hesitation, transforming time from a passive condition of daily life into an active and perceptible mechanism.
This sculpture encapsulates Kwade’s practice: through restrained formal means and exacting structural control, abstract scientific and philosophical questions are translated into quiet yet immediate spatial experience. Sculpture becomes a site where thinking remains in motion.