In Buddhism, the three marks of existence are three undeniable truths of all that exists: impermanence, imperfection and incompleteness. The three marks of existence have inspired numerous ideologies around the world that search for beauty in the imperfect, embrace the incomplete and celebrate the impermanent.
Today’s notions of beauty, driven by societal norms and technological advancements, emphasize perfection, symmetry and flawlessness. The perfect face should be symmetrical, diamonds are valued on their flawlessness, contemporary architecture is firmly rooted in clean lines and immaculate glass facades.
Why then, do we still prize the rich patina that leather develops over time, why are we so in awe of the large-scale tapestries that form in marble and so fascinated by the concentric but irregular milestones at the centre of every tree trunk. These natural artworks, each an irreproducible one-of-a-kind, are beautiful to us not because of their precision or their flawlessness but rather their unpredictability, their imperfections; each unexpected blemish carrying stories and memories of past experiences and resilience. Perhaps we are attracted to the imperfect because we see ourselves as imperfect, as incomplete. It is clear that despite all our advancements in manufacturing and precision, we are drawn to the uncontrollable, intrigued by it.
Marks of existence is a collection of unique objects designed to highlight the allure of natural materials; the impossibly complex weaves of texture, colour and forms that, despite our ever-expanding capabilities, are still completely unattainable and irreproducible.
