Aperture extends Young’s investigation of relational form through acts of opening and exposure. Layered shapes intersect and separate across the surface, some punctured by circular openings that pass through the material, others stripped back to reveal what lies beneath. Absence enters the work not as void, but as an active compositional force.

The edges of apertures—and, at times, exposed margins—are subtly burned, carrying evidence of heat and pressure. On wood panels in particular, scorched contours assert their material presence while surrounding layers accumulate and hold. Here, interruption becomes a threshold: a site where continuity breaks, depth is implied, and connection occurs through removal as much as contact.