The Egyptian monolithic columns rise up, and the sculptor uses repetition and overlap to arrange his usual system of ideograms on the massive columns.

The four-sided surface creates a variety of recessed and raised structures on the originally smooth base with varying depths and layers, thus forming gaps in the edges where the faces meet, making each front visually a profile again, allowing us to see the torso of a giant that has been branded, carved, pierced, pounded and eroded, leaving an everlasting mark on the surface and inside.

The hard black marble is tangled and bound by a linear structure, and the force of the rope cuts through the originally smooth surface into the column, with the spinal column pattern appearing in the center, as if revealing the innermost pillar of the soul. Weaving patterns and honeycomb patterns of varying shades, leaving subtle or bright cellular spaces; the erosion marks are like the topography left by the river crossing the earth, a sunken space, a kind of memory mark, and the smooth area of the column form a contrast effect, both as a small story of individual lives and as a monument to the history of the nation that converges into a big river.