In The Beauty of Emptiness, the role of parachute material shifts from forming a complete pictorial skin to a fragmentary presence. The fabrics no longer fully cover the supports; instead, they appear as condensations, islands, or folded bodies within an open field. The surrounding emptiness is not perceived as background but as an active component of the work—a space that allows form to become visible.

The parachute fabrics continue to carry their history within them: they are materials of free fall, designed to slow movement and control transitions. In these works, they lose this function and become forms that oscillate between weight and suspension. The folds follow gravity, gathering into dense formations or dissolving into lines and loose strands. What was once an instrument of safety now appears as a fragile structure, its form emerging from the tension between material, time, and space.