This project explores the possibility of a structure—long considered a secondary element in traditional jewelry design—becoming an autonomous sculptural subject. The metal setting, known as the claw or prong setting, has historically functioned to secure gemstones, its form dictated by the size, cut, and brilliance of the stone. Within this hierarchy, the setting has remained subordinate, rarely acknowledged for its own aesthetic or sculptural value.

It began with three questions:
Q1 - Can the hierarchy between center and periphery be regarded as absolute?
Q2 - Can a structure designed for a specific function retain its legitimacy once that function is removed?
Q3 - Can an auxiliary element operate as an independent subject?

In this series of nine rings, the gemstone is deliberately absent. The prong, once defined by its service to the stone, becomes the starting point of form itself. Freed from its traditional role, it emerges as an autonomous object, capable of generating its own meaning and presence. Rather than adorning absence, the project reconsiders the overlooked sculptural and aesthetic potential of the setting. It invites viewers to see beyond the fixed hierarchy of jewel and mount, and to experience the blurring of function and form, subject and support. Through the strategies of reversing hierarchy, losing function, and claiming independence, the work proposes a new perspective on jewelry: one where the frame itself holds the essence, and absence becomes a site of possibility.