As it happens, the tracing of sand is a time performance, 
a series of snapshots of time where time is space in motion. 
Watching the tracehappening is watching time, and watching 
time has virtues. Motion points to time, and both point 
to impermanence, which points to Buddhism. Impermanence is 
the absolute state, not to be feared, but treasured: 
``Impermanence is the Buddhahood.'' (Master Dõgen). 

Sand traces show as deep reliefs on the surface of the sand, 
and as the stones that may adorn them, these reliefs neatly 
catch the changing light of the time of day and cast 
obviously variable shadows. Watching a sand trace throughout 
the day is thus and again an experience in impermanence.

Sand tracings are twice impermanent. Sand, symbol of the 
impermanence of the hardest stones and the tallest mountains, 
results in fragile arrangements threatened by rain, wind, 
pressure, contact. This double impermanence, in the long 
run of time and in the short run of time, points to Buddhism 
again.

There is a wheel of life for sand tracings: one happens 
only because the previous ceased to exist. Each sand trace 
is only one sample of a succession of sand traces existing 
repeatedly in limitless time and perpetual re-birth. Some 
tracings may last for years, others for a brief while only, 
all must vanish, all are protected from the corruption of 
craving, the temptation of lasting. Buddhism emphasizes the 
transience and impermanence of human existence: all things 
pass away. Sand tracings pass away.

Sand traces can easily be chosen as classical buddhist and 
zen patterns from Tibetan mandalas to the raked motifs of the 
karesansui gardens in Japanese temples which have long established
sand as a traditional buddhist and zen medium and have 
inspired this work.