鐵，源出自然的礦藏，它的開採、提煉、應用，牽動著人類的文明與歷史。以鐵為創作媒介，劉柏村在此作中重新演繹隕石群，再度延伸他與臺灣史前的冶鐵文明對話的系列創作。微型化的「金剛」，像是細小植物又形同隕石碎塊，錯落其間、與之同化，體現了人類的微渺存在，同時也具體而微地揭示了「人物共煉」的世界發展。劉柏村藉由回溯萬物所源出的，生息演化的自然宇宙及無窮時空，根本地連結了物質與想像領域，寓言式地融合人類與非人類世界。這幕從回應臺灣史前遺址擴延開展而來的原始景觀，取徑考古卻終究指向當代，探討共同的人與物、人與自然的關係。此隕石風景，故而不僅是「一方」所在，也是跨域共在的「超地方」。

Iron, originating from natural mineral deposits, has played a pivotal role in human civilisation and history through its mining, refining, and application. Using iron as his primary creative medium, Liu reinterprets meteorites in this work, further extending his series of creations that dialogue with Taiwan's prehistoric iron-smelting civilisation.
His miniaturised Iron Men resemble both tiny plants and fragments of meteorites, scattered and assimilated within the piece. This embodies humanity's minute existence whilst concretely revealing the 'mutual tempering of human and matter' in world development. By tracing back to the origins of all things, to the evolving natural universe and infinite space-time, Liu fundamentally connects the realms of matter and imagination, allegorically merging human and non-human worlds.
This primitive landscape, which unfolds in response to Taiwan's prehistoric sites, takes an archaeological approach but ultimately points to the contemporary, exploring the shared relationships between humans and objects, humanity and nature. This meteoric landscape, therefore, is not merely a 'singular place', but a cross-domain 'trans-locality'.