Elements- Form

In the history of form, art has continuously sought ways to perceive and organize the world. From the proportional ideals of antiquity to the representational order of the Renaissance, and the structural investigations of modernism, form has functioned as a language through which each era shaped its understanding of reality. Kazimir Malevich minimized sensation to reveal structural essence, presenting Black Square as a new beginning for painting. Frank Stella, in contrast, declared, “What you see is what you see,” grounding the visual experience in material fact rather than conceptual intention.
 

Between idea and sensation, order and freedom, form has remained a site of renewal—a means through which art redefines its relationship with the world. For me, form is not a fixed image but an evolving field where thinking and making converge. The line directs, the figure consolidates, and form materializes their intersection within the physical and phenomenological space of perception.
 

Even within a single configuration, form is never constant. A change in perspective, light, or emotional tenor alters its presence entirely. It is neither surface nor conclusion, but a contact zone where inner rhythm encounters matter—where sensation is compressed into structure.
 

In my work, form functions as a field of negotiation between mental process and material operation. It reveals a mechanism in which structure transforms into perception and perception returns to structure. Ultimately, form is both an intellectual organization and a material embodiment—a crystallization in space that remains open to rearrangement, receptive to change.
 

Within this tension, I explore how thought and action, matter and consciousness, continually reconfigure their boundaries, producing a living structure that is at once ordered and unstable, complete yet always in motion.