Whenever I observe an object, I find myself more drawn to imagining how its underlying structure works than to evaluating its finished appearance.
For an object to exist in a durable, strong, and stable state, its structural system must satisfy essential engineering requirements: it must withstand its intended loads; remain within the limits of tension, compression, bending, and shear; stay within acceptable tolerances for settlement, deflection, inclination, and displacement; and maintain the geometric stability of its structural configuration.
Under such demanding conditions, the structural system works continuously to preserve the object’s strength, durability, and stability throughout its life cycle. This silent process is concealed beneath the finished surface of the object-rarely seen, rarely recognised, and largely unnoticed.
It was through observing this silent structural action that I gradually realised that the principles enabling a structure to exist also recur throughout many other systems of life and the world. Stiffness is not only a mechanical capacity to resist deformation; it also suggests resilience and the ability to withstand pressure. Durability extends beyond construction to the persistence of affection, trust, relationships, and memory. Stability likewise transcends engineering, becoming a condition that sustains the order of families, communities, and societies.
My artistic practice begins with this recognition. I use geometry as a language through which structural behaviour can be observed and expressed. Rather than employing structure as a symbol or metaphor, I seek to enable viewers to recognise the aesthetic traces and value of the silent structural action that exists across many systems through which the world operates.
Each work begins with an approximate computer-assisted structural simulation. Structural elements are assigned geometric forms, connections, boundary conditions, and applied forces in order to express the life cycle of a structure through three states: original, deformed, and ultimate failure. From these simulations, I observe, select, reduce, and reconstruct the resulting configurations, preserving only those moments that simultaneously reveal structural behaviour and possess visual significance.
Sectional cuts-what I call “technical windows”-are introduced to reveal structural regions that would otherwise remain concealed. Colour is not used as decoration but as transformed information, translated into visual sensation and evoking the intensity and working state of the structure.
Each artwork is an autonomous composition while simultaneously representing a different configuration within one continuous and unified investigation.
Through geometry, I create visual forms that allow viewers to perceive the beauty of structures in action-systems that quietly connect, support, sustain, and preserve existence, yet rarely reveal themselves. My works are therefore aesthetic interpretations of structural action, inviting viewers to discover broader principles of existence through the language of structure.