Form in Liberation

Sculpture, for me, is not the construction of an object but the organization of forces into form.

I do not approach form as the final configuration of matter, nor as the representation of a body. Form is understood as a dynamic condition—an unstable equilibrium where mass, rhythm, tension, gravity, and material resistance continuously negotiate with one another. What emerges is not an image, but an event of becoming.

Throughout this body of work, sculpture and fabric collage operate as two material states of the same formal language. The sculptures articulate this condition through volume, compression, torsion, counterweight, and the shifting relationship between solidity and void. The collages extend the same investigation across the surface, where layered fabrics, accumulated pigments, adhesive strata, chromatic density, and material residues construct another field of plastic transformation. Neither medium illustrates the other; each reveals a different threshold within the same morphology.

The exhibition takes its title from Raqs-e Besmel a cultural image describing the body’s final involuntary movement before absolute stillness. Here, however, this image is neither historical illustration nor narrative subject. It becomes a formal proposition: the moment in which form escapes fixity and enters a state of continuous transformation.

Dance, therefore, is not understood as bodily movement. It is the rhythm through which form reorganizes itself. Every twist, displacement, compression, imbalance, or suspended equilibrium becomes part of a plastic syntax in which becoming is made perceptible.

Rather than seeking perfected forms, these works remain deliberately unfinished—not incomplete, but open. Their purpose is not to resolve form but to sustain its capacity for transformation.

What interests me is neither the body nor its image, but the aesthetic condition in which form continuously liberates itself from its own certainty.

This is what I understand as Form in Liberation.