In the approx. Series, I attempt to visualize and express human acts of “simplifying things and forcing them into a framework,” as well as the “inaccurate interpolations that arise through simplification.” While the series originated from a physics-based perspective—seeing science as something that approximates the real world—it also embodies a resistance to, and at the same time a resignation toward and self-reflection on, the accelerating sense of reduction in today’s world, where personalities are judged by a single post on social media and all information is summarized by AI.

<<fitting>> consists of amorphous lumps of spray polyurethane foam, pressed and fixed with ready-made frames such as picture frames. When the uncontrollable, naturally formed shape of the foam is regarded as the “original form,” the frame represents the act of simplifying it. If the “original form” is replaced with things like the material world, human emotions, or personality, the frame corresponds to science, language, or the impressions imposed by others.

<<inverse>> is created by methodically dripping acrylic-colored liquid onto a support and leaving it to rest. Initially, the drops are raised by surface tension, but over time they spread and gradually merge with neighboring dots. Artificially placed dots, through the element of chance, eventually generate new imagery. Whereas <<fitting>> seeks to define the “original form” through framing, <<inverse>> draws out the original form from within a prescribed shape, thereby positioning itself as the inverse act.

<<contour>> is a work in which natural objects are partially covered with semiconductors. By overlaying natural contours with artificial materials, their forms are approximated.