I explore the relationship between the form and function of objects as a way to understand the contemporary visual and technological landscape. This inquiry begins with the architectural principle proposed by American architect Louis Sullivan: “Form follows function.” In early modernist architecture, this idea led to the removal of unnecessary ornamentation and a focus on pure utility—an approach that still resonates across fields such as industrial design, transportation, and digital technology.
Examples from both nature and engineering illustrate this logic. The hexagonal structure of a beehive is an evolutionary solution for efficient storage, while the square layout of buildings maximizes space. The streamlined shapes of cars and aircraft reduce energy consumption by minimizing air resistance, and the four legs of a chair ensure stability through balance.
However, form does not always follow function. In many contemporary systems, it is the form that determines how something functions. The operation of an airplane, for instance, depends not only on its physical components, but also on systems like timekeeping, air traffic regulations, and legal protocols. Any change in these surrounding forms can disrupt the plane’s ability to function. In this way, objects reflect broader social and environmental conditions.
I view the form and function of objects as indicators—symptoms—of a particular moment in space and time. Just as an illness reveals itself through symptoms, the condition of our world reveals itself through the shapes and operations of the objects we create and depend on. In my work, technical objects are not neutral tools, but active agents embedded within complex systems. Their distinct forms and defined purposes become clues to understanding these systems.
My process involves translating the morphogenetic structure of objects into photographic images. While a single image cannot convey the entirety of an object’s story, the mechanical lens allows for the precise rendering of detail—details that invite speculation, association, and reflection. Through observation, inference, staging, and documentation, I transform these forms into visual data that speak to causes and consequences.
Ultimately, the objects I photograph are more than their shapes. They function as vessels of meaning, reflecting technological evolution and societal context. My work aims to reveal these layers, encouraging viewers to see objects not only as things, but as narratives in form.
Examples from both nature and engineering illustrate this logic. The hexagonal structure of a beehive is an evolutionary solution for efficient storage, while the square layout of buildings maximizes space. The streamlined shapes of cars and aircraft reduce energy consumption by minimizing air resistance, and the four legs of a chair ensure stability through balance.
However, form does not always follow function. In many contemporary systems, it is the form that determines how something functions. The operation of an airplane, for instance, depends not only on its physical components, but also on systems like timekeeping, air traffic regulations, and legal protocols. Any change in these surrounding forms can disrupt the plane’s ability to function. In this way, objects reflect broader social and environmental conditions.
I view the form and function of objects as indicators—symptoms—of a particular moment in space and time. Just as an illness reveals itself through symptoms, the condition of our world reveals itself through the shapes and operations of the objects we create and depend on. In my work, technical objects are not neutral tools, but active agents embedded within complex systems. Their distinct forms and defined purposes become clues to understanding these systems.
My process involves translating the morphogenetic structure of objects into photographic images. While a single image cannot convey the entirety of an object’s story, the mechanical lens allows for the precise rendering of detail—details that invite speculation, association, and reflection. Through observation, inference, staging, and documentation, I transform these forms into visual data that speak to causes and consequences.
Ultimately, the objects I photograph are more than their shapes. They function as vessels of meaning, reflecting technological evolution and societal context. My work aims to reveal these layers, encouraging viewers to see objects not only as things, but as narratives in form.