Form Criticism examines form as a method of thinking through painting. Rather than asking what an image represents, the series considers how geometry, colour and spatial relationships can generate meaning on their own.

Across the four paintings, architectural fragments and geometric structures recur and transform. Forms shift in scale, proportion, colour and orientation, establishing a visual continuity without becoming repetitive. Each work develops from possibilities opened by the previous one, allowing the same formal language to be continuously reconsidered.

This process is grounded in a rigorous method of construction, where composition, proportion and colour are carefully controlled. Yet the resulting spaces remain perceptually open: planes advance and recede, forms alternate between flatness and depth, and architectural references become increasingly ambiguous.

Form Criticism approaches painting as an ongoing process of inquiry rather than the pursuit of a definitive image. Form becomes both the result of one investigation and the starting point for the next.