Structural unity and visual richness are two concepts where achieving one leads to the loss of the other. The meaning of structural unity is clear, but what I mean by visual richness is the multiplicity of visual elements in a work, which is related to the playful aspects of being human.
Focusing solely on structural unity often leads to the creation of a work that will last a long time and, in terms of the philosophy of art, will always win over other works — but like a story that ends too soon, structural unity alone can leave a core desire within us unsatisfied.
On the other hand, if we, as artists, only pay attention to visual richness, our work will, in the best case scenario, only give instant and fleeting pleasure as a mere entertainment, and its use-by date will soon expire. So it will struggle to belong to the world of art.
Tajir was also created based on such an attitude towards art. And I have always tried to present these two artistic concepts simultaneously in my work to create a visual experience that will truly connect with viewers.
In terms of form, the lines in Tajir play the main role for me, and like the thread of a suture that connects a patient's skin, the lines also help integrate this structure and connect the different components of the artwork together. All the created formal elements are like rivers that have the same source, yet are different faces of the same visual idea.