The Mediation Series explores how materiality mediates the formation of relationships and spatial experience. Developed from my earlier spatial experiments and installation-based practice, the series extends these investigations onto paper, where crayon, ink, colour, and drawn forms become active elements in the emergence of a relational field. The forms do not function simply as isolated images; their relationships with surrounding marks, colours, and intervals contribute to the shifting organisation of the composition.

Rather than translating three-dimensional installations into two-dimensional representations, I approach drawing as an independent site of experimentation. The physical properties of the materials, the pressure and direction of each mark, and the distribution of colour establish relationships that remain open to change. Crayon offers both resistance and responsiveness: its marks can accumulate, interrupt one another, or create areas of visual weight. Ink participates in the formation of relationships between colour, form, and the paper surface. The interplay of contrasting colours generates a shifting balance of visual weight and tension across the surface. These interactions reflect my broader interest in how structures emerge through negotiation rather than predetermined composition.

Within this process, space is not treated as an empty background surrounding forms. It emerges through the relationships between drawn forms, marks, colours, intervals, and areas of concentration. The placement of each element affects the surrounding field, while the viewer’s movement of the eye across the surface continually reorganises these relationships. Balance is therefore not a fixed state but a provisional condition produced through the interaction of competing forces.

The term Mediation refers to the capacity of materials and visual elements to participate in the formation of relationships, rather than simply serving as vehicles for an existing idea. Through the interplay of crayon, colour, and mark-making, the series examines how material conditions generate spatial relationships and how these relationships can be reorganised through subtle shifts in density, direction, and placement.

The works invite attention to how relationships take form, persist, and change. They are not images of a completed spatial arrangement, but experiments in how a relational field can emerge on paper.