Standing Form

(Two-part) Sculpture
Stoneware, engobe, and glaze
With pedestal
53,5 x 19 x 19 cm
Without pedestal
34 x 14 x 11 cm
Unique work, 2026


Standing Form unfolds as a vertical landscape: part growth, part gesture, part memory. Sculpted entirely by hand, it moves between sharp protrusions and gentle curves, balancing tension with delicacy.
Its silhouette suggests a flowering body or a plant caught mid-bloom, suspended between emergence and erosion. As daylight moves across its bronze-like surface, shifting light reveals new relationships between its pointed edges and rounded volumes.

“The work begins by listening to a plant. Drawing on the bioelectric signals of wild white and pink roses, translated into sound through modular synthesis, it considers the plant as a body with its own rhythms, vibrations, and language.
I imagine closing my eyes and attending to its smallest movements: wind passing through a petal, a subtle friction of contact, a shift in breath or atmosphere. By listening closely, the rose becomes more than a plant. It becomes a portal to another world—one in which the boundaries between body, plant, sound, and surroundings begin to dissolve.”
Zeynep Boyan
References

i. Bio Music Vibrations: Listening to wild roses (2026).

iii. Hilma Af Klint, Convallaria majalis (Lily of the Valley), Geum rivale (Water Avens), Polygala vulgaris (Common Milkwort). Sheet 11 from the portfolio: Nature Studies, June 10–11, 1919.
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ii. Hilma af Klint, Altar piece No.2 (1915).

iv. Karl Blossfeldt, Silphium laciniatum, compass plant (1900-28).

v. Karl Blossfeldt, Polystichum munitum, Wunder in der Natur, c. 1920s.

vi. Hilma Af Klint, Primordial Chaos No. 16.