Cant explores the moment when paper appears to negotiate with forces beyond itself. Through increasingly intricate folds and angular interventions, the works shift away from stable compositions toward states of intentional imbalance. Surfaces incline, gather, and lift, suggesting movement without fully leaving the picture plane.

The title refers to a deliberate inclination—a form set at an angle rather than in perfect alignment. In architecture and engineering, a cant is an intentional deviation that alters how a structure occupies space. Here, that idea becomes both physical and conceptual. The folded planes seem to respond to invisible forces, as though gravity and air are active collaborators in their formation.

While some forms may recall wings or flight, the work is not concerned with representation. Instead, it examines the threshold where orientation becomes expressive: where paper, through pressure, fold, and release, appears suspended between weight and buoyancy, structure and drift, intention and material agency.

Rather than resolving into equilibrium, each work inhabits a state of poised instability. The compositions remain open, allowing subtle shifts in angle, tension, and shadow to continually reshape spatial relationships. In Cant, paper is not simply folded; it is given a new attitude toward space—one that invites the viewer to sense the quiet presence of forces that cannot be seen, only inferred.