Joan
Giner

Is geometry a constraint or a freedom for you — and has that answer ever changed?

Geometry is a form of freedom because it gives experience a structure. A simple rule can open a large field. It allows me to work with very little while keeping the piece precise and active. Over time, I have become more interested in this economy. I have gradually reduced my practice to its essential conditions. This gives me a way to approach complex phenomena with clarity and silence.

Walk us through your process — where does a piece begin, and how do you know it's finished?

A piece often begins with a phenomenon I want to give form to. I look for the simplest structure that can hold that experience. For Unfold, I start from the unfolded state of a volume. The work develops through small decisions until the form becomes necessary. A piece is finished when it becomes quiet and precise. When each element has a role, and the work can keep changing with light without needing anything more.

Is there something outside of art — a system, structure, or phenomenon — that quietly shapes how you think about form?

I am interested in the structures that shape perception before we become fully aware of them. Physical phenomena, mental structures and relational systems influence the way I think about form. I often observe how a simple condition can produce a complex situation. These systems guide my work quietly. They help me understand form as something active, something that appears through relation and time.

What does a viewer miss when they see your work as 'just geometry'?

Geometry is the visible structure of the work. Through it, the piece creates an experience of perception. When a simple surface becomes active through light, the form appears slowly, changes with the viewer’s position and gives physical presence to an abstract experience. My work invites a shift from recognition to attention.