Mass Overlay operates as a continuation of the previous project, the Shape of Water, extending its formal investigations from surface pattern to geometrical mass. While the Shape of Water explored the formal possibilities of water as a medium—specifically within the constraint of the ocean—Mass Overlay translates those surface patterns into cubic-like mass structures in order to test their capacity as forms.

This translation unfolds through a set of basic operational principles: addition, subtraction, and rotation of a single unit. Variation emerges not only through these operations but also through shifts in scale and position, enabling the system to generate complexity from simple rules. The cubic forms thus serve as a framework for further investigation, where figural behaviors arise through configurational effects and relational interplay.

Unlike the patterned surfaces studied in Shape of Water, Mass Overlay emphasizes mass rather than texture. The project is not about surface ornament but about structured aggregation—sequential formal acts in which each part contributes to a larger coherence. Together, these operations produce a composition that expresses mass as both system and figure.

Ultimately, Mass Overlay demonstrates how the interplay of basic operations and differentiated units can produce a mass whose identity lies in the logic of its own assembly—a form that shifts from part to part, from individual operations to the collective whole, simultaneously present in the single unit and in the aggregated composition.