I fell in love with mathematics, structural mechanics and have had the experience of applying them in the construction industry for a long time before coming to geometric arts in 2013. Working on blocks and structures from the moment of beginning to completion helps me form special feelings of attachment to many structural forms. Whenever observing objects that exist in stable state, I understand and often visualise the constituents in a fascinating way, so that they must be united and working really hard, how they combine into geometric features and what makes them work cooperatively to solve complex problems of external force – reactive power, pressure, internal force, deformation and displacement, and so on. Undoubtedly, what they – structural elements – the strong, silent, tireless and persistent elements – are doing, are obscured by the perfect shell of the object. With special attention, I want to show everyone the beauty of movement hidden behind those shells. In order to feel the mechanical movement through geometry, numbers, section modulus, reactive power, pressure, joint displacement or deformation, etc. I choose artistic expressions to show how the structural system works and why it is beautiful. I decided to use geometric art as the fundamental art direction on three main materials: paper, canvas and wood. Similar to the solution to structural problems, I create my artwork according to the approximate simulation method with the assistance of computers on mathematics, three-dimensional geometry with algorithms that analyse the structure of three primitive states, deformation and complete disruption. I assume the shape and size of the objects of expression, replacing the real structure with minimal diagrams and characteristic representative shapes, then study their reaction to the imaginary force elements, creating multidimensional distortions and variations. The results of geometric expression are then cleaned, transformed from maximum to minimal. I keep the most important and compact interactive frames, accenting colours at key points in the deformed structure, balancing out strokes density on large empty areas before completing my work of art.