This study investigated the spatial aesthetics of floral formative art by analyzing Goyang Flower Grand Prix award-winning works through the theories of Richard Serra and Wassily Kandinsky. The results show that floral formative art functions as a com...
This study investigated the spatial aesthetics of floral formative art by analyzing Goyang Flower Grand Prix award-winning works through the theories of Richard Serra and Wassily Kandinsky. The results show that floral formative art functions as a comprehensive visual language in which nature, time, material, and emotion interact.
Serra’s concept of space clarified the material, bodily, and experiential dimensions of floral works, revealing space as an active field shaped by movement and material forces. Kandinsky’s theory of point, line, and plane illuminated the structural principles of spatial composition and the role of “inner necessity” in expressing artistic intention.
Although their approaches differ, Serra and Kandinsky offer complementary insights, showing that floral space emerges as both an embodied experience and a field of emotional resonance. The spatial rhythms observed in the award-winning works—tension and balance, repetition and variation, density and openness—demonstrate that floral formative art possesses a unique and complex aesthetic system.
Overall, this research redefines floral formative art beyond decoration, proposing a new analytical framework that supports its position as an independent artistic genre within contemporary visual culture.