有些礦物需要一個場域，才能讓原本隱藏的方向與關係被看見。

也有些礦物，在離開岩層以前，就已經形成完整的輪廓、重心與內部世界。它們不需要新的地景，不需要底座替它補充敘事，也不需要創作者重新決定它應該如何存在。

原生｜Natural Form，收錄的是這一類作品。

底域保留礦物本體的自然結構、原始觀看方向與完整性，不以底座、地景或光源重新建立語言。創作在這裡並不是增加，而是辨認：一件礦物何時已經足夠完整，完整到不應再被介入。

Some minerals require a surrounding field before their hidden direction and relationships can become visible.

Others have already formed a complete outline, centre of gravity and internal world before leaving the rock. They do not require a new landscape, a base that adds another narrative, or an artist to determine how they should exist.

Natural Form is dedicated to these works.

DIYU preserves the mineral’s natural structure, original viewing direction and physical integrity. No base, reconstructed landscape or artificial light is used to impose a new visual language.

Here, creation does not begin by adding something.

It begins by recognising when the mineral is already complete—and when intervention should stop.

原生不是「未經創作」，也不只是「沒有底座」。

一件礦物是否進入原生系列，關鍵在於它是否已經具有完整的結構、重心與觀看方向，能夠不依賴額外材料，獨立成立。

有些晶體需要支撐。底域透過承載、坡面與材料，延續礦物原有的方向，使它與空間建立關係。

另一些礦物則已經完成了這段關係。

它們可能保留完整母岩，也可能透過晶簇、雙尖、共生與不規則輪廓，形成清楚的重心與視線移動。即使沒有底座，晶體如何向上、向外或沿著岩層展開，也已經由自然結構決定。

原生系列所保留的，就是這種自然已經成立的狀態。

但完整不等於完美。

裂隙、缺口、礦皮、風化表面與不對稱，都是礦物形成與離開產地後留下的痕跡。底域所判斷的，不是晶體是否無瑕，而是這些不規則是否已經共同構成一個可以獨立存在的整體。

因此，原生也不是把所有天然礦物直接視為作品。

每一件標本仍然需要被選擇與辨認：哪一面是主要觀看方向？重心如何落下？母岩是否承擔了結構？它是否已經能在空間中建立自己的尺度？

這些判斷不會增加新的材料，卻會改變礦物如何被陳列、命名與理解。

原生因此仍然屬於作品系統，只是創作者的角色在這裡向後退。

不替晶體建立新的地景，不重新包覆天然輪廓，也不為了強化創作語言，而增加一個原本不存在的世界。

增加往往比停止容易。

原生要求的是另一種紀律：如果礦物已經能夠完成觀看，底域便不再要求它成為別的東西。

這也構成原生與地景的界線。

地景是在礦物與空間的關係尚未完成時，透過材料延續它原有的方向；原生則是在這段關係已經自然成立時，保留它的完整。

兩者都以礦物為主體，差別只在於它實際需要多少介入。

觀看原生作品時，可以先觀察它如何站立、如何承受重量，以及晶體如何集中、分岔、放射或沿母岩展開。

最後再問：

如果加入底座、地景或其他材料，作品會變得更完整，還是只會讓創作者的存在更加明顯？

原生的核心不是保持原始，而是尊重完成。

自然已經建立結構，礦物已經形成方向。底域所做的，是辨認這個完成，並在應該停止的位置退後。

Natural Form does not mean “without creation,” nor does it simply mean “without a base.”

A mineral enters this series when it already possesses a complete structure, centre of gravity and viewing direction—when it can stand independently without additional material.

Some crystals require support. DIYU may use a base, slope or material connection to continue a direction already present within the mineral and establish its relationship with space.

Other specimens have already completed that relationship.

They may retain a natural matrix, or form clusters, double terminations, mineral associations and irregular outlines that create their own balance and visual movement. Even without a base, the way they rise, extend or follow the rock has already been determined by their natural structure.

Natural Form preserves this condition of natural completion.

Completion, however, does not mean perfection.

Fractures, missing areas, mineral coatings, weathered surfaces and asymmetry are traces of formation and of the specimen’s journey from its locality. DIYU does not ask whether a mineral is flawless, but whether its irregularities already form a coherent whole capable of existing on its own.

Natural Form therefore does not treat every unmounted mineral as a finished work.

Each specimen must still be selected and recognised. Which side establishes the primary view? How does the weight settle? Does the matrix carry the structure? Can the specimen create its own scale within a space?

These decisions add no new material, but they change how the mineral is displayed, named and understood.

Natural Form remains part of DIYU’s system of works, although the creator moves backward.

No new landscape is built around the crystal. Its outline is not enclosed or reconstructed, and no additional world is introduced merely to strengthen the artist’s visual language.

Adding is often easier than stopping.

Natural Form requires another discipline: when a mineral can already complete the act of viewing, DIYU does not ask it to become something else.

This is also the boundary between Natural Form and Landscape.

Landscape extends the mineral’s existing direction when its relationship with space remains incomplete. Natural Form preserves the specimen when that relationship has already been established naturally.

Both place the mineral at the centre. They differ only in the degree of intervention required.

When viewing a Natural Form work, observe how it stands, how it carries its weight, and whether the crystal structure concentrates, divides, radiates or extends along the matrix.

Then ask:

Would a base, landscape or additional material make the work more complete—or would it simply make the creator more visible?

The core of Natural Form is not the preservation of something primitive.

It is respect for something already complete.

Nature has established the structure. The mineral has formed its direction. DIYU’s role is to recognise that completion and step back where intervention should end.