形制，释义为物体的形状和构造，同时也是王强用以概括和表达物体存在的方式。纵览他自20世纪80年代以来的系统创作，不难发现其总在一以贯之地于纷繁的形制中提取有限的类别，并以中性且冷静的客观呈现，让形状具备超越真实的质感，进而展开多重的语意和解读空间。
在此次于今格空间的展览中，他将作品的形状归纳为建筑和齿轮。作为一种带有社会属性的人文产物，建筑是精神的集成，其形制与构造也是时代思想的凝聚。王强持续关注着建筑背后那些带有意志导向性的时代印痕，进而从历史的形态中发现思维和视觉的秩序。
Form—defined as the shape and structure of an object—is also the lens through which Wang Qiang encapsulates and articulates the mode of an object's existence. Surveying his systematic practice since the 1980s, one readily discerns that he has, with unwavering consistency, extracted a limited number of categories from a profusion of forms, presenting them with a neutral and cool objectivity—endowing shape with a texture that transcends the real, and in turn unfurling multiple layers of meaning and space for interpretation.
In this exhibition at Jin Ge Space, he has distilled the shapes of his works into two categories: architecture and gears. As a cultural artifact bearing social attributes, architecture is the coalescence of spirit; its form and construction are likewise a condensation of the age's thought. Wang Qiang has long attended to the will-directed imprints of an era that lie behind architecture, and from the forms of history he has discerned an order of thought and vision.
| 《住宅楼K-7型》 |
| 《有透视的齿轮》 |
| 《直齿轮》 |
| 《斜齿轮》 |
| 《齿条》 |
| 《一直未竣工的大楼》 |
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| 《往左偏离12.2°》 |
| 《共享公寓》 |