Formforge

The ram holds the corridor. The layered mass accumulates in the garden. The bull carries light through its seams. Each piece is an argument for a different kind of attention — one that begins with observation and ends, if you stay long enough, in something close to understanding.

teel cut, welded, faceted, and placed. Across scales and sites, the work holds a consistent position — that material has memory, that structure carries weight beyond the physical, and that fabrication is never purely technical. A selection from the studio archive.

Every diamond unit on this wall was individually formed — pressed to an exact depth, angled to catch light at the same degree across the entire installation. Where two faces meet, a sharp edge runs. Multiply that by several hundred units and what emerges is not just pattern but a kind of discipline — geometry held so consistently that the wall begins to feel less like a surface and more like a single continuous decision.

The material is weathering steel. Chosen because at this scale and with this level of detailing, it does something no painted or clad surface can — it carries both the precision of fabrication and the warmth of a material that has its own character. The result is a wall that reads differently at every distance. Up close, it is about the mark and the seam. From across the room, it becomes weight, presence, silence.

There is a particular kind of object that does not announce itself. It arrives slowly — through repetition, through the pressure of process, through time spent with a material until the material begins to respond. This body of work sits in that territory. Each piece carries the evidence of how it was made — the seam, the surface, the trace of force — as much as it carries its own presence. That is what makes it worth looking at.

Formforge is a practice built on process before object. Every work begins somewhere in the dark — in material, in pressure, in time. This is that space.

Weathering steel doesn’t resist time. It records it. The surface oxidises, shifts, and settles into something that looks less like a finished object and more like evidence.

The studio works primarily in weathering steel and stainless — materials that carry the weight of process long after fabrication ends.

Ganesha, reinterpreted for contemporary spaces. Each sculpture is conceived as a focal presence—carefully aligned with scale, proportion, and the architectural language of its setting. The approach is intentional and selective, ensuring every piece feels integrated, not imposed.

Crafted in metal with precision and restraint, these works are developed through a considered process—from concept to installation. Also exploring Nandi and Lotus forms as part of a curated series of bespoke commissions. Enquire to begin the conversation.

Conceived by Abhinav Goyal.
Executed by FormForge.

This work explores identity as something constructed, broken, and reassembled.
Not a face as seen, but a face as remembered through form.

We like to invite you to Afterform, a four-day exhibition presented at India Design ID 2026.

Afterform brings together a body of sculptural work that examines what remains after use—where weight settles, growth mirrors itself, and form continues beyond function.

🗓 February 19–22, 2026
📍 NSIC Exhibition Grounds, New Delhi
🎟 India Design ID

This work explores the idea of the absent body — a form that feels remembered rather than seen, shaped by pressure, time, and quiet transformation. It sits somewhere between animal and trace, presence and residue.

The work revealed itself through the way people spent time with it — slow walks around the form, pauses, quiet questions, and long looking.

Grateful for an audience that allowed the work to unfold without hurry, and for a space that supported attention over spectacle.


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