Structuralist Naum Gabo pointed out that artworks: “... have gone beyond the chaos of daily life and beyond the ash of the past to stand in front of the gate of the empty future.”

They seemed bringing in messages from a distant universe through the remote past or an inexplicable future to the time being, which was the first impression when seeing Szumin’s artworks for the first time.

Following cubism, structuralism asserted that art should be independent from visible things and should take shape through the abstract ideas in our mind. Art belongs to an invisible territory, but conforms to the laws of the universe. Structuralists were infatuated with the wonders of the structures they created, which have deeply influenced the spatiality of our world and approached our conscious, so spaces bring us closer to our experience of light and sounds.

Szumin’s sculpture represents the aesthetics of structuralism, she captures “spaces” and, like a poetess highly sensitive to words, she never ceases to look into the possibilities of passing on abstract concepts through her art, seizing the spatial orders that we failed to see. Szumin uses metal- inorganic materials- as the method in her exploration. Techniques such as how the surfaces are presented don’t affect the nature of the materials.The spaces shaped by the tied chains are the results of forces or force fields, and the minimalist forms of the artist show her profound thoughts and inspire us concepts about physics. The seemingly stable structures are actually created through many enhancing or counteracting forces happening to be connecting one other, which is why Szumin’s sculptures are so intriguing. So many force fields constitute the spaces with tension, and when we are about to be thrown out from the three-dimensional space, we come to the gate of the forth dimension so we are able to peep into the graceful universe beyond.