In the work of Petar Hranuelli, form does not emerge as the execution of an idea, but as the consequence of working with resistance. Stone does not allow for improvisation—it imposes duration, discipline, and the irreversibility of each decision. Each cut establishes a relation that cannot be undone. In this process, form does not appear as a conclusion, but as a stabilized moment within an ongoing negotiation between intention and material. The cactus series unfolds as a structure of contained movement. Vertical forms appear closed, yet hold within them a potential for growth that is at once activated and restrained. The surface retains the trace of the process, resisting reduction to pure form. Tension is not represented—it is embedded. Within this clearly defined field of material condensation, the drawings of Mišo Filipovac introduce a subtle shift into another register. Where Hranuelli retains, Filipovac introduces fragmentation and displacement. The figure does not stabilize; it remains in a state of fluctuation, stratification, and interruption. His works do not establish a parallel system, but gently destabilize the existing one—opening a space in which relations are no longer contained, but dispersed and reconfigured. Rather than forming a balance, these two approaches produce a difference in intensity. While in Hranuelli’s work form is condensed and held, in Filipovac’s it remains in motion. Form in Tension designates a condition in which form arises not from harmony, but from pressure. It is not a theme, but a condition.