TOTEM*MASK 01–03 is not merely a study of mask-like form, but a morphological translation from planning to surface. Beginning with a surrealist condition of facial concealment, the series develops through CAGD, parametric surfaces, and density-field transformation, gradually forming a generative body-surface close to a swarm intelligence identity. For me, the mask is not only a cover of identity, but an interface where perception, consciousness, and cultural value are recoded. It operates between image and structure, shadow and appearance, individual and collective formation. The series can be read as a small-scale Digital Baroque: after the post-digital condition described by Mario Carpo, form is no longer simply designed, but proliferates through data, perception, and algorithmic systems; it also resonates with Jun’ichirō Tanizaki’s In Praise of Shadows, where shadow, depth, and ambiguity become conditions of perception.