Lithium Flower 01–03 develops as a recursive generative study from line to surface, using floral, vegetal, and biological references as morphological conditions. Here, line operates as a trace in motion, carrying rhythm, displacement, and surface potential. Through recursive algorithm, Visual ML symmetry, and ML-based topology, lines are continuously folded, entwined, synchronized, and displaced, gradually forming a neutral field between digital and biological formation. The series positions image-making as a process of translation, where boundary, movement, and topology become the conditions through which form acquires meaning. For me, the series is fundamentally concerned with boundary issue and meaning. A boundary is not an external frame, nor the end of an object, but the site where meaning, perception, and form begin to emerge. Through movement, in motion, sync-timing, track, and stigmergy, the image shifts from an iconic image toward a field that can be traced, perceived, and reorganized. It is not a form controlled by a single center, but a decentralized generative structure. The series can also be understood as a small-scale concept machine. It repositions Nishida Kitarō’s notion of place, Merleau-Ponty’s embodied perception, Deleuze’s difference and repetition, and the movement-image and time-image from Cinema 1 and Cinema 2 within the process of image generation. When line is no longer only a device of depiction, but operates through fold, rhizome, Body without Organs, and topological relations, form is no longer a completed image. It becomes an open system continuously generated between seeing, time, movement, and perception.