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This study focuses on the historical and cultural aspects that are decisive in the sculptors choice of materials in the context of art of sculpture. The visual and tactile qualities of the materials guide the selection of the subject, individual and period styles as well as the aesthetic perception. Physical properties have enabled the development of tools and technologies by artists who transform materials into depictions and representations. While the values ​​of the materials make them political actors as they embody power and grandeur, their lack of value has turned them into symbols of sobriety in theological debates. Therefore, it can be said that materials have a decisive role in the meaning of the work in the art of sculpture. In this context, it is clearly seen that when a material is selected / used, it is actually a form of communication and therefore corresponds to a series of transferences related to language, based on the idea that conscious or unconscious processes work behind the orientation of sculptors to a particular material. According to this; sculptors not only do something by carving stone and wood or forging iron, but also say something by choosing a certain type of material.

The sculptures of Rahmi Aksungur are difficult to identify by the grammar of the traditional sculptural language, which is seen as a result of the bearing system of the surface. This makes it necessary to analyze the structuring system that lies behind their surface and the way the sculptor handles them, in order to identify their grounding principle. Such a justification can only be possible by understanding how the grid phenomenon is handled in Aksungur's sculptures. On account of this study, handling of the phenomenon of grid by the artisit which frequently encountered in his sculptures since late 1970’s, examined in the light of Rosalind E Krauss and Hannah B Higgins’s books and essays. By focusing clearly on grid structures and patterns of Aksungur’s sculptures, we try to define the progression of this consistently repeating phenomenon in his sculptures in the context of spatial-temporal and centripetal-centrifugal arguments of modernist grids.