The work Bookmark is distinguished by its precise engagement with materiality and perception. The object itself becomes the bearer of both formal and semantic qualities, while its physical presence directs attention to the relationship between material, space, and viewer. This approach may be considered in relation to the theoretical reflections of the Russian avant-garde, as described by Benjamin H. D. Buchloh in From Faktura to Factography. Buchloh emphasizes that the Constructivists understood an object's faktura not merely as a material surface, but as an expression of its processes of production and as an indicator of broader social and technological conditions (Buchloh 1984, pp. 84–107).

In a similar manner, Bookmark functions as a performative mediator whose very materiality provides a structuring impulse for perception. As with the works of Alexander Rodchenko and El Lissitzky, which compel the viewer toward both physical and conceptual engagement, Bookmark points to the significance of faktura and procedural order within the artistic process. It demonstrates that aesthetic experience is not constituted solely through symbolic meaning; rather, it is generated in a fundamental way through the object's concrete material and technical structure.