From the "Layers of Color" series that I started in 2015, I have been pursuing paintings that are purely visual phenomena, where I am free from the structure of figurative motifs.
This work is his seventh work since the beginning of 2016, and the sixteenth work in the series in total.
The feature of this work is that I completed it after one term of layering & scraping as usual, and then I added another red layer and scraped it a little.
I could have finished it in the first term, but I wanted to see how the layers of the two terms would "collide" with each other by trying one more term in the red color. The result was surprisingly calm.
The result was surprisingly calm, with a bit of a romantic feel to it, and it gave me valuable feedback for planning the layered composition of my future work.
After the canvas was carefully prepped with a ground coat on both the front and back, more than 20 layers of paint, both partial and solid, were applied to the screen side. The canvas is then sprayed with water and ground with water-resistant sandpaper to create the canvas.
The work is done on a temporary board, and after it is completed, it is cleaned and dried before being stretched on a wooden frame, so there are no problems with production or hygiene, and the quality of the matiere characteristics and colors can be maintained.
The screen is machined so that it is smooth and can be wiped clean with a dish towel.
One of the characteristics of painting is to take advantage of the "multilayered magic".
A scene that can only exist through paint on its support. Painting as a physical crystal.
In 1999, I found a way to do this that was in line with my desires from the time I started my career.
Since then, I have been pursuing the possibilities of painting with the consistent technique and matière of "layering and grinding acrylic paint.
