From the Layers of Color series, which I began in 2015, I pursue paintings that are purely visual phenomena, where I am freed from the structure of figurative motifs.
This work is the fifth in 2019 and the 40th in the series.
The ultra-horizontal support is a feature of this work, but it is a ratio I have often attempted myself, such as in the series 1505.
It is a very interesting module because it is interesting to create a unique spatial composition in terms of production, and it also matches well with both public and private spaces in terms of installation.
As an evolutionary model of "1505", which was a panel work, this work "1905" is a canvas work.
There is no clear theme, message, motif, or plan, and after each process of painting or scraping, the next process is judged. This work is no different.
After the canvas is carefully prepped with a ground coat on both the front and back, more than 20 layers of paint are applied to the screen side as a depiction of the painting, including partial and solid layers. Then, I grind the canvas with water-resistant sandpaper while spraying water on it.
The work is done on a temporary board, and after completion, it is cleaned and dried before being stretched on a wooden frame, so there are no problems in terms of production or hygiene, and the quality of the matiere characteristics and colors can be maintained.
The screen is smooth and can be wiped clean with a dish towel.
To take advantage of one of the characteristics of painting, "multi-layered magic".
A scene that can only exist by 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 possibility of painting with the consistent technique and matiere of "lamination and grinding of acrylic paint".
