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 the eleventh since the beginning of 2016, and the twentieth in total for the series.
The color palette is mainly silver, similar to the previous work "1610," but in this work, after all the scraping was completed, I added calligraphic black speck-like shapes with free brush strokes, and then decided on the orientation to complete the work.
The result is a kind of intertwining and repelling of the background and the speckles, but this is another example of my attempt in this series.
Starting from a place with no clear theme, message, motif, or plan, as each painting or scraping process is completed, the next process is judged, and eventually the screen (including its orientation) that is considered complete is decided.
After the canvas is carefully prepped with a ground coat on both the front and back sides, more than 20 layers of paint are applied to the screen side as a depiction of the painting, both partial and solid. 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.
