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 twelfth since the beginning of 2016, and the twenty-first in the series in total.
From a place where there is no clear theme, message, motif, or plan, every time one process of painting or scraping is completed, the next process is judged, and eventually the screen that is considered complete (including its orientation) is determined.
For this work, I just decided to make the smallest square size work I could at this point and started working on it.
The rest of the process was free flowing and spontaneous, and we ended up with this screen, and the policy of "using orange" was decided as we painted.
As a result, the screen had a lot of density for its size, and I finished the work with a feeling that it would be connected to other large works later on.
After carefully prepping the canvas with a ground coat on both the front and back sides, more than 20 layers of paint, both partial and solid, were applied to the screen side as a depiction. 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.
