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 thirteenth since the beginning of 2016, and the twenty-second in the series in total.
This work is characterized by the fact that, for the first time in the series, I first painted over an initial layer called the "default screen," and then, as if inspired by that screen, I did my usual spontaneous painting, scraping, and screen decisions.
I learned from "1609", which I made a while before this work, that it didn't turn out to be as free as I had hoped (although it did become a landscape painting in its own right). What I learned from that was, "For larger works, it is better to prepare some kind of image as a default screen with a certain thickness, rather than just free brush strokes. It will increase the power and density of the final image." That was my feeling.
So I took that feeling as a lesson and introduced the "default screen" in this work.
The "default screen" of this work is a black-and-white line drawing of the projection of a partial image from my recent work "1606", which I traced, changed, and omitted based on my improvisational judgment, and transferred it onto the production canvas.
Along the line drawing, I depicted it with acrylic paint to give it a random thickness.
The difference between the "default screen" and a regular "sketch" is that "the goal is not to follow it.
The subtle thicknesses are distributed across the screen beyond "mere my own handiwork," and the layered structure becomes an ignition point, functioning to increase the strength and density of the final screen.
As a result, I believe that I was able to create a non-objective painting with a different intensity for "1613" than my previous works in the series.
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, are applied to the screen side as a depiction. Then, I grind the canvas with water-resistant sandpaper while spraying water on it.
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.
