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 sixteenth since the beginning of 2016 and the twenty-fifth in the series.
From a point 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.
In this work, rather than color or shape, I had a vague aim from the start of the project: "to create a feeling that stimulates the sense of pain, with vivid colors.
Other than that, I arrived at the finished screen through a spontaneous process and judging in accordance with the basics of this series.
Naturally, I ended up with a screen that I hadn't expected, but I think I achieved my original goal.
After prepping the canvas with a careful ground coating on both the front and back sides, I applied more than 20 layers of paint on the screen side as a depiction of the canvas, including both 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".
