From the Layers of Color series, which I started in 2015, I pursue paintings that are purely visual phenomena, where I am freed from the structure of figurative motifs. This work is the 31st in the series.
The basic rule of this series is that from a point where there is no clear theme, message, motif, or plan, at the end of each painting or scraping process, the next process is judged, and eventually the screen (including the orientation) that is considered complete is decided.
This work is characterized by its use of colors that resemble tropical flowers. The colors used in the figurative floral works I was working on at the same time were layered in a free touch and order, and then carved out to create this screen.
After prepainting and scraping the wood grain, more than 20 layers of paint, both partial and solid, are applied as a depiction. After that, more than 20 layers of paint, both partial and solid, are applied. Then, water is sprayed on the surface while grinding it with water-resistant sandpaper.
The sides of the screen are finished in black, and the slit on the back is a duct for ventilation inside the panel, but it can also be used to hang pins and hooks for installation. The screen is machined so that it is smooth and can be wiped clean with a cloth.
One of the characteristics of painting is to take advantage of the "multilayered magic". A scene that can only exist through paint on a support.
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.
