From the Layers of Color series, which 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 eighth in 2019, and the 41st in the series.
This work is characterized by the fact that I first painted over an initial layer called the "default screen," and then made my usual spontaneous, spontaneous painting, scraping, and screen decisions inspired by that screen.
The "default screen" is a technique I'm introducing in the relatively larger works of this series.
From the beginning of the painting process, instead of just free brush strokes and layers, a drawing based on a source image of some kind is prepared in a certain thickness. Then, while being inspired by the "default screen," you can add free touch layers to parts or the whole surface. By scraping out the thick layers thus created, we can finally find a screen where phenomenal intensity and painterly richness coexist.
The "default screen" of this work is based on a black-and-white line drawing that I made earlier in the same year, in which I projected the image of the small work "1903" onto the canvas, traced it and changed it based on an improvisational decision. Along the line drawing, I depicted it with acrylic paint, giving it a random thickness.
The difference between the "default screen" and a regular "sketch" is that it is not intended to be followed.
The subtle thicknesses are distributed across the screen beyond "mere my own handiwork," and the layered structure becomes an ignition point that functions to increase the strength and density of the final screen.
I first introduced this technique in my 2016 series of works, 1613. We were able to confirm its effectiveness, so we introduced it in this work, "1908", which is our first major work in a long time.
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. The canvas is then sprayed with water and ground with water-resistant sandpaper.
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.
