The Layers of Color series, begun in 2015, pursues paintings that are purely visual phenomena, where the figurative motifs are freed from their structure. This work is the fourth in 2021 and the 52nd in the series as a whole.
The basic technique of this series is to start from a place with no clear theme, message, motif, or plan, and to determine the picture that is considered complete (including its orientation) by layering and grinding acrylic paints.
For this work, I began with only a vague image in my mind, "tactile like an old historical site.
The rest of the work is based on the basics of the series, and the use of colors, layers of paint, and shaving based on improvisational decisions led to the finished screen.
I was motivated to create this series because I thought it was a good way to pursue "what only painting can do" in my own way.
A scene that can only exist with paint on a support. Painting as a physical crystal.
You could say that it is a product of my desire to see such works.
The canvas is once stretched on a temporary board after careful prepapering with ground coats on both sides of the canvas.
More than 20 layers of paint, including partial and solid, are applied to the screen side as a depiction.
Then, the canvas is water-applied and ground with water-resistant sandpaper to create the screen.
The work is done on a temporary board, and after completion, it is cleaned and dried before being stretched on a wooden frame.
Since the screen is ground out, it is smooth and can be wiped clean with a dish towel.
One of the characteristics of a painting is to make full use of its "multi-layered magic.
I found a way to do this in 1999, in line with my desire since the time I started to create.
Since then, I have been pursuing the possibilities of painting with a consistent technique and matiere of "layering and grinding acrylic paints.
