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 second in 2021 and the 50th 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.
I started this work based on my own esquisse. Shortly before that, I made a series of watercolor drawings, several of which I put together as an idea, and used one of them as motivation for this work.
The reason I use the expression "motivation" is because "I don't draw the colors and shapes exactly as they are."
Although I use the colors and composition of the esquisse as a guide to some extent, I deconstruct and reassemble it into more than 20 layers, and then I find a new surface by cutting them down again based on my improvisational judgment, so that the finished picture is like a different picture plane.
It is as if there is no plan, but rather the use of the esquisse as a catalyst to launch the energy of production, followed by the building up of improvisational judgments on the momentum of the process to completion.
This means that the method used for the relatively large size of this series was also tested on the small S4 size pieces.
I was motivated to create this series because I thought it was a good way to pursue, in my own way, "what only painting can do.
A scene that can only exist with paint on a support. Painting as a physical crystal.
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.
