Painting alone teaches us that different beings, “external”, strangers to each other, but are nevertheless absolutely together, that is “simultaneity."
- Merleau-Ponty, L'Œil et l'Esprit (1964), Paris, éd. Gallimard, 1997, p.84.
The questions I always ask myself when working: Why do I paint in this way?; Why did I do this in former years?; and What do I want? There are times that answers to these questions come at once. The process of following an approached picture and then exploring what it means is like that of my life. Of course, I will be thrilled by another question as time goes by.
When preparing my exhibition, suddenly, I repeated the words “Different beings are nevertheless simultaneously together in my painting." And my thought continued to the idea of “simultaneity” Merleau-Ponty discussed.
In retrospect, my previous work can be explained with the concept, “a mix of reality and illusion." My Invading series features a phenomenon in which either scenes or landscapes turn into illusions in a realistic fashion, breaking away from the universal context of visual perception like perspective.
In my work, landscapes are severed in part by the borders between things and space while things and space in the background covered at this point begin invading the arena of the foreground. This unrealistic disturbance is blended enigmatically into realistic images, unmasking covered or alienated things.
The scenes in my paintings are at times expanded into a form of installation by dividing them into two canvases arranged in a bent form. This derives from my intent to lead viewers to sense unfamiliar boundaries with their open eyes and minds, departing from the stipulated habit of perception.
I want my work to be realistic and simultaneously unrealistic, three dimensional and simultaneously two dimensional, be in the back (exterior) and simultaneously in the front (interior), obvious and simultaneously ambiguous, whole and simultaneously partial, simple and simultaneously complicated, and hard and simultaneously soft.
Therefore, mutually unfamiliar and antonymous elements coexist in my work. This is UncertainLandscape.