My practice involves using my own drawings made with pen on paper as an opportunity to explore the presence and existence of objects and people in two-dimensional space. Surrounded by countless flat surfaces (displays) in our daily lives, we sometimes confuse reality with the flat world. It is as if the phenomena in that depthless space were events that were actually experienced, or as if the objects and people we encounter in our daily lives suddenly feel very thin. Our perceptions oscillate between planes and bodies/objects.
When I draw with pen on paper, I wonder what the lines are following and what they mean. The lines that have been drawn before I could understand them clearly do follow the contours of a motif but transform into abstract forms through my physical habits and intuitive preconceptions. “Truth” or “accuracy” is always altered in the individual who receives it. A drawing is my most suitable solution for the world I captured, and even if it is mangled and erased, even if it is redrawn many times, it remains a response to what I saw. The acceptance and conversion of the movements of my body and the meanings that accompany them—This is what happens through my self-centered drawing of lines.
Paintings are ambiguous things that can be understood both as objects and planes. When applying a motif to a surface, the two-dimensional representations, expressed as contour lines, and the phenomenal undulation of the image arising with materiality coexist over the painting. As they are recognized by the viewer, these elements are sometimes dissolved and confused, and sometimes separated and disconnected.
Painting as a place where different layers are combined, transformed and converted. Divorced from accuracy and released along my personal physicality and memories, the motifs enter individuals and their own associations with new contours. I believe that the outlines of existence are thus wavering and vague.