Concept

Overview

For me, painting begins with a simple yet fundamental intuition: light is not merely illumination, but a living presence.Rather than functioning as a tool that reveals form, light becomes a condition through which perception itself unfolds.

In my work, I explore the relationships between light, silence, breath, and time. These elements are not treated as subjects, but as underlying conditions of experience. Within layered fields of color, the paintings become spaces in which awareness slowly emerges and expands.

In this sense, painting is not directed toward describing the external world. Instead, it opens a perceptual field where the boundaries between conscious and unconscious awareness begin to soften. I hope to invite the viewer into a slower mode of attention, where perception deepens rather than resolves.

Framework

For me, abstraction is not simply a stylistic decision but a necessity. Only through abstraction can painting move beyond representation and approach the conditions that precede form.

I treat color as a temporal material. Through accumulation, erasure, and repetition, the painted surface becomes a sedimentation of time. Each layer records intervals of attention, creating a quiet density within the image.

Silence also plays a crucial role in my work. I do not understand silence as absence, but as a form of perceptual density. Within silence, awareness becomes more attentive, allowing subtle shifts of light and color to unfold.

Through this process, painting becomes a field where perception is not imposed but discovered.

Lineage

My work exists in dialogue with the lineage of modern painting. The exploration of light recalls the atmospheric sensitivity of Claude Monet, while the contemplative depth of color resonates with the work of Mark Rothko.

At the same time, I seek to move beyond these precedents. Influenced by Eastern philosophical thought—particularly the notion of undivided awareness—I attempt to open a perceptual space prior to conceptual division.

Within this space, distinctions such as subject and object, interior and exterior, or form and emptiness begin to loosen. Painting becomes not only an exploration of color or abstraction, but a quiet investigation into awareness itself.