Through layers in the present moment (NAT Art Residence - 10/2024)

Like always, I unfolded the white canvas.
Yet this time was different—white cloth spread over a sunlit slope, with wind weaving through the air.
The colors I chose flowed from instinct.
But today, the hues did not drip and blend.
They were pressed directly onto the brush, mingling with the movements of my body, the waves of grass.
One stroke led seamlessly to the next, as though the wind itself guided my hand.

As the sunlight shifted, the 5-meter fabric held the marks of my hours.

From above, I gazed down at my creation.
This slope was no gallery, no polished wall.

That same day, five paintings embraced the earth,
and I moved, feeling the atmosphere soak into my skin, as the works lay beneath me.

Later still, my art met the waves, the cliffs, and the untouched sands.
Together, the wind, my body, and my work left new impressions on the shore.
The sounds of nature were my only company.
It was an unfamiliar scene, unlike any I had known.

In my art, the initial form of color that appears on the blank canvas holds significant meaning. It has been applied in the form of splashes or bubbles. This time, I attempted an expression using a brush, something I had previously avoided. The reason I avoided using a brush was that I felt it confined the creation too much within the artist’s intent. However, the image of cave paintings cleared away that hesitation.

Cave paintings powerfully convey the meaning of existence to me. The traces of Paleolithic art reveal the truth that even the forms of animals can become manifestations of infinite, unseen life energy. I wish for the traces of paint on my brush to resonate with the spirit of the anonymous artists from the Paleolithic era, and I intended to create with that in mind here.