From the "Layers of Color" series, which he began in 2015, he has been pursuing paintings that are purely visual phenomena, where he has freed himself from the structure of figurative motifs. This work is the second in the series since the beginning of 2017 and the 28th in total in the series. From a point where there is no clear theme, message, motif, or plan, after each painting or scraping process, the next process is judged, and eventually the screen that is considered complete (including orientation) is determined. This work is size S3, the smallest square size at this point. In addition, there was a vague theme of "making it look organic without strong colors. The rest was a free-flowing, spontaneous development that converged on this screen. The color tones are muted, but the relationship between the lower layer and the upper layer creates an interesting screen that looks like a fossilized plant that has been dug up. The canvas was carefully prepped with ground coats on both the front and back surfaces, and then more than 20 layers of paint were applied to the screen side, including partial and solid layers. Then, the canvas is ground with water and 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, so there are no problems in terms of production or hygiene, and the quality of the matiere characteristics and coloration is maintained. The screen is smooth and can be wiped clean with a dish towel. One of the characteristics of the painting, "multilayered magic," should be fully utilized. A scene that can only exist by paint on its support. Painting as a physical crystal. In 1999, I found a way to do this that was in line with my desire since the time I started to create. Since then, I have been pursuing the possibilities of painting with the consistent technique and matiere of "layering and grinding acrylic paint.
