Using Japanese paper and mineral pigments, he expresses a sense of life and dynamism that lies beyond the picture. Since the work is abstract, he paints with the hope that viewers will expand their worlds by imagining and imagining various things. The base is made with acrylic paints on watercolor paper, Japanese paper is covered with glue, and then colored with mineral pigments. He has always been attracted to the blotchiness of acrylic paint, and has painted works that combine the accumulation of lines drawn with a fine pen. Wanting to express his work more strongly and deeply, he experimented with a variety of matiere and arrived at washi paper and glue. By applying glue, Japanese paper takes on a new look. There are many different types and thicknesses of washi, and by applying many coats of glue, the washi becomes very hard and strong. The different sizes of the particles of iwa-enogu are also fascinating. The artist slowly interacts with the paints, boiling the glue and loosening the paints with his fingers. I get a thrill from peering at the hidden surface of the back of the washi and trying to see how it looks from the front, or applying paint to the hemp threads of the rakusui-gami where they are sticking out. I want to express the "back," "behind" and "beyond" of what is visible on the surface. In order to create a deeper world, it was necessary to make washi three-dimensional. I would like to continue experimenting with various types of glue and washi. Recently, I have been incorporating driftwood from the sea and dams to express a deeper sense of life and dynamism with the help of the power of the materials. Feeling the sense of life created in the picture, I realize that I, too, am alive and being kept alive. I want to be the first witness to a world I have not yet seen. The work is framed with a 3 mm thick sheet of PET material around it for protection. (80.5x80.5x8)
