From the "Layers of Color" series that I started in 2015, I pursued paintings like pure visual phenomena, where I was freed from the structure of figurative motifs, and this work, the sixth work in the series, was structured to include layers of figurative motifs.
This work is like a "singularity" that reflects the transitional production development of the time.
After prepainting and scraping to destroy the grain of the wood, more than 20 layers of paint, both partial and solid, are applied as a depiction. Then, I grind the surface with water-resistant sandpaper while spraying water.
This "painting and grinding process" is often done in one term, but it is only the result of deciding the screen. In some cases, I may repeat this term while monitoring the screen until I am satisfied.
As the title suggests, I started working on this work "1506" in 2015, and following the method of the series, I had no clear theme, message, motif, or plan, and when I finished one term of the "painting and scraping process", I was troubled by the judge and put it to bed for a while to make other works.
After the new year 2016, I had an idea to restart the work by adding a "tree silhouette" layer, and completed it after another term of "painting and scraping process".
Perhaps using the "tree layer" motif, which had remained like a residue in my own mind and physicality to commit to the creation, became the driving force for the next step.
To make full use of one of the characteristics of painting, "multi-layered magic". A scene that can only exist by paint on a support.
In 1999, I found a way to do this that was in line with my desires from the time I started my career. Since then, I have been pursuing the possibility of painting with the consistent technique and matière of "layering and grinding acrylic paint".
