From the Layers of Color series, which I began in 2015, I pursue paintings that are purely visual phenomena, where I am freed from the structure of figurative motifs.
This work is the seventh in that series.
From a point where there is no clear theme, message, motif, or plan, as each painting or scraping process is completed, the artist judges the next process, and eventually decides on a screen (including its orientation) that is considered complete.
Until "1506", I used panels as supports, but from this work "1507", I switched to canvas.
There are three reasons for switching to canvas: first, because it is historically more reliable; second, because I want to concentrate my expression only on the front of the painting; and third, because it makes the work lighter.
After the canvas is carefully prepped with a ground coat on both the front and back, more than 20 layers of paint, both partial and solid, are applied to the screen side as a depiction. Then, I grind the canvas with water-resistant sandpaper while spraying water on it.
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 colors can be maintained.
The screen is smooth and can be wiped clean with a dish towel.
One of the characteristics of painting is to take advantage of "multi-layered magic". A scene that can only exist by paint on a support. The painting as a physical crystal.
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".