2025
2025
Acrylic on canvas
落花流水 (Fallen Blossoms, Flowing Water)
Things that wish to remain in the fleeting flow, things that must drift away, and the things we long to hold onto.
72 x 54 inches (183 x 137cm)
Untitled (structural study)
2022-2024
Apartment
Oil on canvas
28.6 x 20.8 inch
When I was young, one day I visited a friend's apartment, which was a high-rise building with long corridors. Unlike where I lived, where nature was visible, my first impression of that place, with its concrete structures, was one of anxiety and fear. The apartments stood in a mechanical alignment, resembling intimidating robots, and the long corridors felt like anyone could quickly emerge and harm my friend and me. Despite the bright daylight, the geometrically frightening structure left a lasting impression in my mind. However, in this painting, I wanted to not exaggerate the horror I felt but to make it subtly present in an ordinary, everyday landscape.
Commercial Building
oil on canvas
28.6 x 20.8 inch
This painting is a heavier development of 'Apartment '. It depicts a secluded space within the building where my current English academy is located. Upon seeing this space, I felt overwhelmed as if being crushed by its geometric structure. The dark concrete structure, seemingly consisting only of a symmetrical framework, resembled something out of a science fiction movie, almost like a prison. In that moment, an indescribable sense of dread stiffened my body. Similarly, with this painting, I aimed to portray the fear I experienced in that space as realistically as possible while allowing it to surface on the canvas.
Apartment Staircase
Acrylic on wooden board
28.6 x 20.8 inch
At times, the more minimal the expression, the stronger the impression and experience of the painting. I wanted to capture the stark feeling of the apartment stairs by exposing it as dry and simple as possible. While preserving the texture of the wooden panel, I applied the paint as thinly as possible and opted for a straightforward composition facing the stairs directly. Reducing words leaves a more powerful impression.
Warehouse from My Memory
oil, color pencil on paper
21x15 inch
When looking at a warehouse with numerous items on display, only a few shapes and objects remain in memory. Amidst the complexity of the warehouse, I chose to represent, through a drawing, only the shapes of the items that linger in memory.
Stacked Chairs
Charcoal, poster color on paper
16.5 x 11.8 inch
This drawing shows a heap of chairs in a furniture store warehouse. I wanted to capture the beauty from the disorder and misalignment of chairs. To create an impression of roughness, I used conté to generate a somewhat unkempt-looking image and the lines were supposed to be outlined with texture. But I also wanted to keep a rhythm and a visual pattern among the chaos. To achieve this, I used the front chairs emphatically, introduced pink and yellow in the center for reinforcement and balanced the composition in order to produce visual harmony.
At the Cafe
Mixed medium installation
39.3 x 39.3 x 70.8 (inch)
The genesis of this project originates from my frequent visits to a café. In that café, there is always an influx of new people, and the arrangement of furniture and plants undergoes subtle changes about once a week. Noticing and discovering these changes brought me visual pleasure and became a source of inspiration. As such, I decided to extract and reconstruct fragments of my memories related to that place—people I observed, photos I took, and notes I wrote. Compiling all the fragments of my memories towards that place, I aimed to express the visual inspirations I received at the café through a new spatial/installation work.
My Childhood
Oil on paper
11.8 x 8.2 (inch)
It was inspired by a picture my parents took of me sitting on a picnic on a warm sunny day. I drew this picture because I like the idea of a young child sitting with his arms crossed in a serious and stern manner. It's not a typical image of a child. I deliberately drew the long arms and shoulders as if they were the shoulders of someone with a little less skill. I drew the shoulders as if they were slightly folded. Since it was a child's face, I wanted the expression to be a little immature in some ways, and I wanted to focus on the emotion of the moment, the emotion conveyed by this child (me), rather than a realistic depiction. That's why I didn't draw the background in detail and only processed it with colors based on feelings. The painting is peculiar. It's a child sitting on a mat on a sunny day, but it's not a typical child, it's a bit dark and serious. But it's not depressing. It's my drawing, it's my childhood, but I'm just drawn to it.
Man at the Café
collage papers , poster color on paper
14.5 x 10.2 inch
In the café I often go to, there's always a person who sits with crossed legs and enjoys their coffee. They consistently occupy the same time and place in the café, which is a spot where new people often come. Because of this, I found myself drawing this person more frequently than others in the café. Among the drawings I've done of this person, this particular one is my favorite. Even though I've never spoken to them, it somehow feels like I've captured this familiar person the best in this drawing.
Portraits of the memory
Mixed medium on paper
11.8 x 8.2 (inch)
From one day, I began drawing myself every day. Drawing self-portraits was much more captivating than drawing other things. When drawing other objects, I felt like I expressed the essence and characteristics of the subject through my perspective. However, when drawing myself, it felt not just about expressing myself, but rather getting to know myself even more. With different brushstrokes and colors based on emotions, portraying the almost similar daily appearance of "me", I discovered subtle changes that could only be discerned through observing and drawing myself. From the happy "me" in childhood to memories of sadness, through the passage of time, I explored the inner emotions and memories that I hadn't fully grasped from childhood to the present through the art of drawing.
Street in Japan
Chalk, Charcoal on paper
21x15 inch
This drawing is an attempt to capture a typical X-ray perspective of a landscape, emphasizing the composition as much as possible. I omitted many buildings and complex elements overlapping in the distance, focusing solely on preserving the X-ray structure. I varied the sizes of the cars to create a sense of depth, and I put effort into enhancing the beauty of the drawing lines since the composition is simplified. I aimed to convey a sense of speed by swiftly sketching the lines and, after practicing with several drawings, selected the one that resonated with me the most to share.
Uncertain
Collage, pencil on sketchbook
20.8 x 14.6 inch
The two collage works were originally completely unrelated. The one on the left began with attaching text. As I stuck one piece, another story came to mind, and the drawing continued, following the tail of my thoughts. The same method was used to complete the collage on the right. Both are drawings that started with a single motif and continued by connecting spontaneously occurring ideas, like an improvisational piece. And when I placed the two works side by side, I felt a connection, as if independent drawings were breathing together. I appreciated the unintentionally beautiful flow that emerged.
Unrelated Objects
Acrylic, Color pencil on paper
15.5 x 31.4 (inch)
When I think about something in my mind, there are times when two unrelated objects or spaces naturally come to mind. However, I questioned myself whether the things I recalled as unrelated are truly without any connection. The answer was no. In this artwork, two seemingly unrelated objects are connected in a way that appears different, yet they share striking similarities. It's about "seeing differently". Most people, upon seeing these two photos, would likely focus on the cow's face and expression as it gazes towards them, and when looking at the vase of flowers, they might concentrate on the white and beautifully arranged blossoms. However, I found my attention drawn to the lower half of the cow, supporting its weight with balance, and to the leaves of the flowers, supporting and intricately overlapping in beautiful shades of green.
Horses
Pencil on paper
25.5 x 18.5 (inch)
I realistically depicted the photos I took during my trip to China. The composition with three horses standing, the surrounding shops near the horses, and the charming grass fields all appealed to me. I wanted to describe that scene in as much detail as possible.
Excavating the Memory
Acrylic, Spray, Coffee grounds on Extruded PolySty
78.7 x 70.8 (inch)
This piece was influenced by watching a documentary video on archaeological excavations. Digging up ruins within a vast space, researching each fragment, and creating a single timeline—it felt like a reconstruction of our minds when we reflect on our lives and vaguely recall something. I wrote down whatever came to mind on paper. Then, during those memorable moments, I matched objects with my memories one by one.
From my childhood
Acrylic, collage, spray on canvas
55 x 40 (inch)
Some of my work is very realistic, like painting an apartment. However, when you look at the designs I've created, it seems as if they are composed of drawings that a child might have playfully crafted. Within me, these two aspects coexist. I desired to create paintings that exude the pure essence of a child's playful strokes. Despite the playful appearance, the paintings do not sacrifice their artistic depth. Consequently, this painting turned out to be more challenging than expected. I believe everyone has a childlike aspect within them. I hope this painting serves as a poignant reminder that even as adults, we retain a sense of purity within ourselves.
COLOR STUDY
