2025
October 31, 2025 (rainy day in New York)
34x 40.5 (inch)
Oil on linen
On a day of heavy rain, an advertisement image I saw fractured into overlapping layers.
This work records the moment when a single scene begins to slip apart—when the act of seeing itself turns indistinct.
Portrait, maybe
16x18(inch)
Collage on canvas
I observed the blurred edge and in-between state that emerges before a form becomes legible.
I’m drawn to that brief ambiguous moment created as the image and the material slip across one another.
16x18(inch)
Collage on canvas
I observed the blurred edge and in-between state that emerges before a form becomes legible.
I’m drawn to that brief ambiguous moment created as the image and the material slip across one another.
Someone said they saw a sun here
20x26(inch)
Oil on linen
When the painting is rotated, some people say they see a figure, a sun, or even a kind of landscape.
I’m interested in that brief moment when an unintended form appears by accident.
Oil on linen
When the painting is rotated, some people say they see a figure, a sun, or even a kind of landscape.
I’m interested in that brief moment when an unintended form appears by accident.
Where Do We Come From? What Are We? Where Are We Going?
Collage on Sketchbook
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)
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.
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.
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.
