Through painting, I glimpse and embrace the gap when the physical movements in reality transition to a two-dimensional surface and a three-dimensional space. Like the peeling paint on an old wall, such transitions may be imperfect and temporary. I aim to document both the unexpected nature and ambiguity a change carries in the trajectory of painting.

I am intrigued by the physical conditions found in everyday life, such as the frost on windows or the rust on old walls. Additionally, I am interested in the transformation of two-dimensional elements into three-dimensional forms, such as paper folding and weaving. I aim to express the flow of time held within these tangible subjects as I observe them.

While starting from physical and visual data, I focus on the process of transforming the physical state of reality into the material of painting. The act of drawing involves bodily and material conditions, such as the trajectory of the arm, the brush size, and the grip of the hand. In oil painting, I compose a thick surface by layering, scraping, and reconnecting over several months. In pastels, I emphasize the transparency of the powder to smoothly reveal the process of layering and blending. Layers composed of various speeds, intensities, and colors overlap on the canvas, representing the changes I have experienced or forming their own time on the painting. The formal elements that originated from the changes I observed pile on the canvas, reflecting back to the audience in the exhibition space and embracing new transformations.

As I observe the past, traces left by the past movements enter my gaze and accumulate, offering a perspective on the present and envisioning the future. The act of recording the past through paintings evolves into a hazy telescope, fumbling towards the changes in the impending time, both tracing and anticipating.