Inspiration

I am a person who is naturally excited by shapeless strokes. I imagine abstract things as a sort of introduction to exploring unknown and nebulous possibilities. Specifically, I'm curious about the value of the undefinable. Rather than striving for verbal definitions, I prefer to create circumstances with enough space and distance that allow the mind to wander; I believe that an excess of space can lead us to meet our inner selves. When gazing upon our inner selves, we can start to recognize foreign, alien environments that we've never been. I practice this "shapeless" approach in my life constantly. Erasing borders and describing poetic fancies with drawings and paintings is always my fundamental and final itinerary.

Collaboration

Another way of facing the inner self is being together in tranquil, cooled moods. I believe collisions with strangers based on respect give birth to a more public sense of value. Through collaboration and thoughtful criticism with people who work in other mediums—whether fashion, traditional music, artificial intelligence, among others—we can find that knowledge can be sufficiently dissolved into a general, holistic existence. We can also redefine it on a relative aspect from each point of view. I expect that by distinguishing the things we encounter based on these collisions and criticisms will give us a warm, firm intuition for public worth. This is what I dreamed of: the way in which a private conversation about an inner thought is creatively absorbed and set free in the world.

Gazing

Personally, most of my inspiration is from the times I gazed at somethings: a scene I encountered, an event I participated in, a relationship with others. I observe these with an eager curiosity and give myself enough time to relate with them. I also intimate conversations when I feel drawn or associated with any other stranger, even if just in my imagination. I gaze honestly, genuinely, and openly and freely wait, leaving space to welcome thoughts or ideas.

Penetration

Facing an empty, white paper when I paint drives my implicit emotions. These occur briefly in a strong intuition that stems from a gazing experience. I applied it to a three-dimensional space I imagined, expressed as interdisciplinary art that crosses mediums. In the process, impromptu imagery becomes substituted for a design for human experience. By planning the experience in the exhibition space, a concept is being divided in the aspect of detailed space-time. Specifically, I focused on making 'Intended Contingency' which can lead people to feel sympathy naturally. I hope this sympathy will be a motive that can penetrate people's initial natures in the end.