INTERVIEW - 2018
How is your work unique?
They are screenshots from dreams that I saw awake. In daily life, a moment to isolate yourself mindfully like in a dream would be precious.
How do you do your work?
First, I split all the colors that I don't want for the composition on my head. After a lot of uncalculated accidents, I always try to hang on to the last one I liked, and the process of experimenting becomes an endless moment of expression. For me, the process resembles a fight of re-finding the purity of the white canvas. What I spontaneously add to that minimalistic emptiness is the observations. What are those subconscious observations? Well, beyond the physical world, the moving aura frequencies and their unreasonable colors are the only way to feel a being's state of the soul. In that sense, I try to describe people's ordinary madness or childishness from the frame of my daily life. What I achieve in the end? A composition that is boldly contrasting to an empty canvas. This unsuccessful conclusion always drives me to re-paint.
Explain your work to a child.
Hey kid, I know how you feel when you play lego or watch cartoons while eating cereal. I think the same when I paint; the difference is that your imagination borders are not beaten or destroyed yet by some boring reality. You play a game, and you believe it's real, and that attitude is what I strive to mimic. I see a blank piece of a canvas or anything, then I draw how I see people with crayons, and I believe in it like you do. Sometimes they're bad people, sometimes they're right; some of them are vulnerable, and some are evil, unfortunately. Anyway, I put them in a scene where they interact or play together. Although they become my figures to play, rather than strangers in the street. Their body or skin color or muscles are not like in real life; I play with it too. It is not like idolizing or hating something as adults say; it's just a game that I am curious about.
Who are your influences?
When I was a teenager, my intellectual route for meaning is shaped by two ideas. My first influence was the Renaissance idea; it has a sense of death, to re-born. So, I rehearse my own pre-renaissances again and again. Then I obsessed with the Poetes Maudits like Baudelaire, Rimbaud a bit. Their effort to find beauty in the trash or anything ugly in a poetic way pushed me more than conventional interpretations. My architectural background helped me think abstractly to create dynamic forms as a live sketch for the relation of forms. Artistically, Italian Futuristic ideas and paintings or experimental jazz sound like Sun-Ra songs, and Tupac's natural aggressive flows are kinds of my zero-point. Then the way of expressing myself as a painter is influenced a lot by the era after WW2. An expression style after a wrong time like war carries the safe nihilistic feelings to find meaning in a decentralized technologic habitat.
Who is your audience?
Anyone who has a wish to understand chaos better. I organize chaos like a child, which is the best way to do it and understand it. And they would want to hang any of my artworks to the hole; because you have to be kind of crazy to hang it in your bedroom. But I sense that my real audience prefers to hang in bedrooms, where dreams happen. Straight to their beds. Because plans are mostly created by dogmas, my wish is to transform it into a "genderless" and "colorless" trip.