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<Garden of Fragments and Relationships>


Inside the painting, my eyes and hands are caught up in a chain of relationships. I add an element of "memory" to such senses when I am working. Many of these memories are of the flowers and trees in my small garden, the ridges I can see from there, the sky, the memories of my family life, and the memory of painting itself. These memories are divided into elements such as color, shape, and size, and are simplified or blended together. I paint over the fragments of new memories as if to escape the tautology of the painting theme as painting. These fragments of memory, because they are fragments, contain many indeterminate elements, and sometimes they enter the painting without any context. Memory accumulates in us through repeated fragmentation and abstraction, and the new accumulation sometimes becomes discomfort.  However, discomfort is also an opportunity for us to bring about change. If memory is proof of who we are, then we are changing every day by the amount of memory we have. In the self-referential question of what we are in relation to others, we are changing with the world around us through new experiences and memories. For me, "painting" is not a one-way naming of an object, but an experience and memory itself that continues to change in relation to the material. The extensive use of mediums containing resin, the heterogeneous layered structure of the paint, the materiality of the gloss, the drawings, notes, and wrapping paper used in collage, the world surrounding me during creation are here, along with my own experiences and memories. I call this chain of interrelationships between myself and the world including myself "garden of fragments and relationships". The gaze and the body in the "garden of fragments and relationships" are not fixed outside of a hypothetical plane, like the eye in perspective. For me, painting is an experience that transcends the distinction between the painter and the viewer, in which the gaze and the body are freed from the structure of the overhead view.

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