LIFE series

Currently I have two styles: LIFE series and MYTH series.

LIFE series is a microcosmic/macrocosmic abstract series in which motifs are taken from various artificial and natural objects such as computer circuit boards, microscopic photos, reptile skins, or purely imaginary images.

The first work in this series, “LIFE” (awarded Thesis Excellence Award, Musashino Art University), was done as a Byobu, the Japanese folding screen style, which imparts to it the presence of a semi-three-dimensional object rather than a flat painting. Silver leaf pasted on rice paper is oxidized to achieve an iridescent color. This work carries the image of a computer circuit board enlarged to 4.8 x 7.2 feet. This greenish, waterish piece can itself be seen as a giant organism — the complex lines connecting dots can be seen as a microorganism, an aerial photo of cities and highways, or charts representing various relationships. The English word “LIFE” was chosen as the title to embrace the multidimensional aspects this piece represents: life as a being or life form, life as a condition of existence, life as an organization of energy.

The works in this series have been described as "the coexistence of paradise and hell." The theme of the series has been the uniting of opposites: pain and joy, old and new, or microcosmic and macrocosmic. In other words, it is to capture “life”. My intention is for the viewer to simultaneously feel movement and calmness, sound and silence, and color and darkness.

MYTH series

Artist Statement

Trained in the Japanese traditional painting known as “Nihonga”, which uses Sumi ink, brushwork and natural mineral pigments, the goal of my painting endeavor is twofold: to regain the dynamics, boldness, and humor of this style as seen in the works of Japanese grand masters such as Hokusai Katsushika or Jakuchu Ito; and to pioneer a new field by integrating modern motifs and techniques such as computer circuit boards, advertisement photos, and silkscreen printing.

Currently I have two styles: LIFE series and MYTH series.
The first work in this MYTH style, “Map of Modern Desire” (awarded New Artist award in the Liquitex Biennale) is a modern Mandala (Buddhist visual schema of the enlightened mind). The collage is made with advertising photos of everyday commodities such as groceries, cars, and underwear, composed for purely visual effect, regardless of their purpose or meaning. It is then traced and painted with Sumi ink brushwork and dye to give it a decayed, antique look. The concept is a postmodern combination of old and new; Japanese ancient painting technique used to portray commercial items typical of our modern period. The theme is “the impermanence of all things”, the Buddhism dogma according to which everything we see now will become old, decayed and forgotten. All that prospers must decline and fall. I visualizes a panoramic view of Capitalist life imbued with irony in which everything is mass produced and mass consumed and forgotten instantly. The things we see and use every day, the things we currently talk about and praise… how will they look a thousand years later?

The recent works of this series are painted with brighter color to represent the slight shift of my feeling toward the world. The world – and our life – goes on despite the undeniable and singular truth, “the impermanence of all things”, without knowing where we are going. I do not wholeheartedly affirm the power of our desires. But rather, being overwhelmed by this almost surreal world, have decided to observe.

LIFE series

LIFE series is a microcosmic/macrocosmic abstract series in which motifs are taken from various artificial and natural objects such as computer circuit boards, microscopic photos, reptile skins, or purely imaginary images.

The first work in this series, “LIFE” (awarded Thesis Excellence Award, Musashino Art University), was done as a Byobu, the Japanese folding screen style, which imparts to it the presence of a semi-three-dimensional object rather than a flat painting. Silver leaf pasted on rice paper is oxidized to achieve an iridescent color. This work carries the image of a computer circuit board enlarged to 4.8 x 7.2 feet. This greenish, waterish piece can itself be seen as a giant organism — the complex lines connecting dots can be seen as a microorganism, an aerial photo of cities and highways, or charts representing various relationships. The English word “LIFE” was chosen as the title to embrace the multidimensional aspects this piece represents: life as a being or life form, life as a condition of existence, life as an organization of energy.

The works in this series have been described as "the coexistence of paradise and hell." The theme of the series has been the uniting of opposites: pain and joy, old and new, or microcosmic and macrocosmic. In other words, it is to capture “life”. My intention is for the viewer to simultaneously feel movement and calmness, sound and silence, and color and darkness.