What if it all works out?

The artist’s creative practice primarily constructs new ways of viewing and understanding through methods of dissolution and destruction. This exhibition presents two series of works that employ different approaches to image research and conceptual practice.

In the Buttered Cat series, the artist chose to place two graphic forms facing each other, one above the other. During the painting process, he has to repeatedly flip the canvas back and forth, so that creating one image simultaneously becomes an act of destroying the other. One image is always reversed within the picture, while signatures appear in both directions, making it impossible to distinguish between the so-called front and back. He prefers to preserve the direction in which the work was temporarily placed when it was taken out of its packaging, allowing chance or others to determine the work’s so-called state of completion. When the work is repackaged, it enters a state of uncertainty once again. He seeks to present this uncertainty, sense of incompleteness, and process of improvisation rather than the outcome. In this way, the work remains in a lively state of “being in progress,” expanding the possibilities of painting and opening up new ways of viewing.

The Residual Structure series adopts another approach to painting. Although it is figurative painting, the artist first extracts the colors from the image and processes them in an abstract form before painting the figurative content onto it. This differs from conventional figurative painting, in which color is placed within the structure of form. Treating color and structure simultaneously, as in conventional figurative painting, thus creates a paradox. The overlapping and misalignment of color and structure make the images difficult to recognize, while the information conveyed or concealed through the symbolic nature of the original image becomes fluid and multifaceted through this method. The process is both deconstructive and constructive.