New World_Painting_2020

In New World, painting became an act of reduction and refinement—a process in which I allowed color to dictate the structure, rhythm, and movement of the composition. Stripped of gesture in the traditional sense, these works emerged through a controlled yet organic method, where color was not merely applied but activated as a spatial force.

By eliminating representational form, I sought to explore the autonomy of color as a structural element, creating a visual language that exists between painting and object, surface and depth, presence and void. Each composition is defined by its own internal logic, where color operates as both a boundary and an expanse, a container and an opening. The edges of these forms, often softened or subtly diffused, generate a sense of slow movement—a pulse within stillness, an oscillation between materiality and immateriality.

While rooted in the traditions of Color Field painting, these works extend beyond historical reference into a contemporary articulation of abstraction, where painting is not a static image but an immersive encounter with spatial and sensory perception. The surfaces function as territories of visual resonance, absorbing and reflecting light, shifting subtly as the viewer moves.

As part of the broader New World exhibition, these paintings operated in dialogue with 3D animation, questioning the relationship between physical and digital space, permanence and fluidity. The forms, though seemingly fixed, suggest an unresolved state of transition, much like the shifting structures of the world they inhabit—a world that is constantly being redefined.