I view objects and the world as existing in a series of constantly changing scenes rather than a static photograph.   My work attempts to express this constant movement through the scenery of the construction site. I am drawn to the rapidly changing and unfinished landscape of a construction site, where the development forces me to view otherwise static objects in a new light.  My paintings use the changes of a construction site -- overlapped as if to keep a record of the development –- to create new images.  These new images are comprised of layers of recognizable structures and the mechanical movements of a construction site -- the process of creating new structures while old structures are discarded.  I want my work to represent unfinished possibilities, not a single static scene. My work assumes that the essence of painting is in the process of painting itself, rather than the final form.  It is an attempt to make generative thinking possible from uncertainty and indeterminacy.

I.My paintings are comprised of a myriad of lines, and the spaces created by those lines.  They embody an everlasting process that does not have a finished form.  A line is a boundary that separates a space and connects the viewer's gaze to another space. The space created a line is limitless.  Objects that have finished forms take only one form, and once they reach that finished form, their completion is recognizable.  But in my work, the spaces formed by lines are identified only through the colors filling those spaces, and they continue in perpetuity.

II. I desire to grow closer to the essence of painting, but this desire does not focus on form and meaning. My work removes the skin of the canvas and pulls out the innateness contained behind the façade. Behind the stripped skin are lines and cleaved sides running in all directions, leaving only a hidden structure, a process. 
My paintings aim to evoke creativity through indeterminacy. To do so, my work rejects traditional methodologies and representation. Is the reproduction of static objects and images truly meaningful? Does it communicate with the viewer? My current work abandons the perspective, composition, and traditional coloring techniques that I had been using in my previous work.  Instead, each stage of the painting process leaves a trace that overlaps. Together, the overlapping traces create an incompleteness that replaces an image that has a finished form. The process itself becomes the work.

III. The fence of a construction site often appears in my recent work.  Lacking a finished form, my paintings are composed of a countless number of lines which together create grid-like surfaces that invoke construction fences. The subtle variations between the colors are layered onto each other to fill these surfaces with soft gradations. The image is both expanded and flattened by the borders between these colors; thus, it becomes a d'inframince to its own reality. I aim to embody the innate quality of a perpetual vision instead of merely capturing a momentary vision. Unlike my previous work, in which I depicted hypothetical spaces using perspective and depth, my current work focuses on the border between the hypothetical and the real. These borders, which can be perceived when facing a concealed or veiled reality, suggest a perpetual scenery that extends forever. Through this act of repetition and superimposition, I explore the essence of painting.