I fragment the images captured through daily life and travel into an organic form through computer work. The colors in the media of the photo, which recorded only the facts, reveal the pieces of color as the shape is dismantled and the color surface is divided in the process of fragmentation of the image, which is being transferred into oil paintings on the canvas. The shape in the painting is separated by adjusting the size of each shape differently and using colors similar to or far from reality, which appears to be an unstructured landscape. Although it started with a realistic image, the organic relationship between images is dismantled through computer work, and in the process of moving back to the canvas, each color surface appears as a new image through an organic relationship with each other.
The methodical parts I work with appear digital and analog elements sequentially. Taking pictures and pixelating them is digital, but the act of looking at digitized images and moving them onto canvas is extremely analog. In other words, digital and analog sensibilities are simultaneously contained on the canvas. Through this process, the audience learns that the screen they are actually facing is a canvas covered with paint, that is, a flat painting, and realizes that it is a welcome space for "eye deception." However, on the other hand, the more you step back from the work, the more you feel the visual pleasure of the specific image coming up, and you are immersed in the image of the three-dimensional landscape emphasized by perspective on a large screen. Therefore, these two experiences have dual characteristics of abstraction and realism, and are effective in looking at the work, while revealing the image of the scenery and characters more vaguely.