My recent paintings investigate the structural tension between the immateriality of digital screens and the tactile reality of paint. Drawing upon 90s Japanese cel animation aesthetics, I translate flat color segmentations and dynamic forms onto monumental 78-inch canvases. My interest lies not in nostalgia, but in the absolute formal architecture of the image.

Instead of drawing outlines, I construct images through adjacent color planes, leaving subtle, unpainted gaps between them. These fissures reveal underlying colored pencil sketches and raw underpainting, breaking the graphic illusion. The execution involves a physical contradiction: approaching a massive canvas with small brushes, painstakingly adjusting each plane to seek structural inevitability.

The process begins with a calculated blueprint, but when synchronization reaches 92%, I let go, abandoning the digital reference to surrender to the material. Within the gaps and monumental scale, the narrative dissolves into pure formal tension. I strive to construct a geometric visual architecture that stands entirely on its own, inviting the viewer to experience the physical weight of the medium.