I didn’t grow up surrounded by art. I was really into making plastic model kits, drawing comic book characters or just making things in general as a kid. But I didn’t really know visual art as a potent social institution. I had to be exposed to art in front of my eyes. I took an art class when I was attending community college. The teacher showed me his paintings and drawings, demonstrating that marks on paper can do what sounds can do with music. This was eyeopening for me. I was captivated by this phenomenon. So from the very beginning, my interest centered around capturing this mysterious quality that somehow moves me.
So it’s probably not a coincidence that I stuck with simpler forms without recognizable representations. I wanted to capture this mysterious thing, not to represent a concrete idea with symbols or narratives. I wanted to be struck directly with this something. The works I did around that time are heavily guided by this idea.
These two pieces show my typical ways of mark making at the time and later time as well. One is circular forms made by electric drills with spade bits. I like the contrast of precise circles and how they meet with the materials to express the physicality. Second is the use of homemade encaustic paint applied to express textures and tones of the surface. The paint is also used to express structural dynamics with lines, shapes, contrasts and so on.