Interwoven Visions, One Harmony, Myriad Forms

January 2026

A national forest park lies near my home. I often walk there in the afternoons.

There are many kinds of trees. At first, I could not name most of them. But I was drawn to their different shapes, their distinct ways of occupying space. Over time, by noticing certain features, I began to learn their names.

Tall gum pines and eucalypts are common here. Some rise over thirty meters, standing dignified even within these vast woods. Olive trees keep their green leaves throughout the year, and golden wattles bloom brightly in spring. Now, in the rainy season, grass spreads and threads itself through every corner.

I am especially drawn to the shrubs with rough, unruly branches. Their posture holds a different kind of beauty, a different vitality. In summer, when sunlight falls upon those gray, dried branches, faint bluish-purple lines appear on the ground.

There is a certain cooperation, a symbiosis, among the plants — one that allows the forest to remain abundant.

And yet, each plant grows according to its own nature, its own conditions. The olive tree does not measure itself against the height of the gum. The pine does not lament its lack of blossoms. The shrub feels no shame for its crooked form.

Each follows its own rhythm.

It is natural.

They coexist—
harmony without uniformity.

I return to this park often, sometimes simply to observe, to sense that state of being: natural, free, and quietly complete.

My Practice

My works do not approach nature as a subject to be depicted, but as a structural system through which painting can occur. Nature functions in my work as a metaphor for process rather than image, allowing the painting to unfold in ways that echo natural rhythms and transformations.

My practice engages with the persistent inner tension experienced by individuals in contemporary, highly mediated life. Rather than addressing specific social conditions, I focus on the internal states shaped by acceleration, fragmentation, and sensory saturation.

Working primarily in small to medium formats, I construct the painting through the relationship between colour and space. Rhythmical brushwork and intuitive decision-making guide the work toward a state of tension between restraint and release. This tension reflects a form of dynamic balance rooted in Eastern philosophical thinking, where opposing forces coexist without cancellation.

In this context, nature is not presented as a tranquil landscape, but as a condensed order—one that holds processes of growth, dissolution, and return.

Choosing nature as the structural foundation of my work is a way to recalibrate perception and re-engage with the rhythm of life after prolonged exposure to contemporary complexity.

My Understanding of Painting and My Artistic Exploration

Tens of thousands of years ago, the earliest cave paintings recorded the spiritual traces of humanity with bold colours and rough lines. At that time, painting was not about technical skill or conscious style, but rather an outpouring of emotion and instinctive expression. I have always believed that the awe of painting does not lie in how closely it resembles something, but in its ability to carry emotion and vitality—something language can never fully replace.

To me, painting is an independent and pure form of human lyricism. It transcends the logic of language and calls forth an inner perception and spiritual resonance through colour, rhythm, and form. Painting is not merely visual decoration, but a breath of the soul, a way for the artist to communicate with the world and, at the same time, with themselves.

I see painting as more than just a pursuit of form; it is an ongoing process of discovering beauty and discovering oneself. In this process, I often experience a mixed state: calm yet vivid; vague yet clear. It requires constant exploration, integration of feelings, and repeated refinement. Ultimately, if a work can awaken a certain resonance in others’ hearts, I believe that in that moment, the language of painting has truly reached another soul.

I will continue my exploration without rushing to define or categorize it.

Between colour, imagery, and rhythm, I seek the natural line that connects myself with the world. Rather than focusing on the representation of objects, I am not attached to style, technique, or visual narrative. What matters more to me is the spirit and rhythm conveyed by the composition, as well as the flow of emotions and the interplay of colours. I practice a painting language that exists between figurative and abstract, one that carries natural clues yet retains an evocative quality.

In this era wrapped in fast pace and information overload, we have all, to varying degrees, lost some of our ability to truly “see.” For me, the process of painting is a practice of quiet and profound seeing. I draw inspiration from nature and everyday life, portraying inner landscapes shaped by different perspectives and moods. This helps me listen to the inner voice and reexamine the relationships between humans and nature, the world, and ourselves.