My process is dedicated to the time-honoured traditions of Nihonga (Japanese-style painting). I use mineral pigments, animal glue, oyster shells, and washi paper in my signature technique, which deviates from conventional brushwork. Instead, I handle the painting panel itself by vibrating, striking, and swinging it in the air with varying force, frequency, and pace. As gravity takes effect, pigment particles settle in dunes and ridges alike the Earth’s relief map.
My approach is physical, raw, and sometimes violent. Through this action painting I look into interdependent conditions of humans and nature, our destructive and regenerative forces and the butterfly effect that fuses every single thing in the universe.
