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Oblivion emerged from the concept of the ambiguity process. The dripping patterns from the painting are a trace of molten memories that one has to patiently gaze at and follow, as the pattern of the drips forms an imagination, and trauma is felt through the dark appearance of the piece. Just like the rest of my works, half is abstract and half is fuzzy where the mind needs to enter into the space of the canvas as an archaeological site, connect the pieces and feel the whole—as an expressionist unity not systematic. Gazing at the work, placing yourself in the half-visible characters that have a missing identity, your reflection becomes the other half and continues to search for the unknown half.

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