My painting practice is rooted in a fundamental question: What is the essence of life’s unseen beauty? In my work, motifs drawn from nature—such as mountains, stones, and the moon—do not just exist as external subjects, but emerge from within: from memory, sensation, and embodied experience. These forms serve not merely as representations of the natural world, but take on poetic and symbolic roles, guided by the East Asian aesthetic concept of "Mitate"—a process of associative transformation. For example, clusters of small stones may evoke the tranquil form of life that simultaneously encompasses both life and death, while the moon often reflects the cycles of time and existence.

Through "Mitate," my paintings transcend simple representation, offering instead a space of abstraction that invites the viewer to engage with their own narratives and sensory experiences.

My practice resonates with the East Asian painting philosophy of 気韻生動 (Qi Yun Sheng Dong), which seeks to infuse the artwork with a sense of life’s presence and energy. The layers of textured natural mineral pigments, the rhythms formed through the density and dilution of color, are intimately linked to the micro-movements of my breath, body, and spirit. These elements function as poetic devices, imbuing the image with a quiet spiritual depth. Rather than mere improvisation or emotional outburst, it is an act of carefully examining the latent connections between nature, the body, and emotion.

In this way, painting becomes a process of reconstructing my memories, sensations, and cultural background, while also reimagining the human relationship with the natural world. I seek the way of "narrative abstraction" within contemporary art, as I move between abstraction and figuration, while connecting it with Eastern spiritual sensibilities.