Diptych Painting


I’ve been creating diptych and triptych paintings, which are displayed as one body of work consisting of various parts that connects one another. Each painting exists in relation to each other and proposes one another. By separating a continuous sketch onto multiple canvasses, I experiment in exploring spacial relations of paintings — both individually within the canvas and furthermore extend including outside of the picture plane. The relations between each canvasses and interactions among the paintings are my main concern in creating diptych and triptych paintings. 



Whilst creating paintings, I work on several canvasses at the same time, interchanging lines and brushstrokes between canvasses. Having in mind during the work in process, I convey to find relations and connect them altogether as a continuous work. Another aspect is to carry on the outer surface of the picture plane which is comprehended as the negative space in my work. The negative space points to the  empty space that surrounds the paintings moreover, allowing open compositions of the picture plane. By drawing attentions to what is absent, I wish to give my paintings an open space of the visual composition beyond the actual picture plane.


When I paint, I leave parts of the canvas unpainted to propose what is sensible to the viewer’s eyes is layers of matière laid on the surface, and the negative space of untouched areas portrays existences of invisibility. I create lines and shapes juxtaposed to the edges of a canvas to indicate an imaginary plane, and brushstrokes carried on to outer edges to invite viewers to open compositions the canvas.


During the installations, I try to propose the visual composition of positive and negative spaces and experiment several ways to display diptych paintings. It is interesting to see how each painting occupies distinctively depending on the surroundings of the gallery. The changes of aspects are considered similarly to the ways we interpret meanings and responses occasionally depending on time, mode and circumstances. What it takes to see things differently is a shift in mind and frame of work in this case.