Physicality of Painting
I want my paintings to communicate on a physical and bodily level before perceiving analytically. Painting as a form of visual art, I wish it anticipates to be understood in visually aesthetic aspects. One of the aesthetics of painting that I personally engage the most is that it confronts with its bodily elements — colour, forms, texture and space. I am attracted to the ways these characteristics interchange and alter in diverse manners, which make the painting process special whilst creating, as well as viewing others’ work. Although most artworks are intended to communicate and express analytical inner aspects, I still hope paintings to advocate the physicality that connections with our tangible surroundings.
My work focuses on the physicality of painting, in which I’m continuing to explore to further extend materialising paintings by bringing woods, paper (hanji), wax etc., onto the canvas. It is interesting to see how each medium brought onto the canvas surface creates various textures and depths towards the flatness of picture plane. As I continue to paint, I am fascinated by endless possibilities that can happen on the two-dimensional plane.
Artist Jessica Stockholder takes these aspects to another level and playfully presents the two-dimensionality with her sculptures and installations. Among Stockholder’s works, particularly some installations that are displayed almost like paintings inspire me to think about materiality and spacial relations of painting. Her works are site-specific and consider spacial connections to the surroundings. The materials and vibrant colours Stockholder uses take roles as painting characteristics, parallel to lines and brushstrokes. Stockholder mentions that “the wall acts as ground for the painting, it is also a sculptural element, or figure, in its relation to the wooden structure behind.”
On the notion of spacial engagements of the painting, I attempt to explore different approaches when installing paintings. With the way I present, I often find my paintings are read as an object than subjectivities, moreover visually interpreted before analytically understood. Figures in painting to which I am referring to subject matters painted on a canvas, both figurative and abstract are perceived as a flat thing. One’s attention is drawn as an object, perhaps figure on the wall that seems to emerge from the depths of the painting. With this aspect in mind, I’d like to continue exploring the physicality of painting and the spacial relations to both the bodily surrounding and interpretations in mind.