My practice begins within the structural discipline of ink painting and extends its spatial logic through layered accumulation and modulation. Working on black Xuan paper, I construct luminosity through repeated applications of ink, pigment and gold rather than relying on dispersed emptiness. Light emerges through translucency, tonal variation, and shifts in density — sometimes suspended and atmospheric, sometimes more concentrated and weighted.

 

Early works developed stratified surfaces that remained breathable while carefully structured. Depth formed through accumulation and calibration, allowing balance to build gradually across the field.

 

Over time, the inquiry moved toward more explicit structural organization. Interval, directional force, and cyclical repetition became central tools for examining how order sustains itself. Gold continues to function as a material source of reflected light, but in recent works optical movement assumes a more dominant role. The integration of lenticular layering introduces perceptual shift as an extension of the work’s internal systems, activating instability within otherwise controlled forms.

 

Across series, the work traces a movement from material luminosity toward perceptual activation, examining how repetition, light, and constraint generate coherence — and where that coherence begins to subtly falter.