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My practice investigates the relational structure between self and other, and the ambivalence that emerges within that condition.

Contemporary screen culture intensifies structures of mediation. Through circulating images, the self becomes visible through others—simultaneously affirmed and destabilized. This relational condition is not new; what has shifted is its hyper-visibility and speed. I am drawn to the tension between clarity and instability that characterizes this mediated perception.

Rather than reproducing digital imagery, I translate this condition into painting. By confining materially distinct paints within a single surface, I construct zones of tension and perceptual fluctuation. The surface operates as an interface rather than a window—simultaneously reflective and resistant.

Through the development of mirror-like painting techniques, I destabilize conventional spectatorship. The viewer is not positioned outside the work but physically implicated within it. Reflection becomes embodied: the act of looking folds back onto the spectator’s own presence. Recognition is never fixed; it oscillates between identification and distance.

By materializing both relationality and ambivalence, the painting functions as a device that stages an encounter between mediation and embodiment. What is typically consumed as a fleeting image is reconfigured as a sustained situation—one that must be inhabited rather than passively viewed.