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

I see ambivalence as inherent to the human condition: the simultaneous activation of contradictory impulses—exposure and concealment, desire and defense. Contemporary screen culture, especially social media, has not replaced these ancient behaviors; it has made them more visible and accelerated the conditions under which they appear.

I often sample networked self-images shared by strangers online as motifs—ubiquitous images through which human ambivalence and self/other relations become newly legible. The impulse toward recognition and exposure arises alongside self-protection and concealment. This is not simply a psychological theme, but a relational mechanism: the self is continually negotiated through others. Perception is never neutral. In encountering an image of another person, our immediate judgments and affects return to disclose our own position—how we see, what we project, what we accept or resist. Through the other, the self recognizes itself—and vice versa. In this way, identity is mutually formed rather than privately possessed.

Rather than reproducing digital imagery, I translate this mediated condition into painting. By bringing materially distinct paints into a single surface, I construct zones of tension and perceptual fluctuation—material states that refuse resolution. I have also developed a mirror-reflective painting technique that reconstructs mirror-like reflection using paint alone. The mirror is not an effect for illusionism; it is a device that forces the viewer to appear inside the work.

In the reflective surface, spectatorship becomes embodied. The viewer is no longer a passive observer but is compelled to confront the self/other relation in real time. By turning fast image consumption into a sustained encounter, the painting slows perception and expands what painting can do: it becomes an interface that must be inhabited.