The reflected forms of nature, layered and stacked in a double juxtaposition, are presented as colorful surfaces. Drawing water reveals the symmetrical structure inherent in nature, projecting the unconscious and unstable life of anxious humans hidden beneath the water's surface. The images with ambiguous dual structures, existing on the border between reality and unreality, are reinterpreted as spaces of contemplation, much like layers of water vapor.

​

The process begins with drawing water, an act that is both healing and contemplative. The nuances of the ambiguous boundaries, where projections of water's phenomenological qualities intersect with symmetrical structures and double juxtapositions, form the foundation of the artwork. The recurring symmetrical structure, reminiscent of decalcomania, represents the psychological structures of anxiety, obsession, and the unfinished nature of life as unsettling illusions about the complete form experienced in reality.

The artwork is predominantly shaped and reinterpreted based on water. Expressing and aspiring to the unconscious world within water is the foundation and essence of the artwork. Similar to the characteristics observed in color field paintings, where a single color occupies a large surface and extends infinitely beyond the canvas, the aim is to create a sense of colors floating on the plane, becoming visual language. Additionally, through the phenomenon of water projection, it is interpreted as an attribute that constantly obsessively contains the individual, the transcendental and the world, life and death. Using the structure and nuances of nature as a medium, it creates images that question the boundaries between reality and unreality, leaving traces of preserved natural forms. To portray the preserved, vacuum-like state of nature, the concept of double juxtaposition is employed as a sculptural technique. The juxtaposition creates a dual structure between the forming surface and the background plane, refining the background plane into a unified flatness that conveys abstract depth. The unreality inherent in this double juxtaposition is reinterpreted as a forest of illusions, accumulating like water vapor.

​

​

Life is entangled with unresolved ambiguities. It exists as an incomplete phenomenon of nature, repeatedly dispersing and converging like elusive fog. The forest of illusions represents the uninterpreted shadows of contemporary individuals, who desperately seek self-preservation. The restless illusions are an emptiness that remains unfulfilled, just like the obsession with symmetry. The preserved space expresses this hunger while simultaneously narrating the abundance of existence itself. Within the projected relationship between nature and humanity, countless questions about human life arise. It becomes the source of creativity for individuals and a narrative of relational significance that generates numerous meanings.