Previously, I painted exterior views of shape shifting houses. The transformation relates to transitioning desires, which fuel the constant re-fashioning of individual concept homes. In that fleeting dream house perspective the conditions of the present are being adjusted in response to the foreseeable future. In an introspective progression, I currently work on, as among my starting points, compositions of interior places inspired by selected character archetypes. The making of these interiors began by imagining places that would define or carry the essence of a hero. At this point I see the interior as somewhat relating to home not as literal house architecture but more of an abode or setting that facilitate the origin and presence of characters. Having moved to a country of colder climate, whose society is more acquainted with indoor living, working on “Home is where it all began” as a subject through the construction of interiors is a direction that can be seen as culturally innate. In further introspection, using imagery coming from my past works involves my self- origin into the picture.
My interest for ambiguous scenes in films is another source of premise in my works. Such particular parts (in movies) ability to raise unpredictable trajectory for interpretation and, its capacity to generate interest over time is stimulating. I am working to relate this ambiguous quality as a source for abstraction in painting. Depicting interior settings that connotes endlessness and presenting in them open-ended narratives builds a kind of shapelessness. It is an alternative to common approaches towards exploring painterliness such as gestural articulation. My recent strategy presents gestalt that operates on a depicted real life spatial sensibility without easily escaping the rigid platform of traditional painting. It goes in contrast to the path taken by the usual strategies of conceptual extensions of painting through objects, assemblages or installation.
Working on developments under strict painting dynamics is a relevant endeavor in this period in Southeast Asia, where painting occupies a significant position among media. Painting’s ability to assert its effectiveness as a single medium should go hand in hand with the transformation of general interpretation. Among them is that the commonly understood abstract format is representational of past abstract works (including its processes) and, that representational elements even without being rendered in an outright flatness can emit abstract qualities.
The Imaging of sound in painting is my most recent endeavor following my interest in developing sound and participation projects. For now I work on noise as thought forms through texturing. I involve the feel of acoustic properties in a space, where the idea of sound includes the conditions for hearing. Finally, I deal with imaging imaginary notions of sound such as the “the noise underneath the stairs” and “heavenly sounds” in expression of sound archetypes.