Artist Statement


My focus is on painting, drawing and image production. The particular range of interest is in perception and the communication between images and spectators. I believe that a picture is not just a reflection in our cognition but there is a gap in perception. If it is a reflection, illusions can’t change as time goes by observing the work.

My work investigates composition and how certain formal arrangements combined with specific colours, layers can create illusion. The intention is to confuse the viewer’s eyes and ignite their perception. The communication space between the viewer and the painting is crucial because if there was none, the work would cease to exist. Painting after painting, the illusions become more refined and restricted in the sense of colour palette and geometrical forms. For instance, the content of the painting is lines, but the context is what I made of it, the patterns and illusions that were drawn from one single shape itself (for example see “The Red Stripe” 2019). In a way, the more I limit myself regarding shapes and colours, the more creative I can be. This deprivation of liberty sets out how my practice persists. Not only that, intentions are also set to examine the borderline between painting and design. By painting patterns that can be accomplished effortlessly on a software, I am discovering the uniqueness of hand painted strokes, details that can only be produced by physical human interaction.

Originally, my journey began with the intent to create paintings that give off the appearance of mass mechanical production with disorientating effects of Op Art designs. When building on that interest in optical illusions, I came upon Bridget Riley’s early group of work that seem to dazzle viewers to an extent that it stops you looking at the work. Consequently, this has brought my practice to question the idea of looking. For instance, artwork “Yellow Spiral” 2019 (Shades of Yellow) where I inserted a polystyrene cone underneath the stretcher to experiment with perspective.

Initially, one of the key points to convey in my practice was the exploration of ubiquitous, simple materials and the creations from them. For the Winter Cabaret 2019 exhibition, my intention was to develop illusionary effects by experimenting with both installation and a range of materials used. The production varies from different surfaces such as wood sheets, canvas to walls. Each surface was displayed to show the difference in effects of dissimilar materials and the dynamic that comes from the height it is installed. From this show it became apparent that the height and ways to install a painting create significant difference to how the work is viewed.  

Following this exhibition, I realised the limitation of the building’s height and construction. As mentioned above in a personal perspective, restrictions generate creativity. For the subsequent Interim 2020 exhibition, I was interested in experimenting the ways in which a painting’s design and lines within the design coordinated with the architectural features of the building. The interaction between the painting and space it is installed in became a prominent factor in my work. Accordingly, the degree show would be an extension of these ideas by producing large scale paintings stretching from floor to ceiling, mimicking the studio four space. This integration of architecture and art is heavily influenced by Vasarely. His philosophy was to appreciate the practicality of the work more than its conceptual discipline. By removing art from its usual context (galleries/museums/exhibitions), its intellectual connotations would be stripped away. The ordinary visual effects of his work on buildings would appear the same to any person passing by.

My practice questions the controversy which arise in Riley’s work that suggested artists work on illusionary paintings for spectators to look at even though its bewildering effects are disturbing and stops them looking at it. In a way, a painting is considered successful from its illusions only when a collective recognises the effects. Along these lines is Vasarely’s mentality of “art for all”, that art should be disposed of its intellectual status and become accessible to a larger collective, the wider public. To summarise these two viewpoints, the production of optical art reaches its maximum potential when a community has had its views.

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