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Daigoro Yonekura
Biography

1975 Born in Hiroshima, JAPAN
1996-2002 B.A., M.A., Art / Hiroshima City University
2003-2006 Ph.D., Art / Hiroshima City University
2009-2010 Berlin University of the Arts (Guest student)
Fellowship : Pola Art Foundation, Tokyo, JAPAN

Exhibitions
Group Exhibitions

2000 Kameyama power plant museum (Hiroshima, JAPAN)
2003 PRIVACY-SELL&BUY (Hiroshima, JAPAN)
2004 Ondo art exhibition : Genius Loci (Hiroshima, JAPAN)
2005 Hiroshima city museum of contemporary art / art award (Hiroshima, JAPAN)
2005 Gift of Hiroshima (Braunschweig, GERMANY)
2006 JEANS FACTORY ART AWARD 2006 (Kochi, JAPAN)
2007 Gallery Yamaguchi (Tokyo, JAPAN)
2007 HIROSHIMA ART PROJECT:
Former naka waste incineration plant art project (Hiroshima, JAPAN)
2007 The SENSE of VALUE by BROADCASTER : Nakanojo Biennale (Gunma, JAPAN)
2008 Hiroshima Art Project 2008 :
Brackish Water Area The former Hiroshima Branch of the Bank of Japan (Hiroshima, JAPAN)
2010 This is red : CAP Cologne (Cologne, GERMANY)
2010 almost the same, but not quite (Berlin, GERMANY)
2010 We are the islands at Bethanien (Berlin, GERMANY)
2011 Hilfsaktion fuer Japan (Charity event) (Berlin, GERMANY)
2011 MAGICAL WORKS EXHIBITION:Nakanojo Biennale 2011(Gunma, JAPAN)

Solo Exhibitions
2005 Gallery Yamaguchi (Tokyo, Japan)
2006 Hiroshima City University (Hiroshima,JAPAN)
2006 Iwami art museum (Shimane, JAPAN)

http://d-yonekura.jpn.org


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DAIGORO YONEKURA

WORLD ABUSE : Single Phase World & Complex-Phase World

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I would like to start my presentation. As I’ve said, I mainly make paintings. My work features a monochrome tone without colors and employs an original technique named "CUT&COPY&PASTE," which is similar to collage. There are two main materials used in the "CUT&COPY&PASTE" technique; one is “black-and-white copy of Japanese landscape photography,” the other is "specific paint."

Now, let's take a look at this picture [fig.1]. These are examples of the "black-and-white copy of Japanese landscape photography" which I use for my work. There are more than 20 kinds of pictures, and I choose some of them for each work. As you can see, these pictures are very finely detailed. Their details come from leaves of several kinds of plants in Japanese mountains; each reflects the sunlight. In Japan, mountains like those shown in these pictures are common scenery.

Please see the next picture [fig.2]. This is a drawing using the "specific paint" technique. I use a particular method to mix black-and-white paint so as to create contrasts, and as you can see, it makes these types of unique patterns. I use this "specific paint" method together with the "CUT&COPY&PASTE" technique, and I will explain the concrete way this works in the last half of my presentation.

CUT&COPY&PASTE

I make my works by doing "CUT&COPY&PASTE" with these two materials. And these materials are applied individually in my works and are not combined. If I divide my artistic career into early and late periods, I can say that I used "black-and-white copy of Japanese landscape photography" in the early half, and "specific paint" in the later years. Of course in both cases, "CUT&COPY&PASTE" is my important methodology that allows me to think of "space." Through the method, I manipulate the space of landscape photography in various ways: I fold up, reverse, combine, and split images. In other words, I use the method to vigorously animate the space.

Here, let me introduce some works using "Landscape photography," which were completed after much trial and error.

fig.1:Japanese Landscape Photo

fig.2: UNTITLED.5-2, 2006, 210mm/297mm, paint on paper

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UNTITLED.1

This work was composed of two ways; one is "Landscape photography" and the other is "CUT&COPY&PASTE". I have arranged a series of "Landscape photographs" side-by-side to make the shape of a human figure. The numberless details in the photographs make for a three-dimensional visual effect. And a central part of the work is the symmetric diagram, as if pair of the mirrors. Such details of the symmetric part give us the optical illusion in which the "symmetric axis" appears, though there has not drawn in actual. Such a layout imitates the symmetrical architecture of traditional Japanese Shrines and Temples. As a result this work makes for an optical effect, where the viewing peoples are drawn into a "Black hole" at the center of the composition. (Please see the next image.)

UNTITLED.2-1/2-2/2-3

This work was based on and an attempt to developed the previous work. And this work is very huge work in lengthwise 12 m by widthwise 5.6 m. And I exhibited this work in the “Kameyama area”. The location name of “Kameyama” have means “Turtle shaped mountain” in English. “Mt.Turtle” was named after the similarity between the mass of a mountain to the shape of a turtle. Origin of the name of that place has brought resembling the “Geoglyphs of Nasca”. In ancient times, humans created the concept of outer space through making astronomical drawing of the stars to symbolized as animals or tools. For example, “Pegasus”, “Phoenix”, “Telescopium”, “Microscopium” etc. So I was led such an inspiration. Therefore I tried to make another representation of the human figure using numerous “Landscape photographs". By the way, I am a painter but in these works my idea was also informed by installation art and site-specific work. (Please see the next image.)

UNTITLED.1, 2000, 2000mm/950mm, copypaper/gesso/felt-tipped marker

UNTITLED.2, 2000, 12880mm/5400mm, copypaper/gesso/felt-tipped marker

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UNTITLED.3-1/3-2/3-3/3-4

These artworks are based on the up-down & left-right symmetrical quadrangle. In the center of the painting I have created a texture that represents like a "Sandstorm." This sandstorm images was brought by copying the image over and over again on a photocopying machine [fig.3.4]. And I had collected a large quantity of such a parts from "Landscape photography." The afterimage of modeling which remains the grainy images on the photo reveals slightly the representation like "another dimension." Later, this artwork developed following four variations. I attempted a representation between "space" and three-dimensional figure which focus on the illusional parts on the work looks like being in "another dimension." [Untitled.3-1/3-2/3-3/3-4]

Basically I use the symmetric composition. Thus the axis of symmetry which has mirror effect brings viewing peoples into illusional experiences like a "Rorschach test [q.v.5]" or a pattern of the insect's outer shell. I made also various works which refer from a perspective drawing or monochromatic ink painting. This time I leave out the explanation because it is a complex story. [C.I./Untitled.4] [q.v.5:http://en.wikipedia.org/wiki/Rorschach_test]

Symmetry

I showed a few of main works which are based on "Landscape photography". It seems that these works have characteristic images coming from the "CUT&COPY&PASTE" technique. And now you can make sure of the matrix of the "space" in the "Landscape photography" which arises from the "CUT&COPY&PASTE" technique; there is the repetition of dismantling and reconstruction. In this presentation I showed works which are based on symmetric images. The reason why I showed only symmetric images, the symmetric images become a key of the idea to solve out the secret of my world-view, which is also my target. This concept will be explained at following chapters, however the "symmetry" are the important diagram for me to seek the concept of "space."

UNTITLED.3-1,3-2, 2000, 1945mm/1145mm, copypaper/gesso/felt-tipped marker

UNTITLED.3-3,3-4, 2000, 2000mm/1110mm, copypaper/gesso/felt-tipped marker

fig.3:Detaiil.1

fig.4:Detaiil.2

UNTITLED.3-1, 2000, 1945mm/1145mm, copypaper/gesso/felt-tipped marker

C.I., 2004, 2100mm/3300mm, copypaper/gesso/felt-tipped marker on canvas

UNTITLED.4, 2002, 3500mm/4000mm, copypaper/gesso/felt-tipped marker on paper

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In any case, this is just a preliminary explanation of my work and thought. Going forward, I will introduce the concept of “CUT&COPY&PASTE” as the basis of my works and show the process continuing to my present work. As my presentation progresses, you will gradually see my world-view emerge through the idea of symmetry, but I would like to start my presentation by talking about space.

SPACE AND IMAGINATION

First, please look at the space in front of you. You can see infinite, transparent space. But in reality, you cannot see the space because the space is completely transparent. In other words, transparent space is both visible and invisible. Then, please close your eyes. We human beings can see something even in the dark because of imagination. Imagination allows us to see something invisible. As you might be aware, space and imagination have a similarity. These two encompass the contradictory characteristics of the visible and the invisible, and so allow us to recognize a correspondence between space and imagination.

SINGLE-PHASE WORLD

Such correspondence refers, in a sense, to the close relationship of the real and imaginary worlds. Thus, I cannot help but presume the existence of a world where everything in the real and imaginary worlds is blended together. I have an instinct and an actual feeling about such a world. I name this world-view "Differentia-less world," which I try to express in my artwork. However, it was difficult to construct a rich world-view using only my instinctual, subjective feeling. Because originally "Differentia-less world" was merely transparent, infinite space or imagination. Although at first I felt frustrated by such difficulties, after a lot of consideration I came up with an idea: to divide, once, the "Differentia-less world." If you divide it, and synthesize the pieces again, you can reconstruct the "Differentia-less world." In this way, I thought I could express my world-view by dividing and synthesizing at the same time.

BARNETT NEWMAN

Such a thought expressing division and synthesis is based on the concept of "zip" by Barnett Newman, a twentieth-century American artist. Newman tries to express the coexistence of divided and synthesized worlds by drawing a straight line, as if it were a zipper. However, as Newman himself [q.v.1], his work has a solipsistic quality; only the artist can understand these works essentially. Thus, Newman's expression is not open for everyone to understand. And that is why, I am critical of Newman's work, but still, it is worth noting his concept expressing the divided world and the synthesized world at the same time.

fig.5:Barnett Newman's painting

q.v.1:"Painters Painting- A Candid History of the Modern Art Scene, 1940-1970", Mitch Tuchman, in chapter of Barnett Newman

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AMBIUOUS IMAGES

Expressing the coexistence of contradictory elements as Newman does involves the presentation of ambiguous images. Please take a look at [fig.6.7]. [fig.6] depicts a duck and a rabbit; [fig.7] also shows an image simultaneously showing a vase and facial profiles. These prompt recognition in two ways. If you use such ambiguous images to make works, you express the "divided world" and the "synthesized world" at the same time. And here, the key to the expression is symmetric images. As long as you interpret symmetric images as ambiguous images, you can make work which has a feeling of both division and synthesis. For example, when you see [untitled. 1] using landscape photography as a symbol of the world, you must feel as if the work is divided and synthesized in ways that both refer to the symmetric axis at the center. In this way, I found I could express the "Differentia-less world" by means of symmetric images.

There is another reason why I apply symmetry for the expression of the "Differentia-less world." Symmetry makes us feel the integration of space and imagination. In order to feel such a sense, I try to show a puzzle using both hands as an example. When you solve this symmetric puzzle, you will suddenly feel the integration.

fig.6:Rabbit&Duck

fig.7:Lady&Oldwomen

SYMMETRY/ LEFT AND RIGHT HANDS

Anyway, the symmetric puzzle involving the left and right hands is quite simple. Both hands look similar, but how do you superimpose the shapes of these hands? For example, if it is a two-dimensional symmetry like [fig.8.9], you can match them only by folding. However, is it also possible to do this in the case of three-dimensional hands? Let me put my hands together. I can't say both hands are superimposed. And now, I try to put a left-hand glove on a right hand. Of course, it doesn't fit because both hands have different shapes. But is it actually impossible to superimpose a left hand and a right hand?

Although this is a pretty simple puzzle, it seems very difficult to solve it immediately. To tell the conclusion first, it is possible to match both hands. The answer is to turn them inside out. If you turn the glove’s inside to outside [fig.10], you can superimpose a left hand and a right hand. At first, you couldn't match both hands, but you can when you turn the glove inside out as if rolling up socks. This solution is very important because at this moment, you actually feel the integration of "space" and "imagination" through the left and right hands. When you put the left-hand glove onto the right hand, imagination causes the transformation of space, and as a result, you can match both hands. Here, we can see the realm where space is integrated with imagination. [q.v.2]

fig.8:2D Left-hand&Right-hand

fig.9:folding [fig.8]

fig.10:Tranceform to Right from Left

q.v.2: I refer to Immanuel Kant, “Concerning the ultimate ground of the differentiation of directions in space.“

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WORLD ABUSE

As I mentioned, "Differentia-less world," as a combination of real and imaginary worlds, is merely transparent and infinite. However, through the concept of symmetry that expresses division and synthesis at the same time, I was able to express the "Differentia-less world." Also, by means of the two-hand puzzle, one might feel the integration of space and imagination, even if slightly. Here, the focus was on symmetry, but what I am referring to can be recognized by means other than symmetry. For example, there are various kinds of world maps: Zimuthal Equidisat, Mollweide, and Mercato projection [fig.11.12.13]. These maps are also images that transform the surface of the earth through the integration of space and imagination. Also, even though I have not mentioned them, my works, in their application of ink painting and compositions of perspective, fundamentally share this characteristic.

Anyway, and not referring only to my work, I call such practices that create a world-view via the use of space and imagination "World Abuse," and employ this concept in my work. By working and thinking on the basis of "World Abuse," I think that my work can close in on the reality of our world-view and imagination.

fig.11:Zimuthal Equidisat Projection

fig.12:Mollweide Projection

fig.13:Mercator Projection

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I am about halfway through the presentation. Now the topic regarding material will change from "landscape photography" to "specific paint." At the same time, the theme of my work will also move from "space" to "phenomena" which we can recognize (as a representation in various systems) in the world. I will now develop my thoughts on the basis of the world-view that I seek, which will allow me to talk more deeply about my work. So let me introduce a drawing as the starting-point for what follows.

TRAVERSABLE IMAGE

So far my works that I have discussed were made from “black-and-white landscape photography” as a symbol of the world. However, making via landscape photography is limited as a means of description, and I felt that I needed to forge a close relationship between my work and material. Following my instinct, I made [Drawing.1. 2. 3. 4]. Then, I realized a principle at work. Please see [fig.14]. These diagrams were made without lifting the pen from the paper; [fig.14] is the picture I created using black and white paint trying not to continue the same color side by side. [fig.15]

As this example shows, there is a principle that the traversable image can be painted in black and white. If you regard the point of contact between the black and white part as a twist of a round, and you loosen all of twists, it becomes a round. This means that the traversable image has the same structure as the sides of a coin, separated into black and white sections, which is twisted again and again. That is why the traversable image can be painted in black and white. Although this principle is trivial compared with the deep and complicated world of the diagram, it made me realize that even a scribble has a detailed structure. And I felt that it was possible to show a deep world-view even if I used only black and white.

fig.14:a picture drawn without lifting the brush from the paper

fig.15:fulfill split space[fig.14] by black&white

DRAWING.1,2,3,4, 2000, 420mm/297mm, pencil/CG/felt-tipped marker

fig.16:Mechanism Diagram of "fig.15". It is ike a twisted rubber band .

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HIDROSTATIC DRAWING

Adopting this point of view, I made Hydrostatic Drawing using only black and white paint. The work was completed so as to maintain a state of balance between slimy paint and image by means of surface tension. However, the surface tension is so ephemeral that the image cannot maintain such a state even for one hour. The gel-like materiality in [fig.17], complicated pattern of colors on the surface, and smooth boundaries of the colors; these three parts simply constitute the Hydrostatic Drawing, and while watching the boundary between black and white, I felt as if I were moving on to a different dimension.

As you can see, this work deals with the precarious balance maintained fleetingly in natural phenomena. I thought that it could be understood as painting that represents the state of generating an image in a certain phenomenon, such as the rainbow, which consists of the air and light. After making this work, I have struggled to embody such phenomena as images.

fig.17: Detail of HYDROSTATIC DRAWING

HYDROSTATIC DRAWING.1,2,3, 2000, unform, gesso

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SPECIFIC PAINTS

The flat and smooth surface and the erotic and glossy texture.And this "specific paint" has an ability to maintain the unique pattern created by surface tension in physical phenomenon. I tried making many prepared paints which are able to represent the process of my thought such as "CUT&COPY&PASTE" technique and the idea of "symmetry".

Then my works which I showed the beginning of my presentation were completed after much trial and error. Here, let me introduce some detailed examples of works. Additionally I explain what is the speciality as material and how to use this "specific paint" concretely.

UNTITLED.5-1/5-2

And also, The "specific paint" can be mixed black-and-white while repelling each other. There are you can see in the example works. And you can confirmed cause unique patterns from physical(chemical) property of special paints. This specificity is the same as the “Hydrostatic Drawing”. (Please see the next image.)

UNTITLED.5-1, 2006, 210mm/297mm, paint on paper

UNTITLED.5-2, 2006, 210mm/297mm, paint on paper

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Symmetry Figures.1/2 / Untitled.5-3

The three works presented here are hardened state of "special paint", and have pasted on directly to the walls and floor as if a sticker. Thus "special paint" can be kept like a sticker sheet state because does not require the any support material [fig.18]. Moreover, the "specific paint" can be done "CUT&PASTE" the same as technique of "Landscape photography" does.

And a remarkable point is that the work of on the wall is "symmetry diagrams". In other words, the “specific paint" can be produce the "symmetry diagrams" too [fig.18]. Please take a look at a photograph on lower part of page. Perhaps it is a little difficult to recognize the details of this picture. But you can be find a state of a “decalcomania [q.v.3]” transferring which show the process of depicting the "symmetry diagrams" on the transparent sheets both upper and lower sides.

q.v.3: http://en.wikipedia.org/wiki/Decalcomania

This technique like a decalcomania is similar to the “COPY[q.v.4]” technique among the "CUT&COPY&PASTE". And it is a meaning that all of the "CUT&COPY&PASTE" technique would be possible now by the special paint. Not only for depicting the symmetric diagram, but also this method to be embodying my world-view which emerges through the idea of "symmetry".

q.v.4: This “COPY“ is mere mirror-image copy and it is different from perfect duplication like computer graphics.

fig.18:Staker state of the "Special paint" and method of the "symmetry copy".

SYMMETRY FIGURES.1, 2008, 160mm/160mmX2, paint

SYMMETRY FIGURES.2, 2010, 270mm/160mmX2, paint on wall

UNTITLED.5-3, 2008, 420mm/297mm, paint on floor

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THE COLLAGE OF PHENOMENA

And thus "specific paint" has a potential to do "CUT&COPY&PASTE", furthermore, to fix on the phenomenon which occurs in the surface of the paint. That is another method to produce the painting that gathers the image coming from the phenomenon, as if I made the "CUT&COPY&PASTE" from the use of "Landscape photography". Such a method to construct the various phenomena transforming into the image of painting world, I named it "collage of phenomena".

Now, today"s presentation has approached near an end. As the presentation of conclusion part, let me present the works of the "collage of phenomena" with use of the "specific paint".

UNTITLED.6 / UNTITLED.7

First of all, I show the 2 paintings which are based on the composition as "symmetry". These works are made by a simple combination of "symmetry" and "collage of phenomena", which same a subject of my "Landscape photography" works. The surface on this painting have an expression of touch (brush stroke) like a stickiness chewing gum.In this way, the representations of this works has been created depending on "surface tension come from paints viscosity" and "chemical reaction come from a mixed rate of the paints" and others. These various "Phenomena", such as chemical reaction by the blended paint or a surfacetension by the increased viscosity, are introduced through the work "Untitled.7".

And, I present the next work that it added to "the dripping as a brushwork" into the previous works is "Untitled.7". By introducing the work of the paint drips works is tried to introducing "the directivity" into the painting. Moreover, such a "symmetrical shape" have occurred a visual effects as an "ambiguous figure[fig.6.7]” like a "Rorschach test[q.v.5]". (Please take a look at the next work.)

UNTITLED.8

Comparing the last 2 works, in this work I sandwiched the black and white paint poured on the panel directly, then I outspread it again. By the way,In generally the paintings are referred to as a "metaphor" for “window”, because the relation between the canvas and the white wall is same as the framing by a window. This work followed such an example for emphasize the my painting from the white wall, therefore I have put on the black color at the end of upper and lower sides of painting. (Please look at the next work.)

UNTITLED.6, 2009, 455mm/635mm, paint on panel

UNTITLED.7, 2010, 455mm/635mm, paint on panel

UNTITLED.8, 2010, 455mm/635mm, paint on panel

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FOREST IN THE HOLE. 1,2

This works are different from the previous other works, because this works made by dissolving the pigments in the acrylic medium. Also this works are created by acrylic medium containing pigments sandwiched between transparence sheet with canvas. And this process are occurred a capillarity as such images in this photos.

The capillarity images resulting from this approach will vary with changes in the size of the pigment particles. In this way, I hope that to be collected many different phenomena images, because I want to used such a collection for introduce to as the brushwork of the painting. The next work is the last piece to introduce today.

FLOWER(CARNATION)

The manipulation of the specific paint brings various phenomena. In this work, I use these phenomena as the brush-strokes in paintings, and tried depiction of the flower. The depiction of a petal is made by "CUT&COPY&PASTE", and the shade expression is represented by a pattern come from repellency by black-and-white mixed paint. In addition, the depiction of thin stalk of a flower figure has been portrayed in a way as the action painting by the special paint make increased until to highest viscosity like a starch syrup state.

All things in the universe has been formed by physical laws and various unknown phenomenon, and I think that it has a similarity to do creating the paintings world by the collage of phenomenon.

FOREST IN THE HOLE.1, 2011, 200mm/200mm, paint on panel

FOREST IN THE HOLE.2, 2011, 200mm/200mm, paint on panel

FLOWER(CARNATION), 2008, 1703mm/1072mm, paint on panel

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THE AIM OF THE WORLD ABUSE

When you look back over history of painting, undefined meanings made by brush-strokes in paintings have reflected the senses and recognitions of their time. Likewise, my concept "collage of phenomena" is also an attempt to create a new realm of sense and recognition through undefined phenomena, as if various world maps were creating various senses and recognitions. This means that the "collage of phenomena" can transform various phenomena into the brushworks of paintings.

I think that I can come close to the realities of various world-views and imaginations by making and thinking on the basis of the concept "World Abuse." And it is ideal that such an attempt offers a pioneering example not only to the art field but also to the other fields such as physics, mathematics, and philosophy. Is this idea absurd? Actually there already might be few artists who work in such a way. However, I know some examples of those who have explored a totally new world in a quixotic manner throughout human history.

EDGAR ALLAN POE

For instance, Edgar Allan Poe, a poet and novelist who lays the foundation for the mystery genre, is one such person. Late in life, he published a book entitled "Eureka", an essay on the universe, in which he introduced a strange question: Why is the night sky dark even though there are numerous stars in outer space? [q.v.6] And he answered that the universe is so vast that it takes these lights a long time to travel from the edge of the universe to the surface of the earth, and thus "it hasn't come yet." One hundred years after he made these poetic and beautiful remarks, a cosmologist, Edward Harrison, read it and said, “When I read Poe’s statement, I was astonished. I wonder why a poet, or an amateur scientist at best, could know the exact explanation. Even though many peoples still teach in the wrong way...in our university.” [q.v.7] That means that Poe's imagination had one hundred years ahead of the consensus in physics.

CONCLUSION

In any field, explorers need to deal with images of some sort. Art and painting especially belong to the field abusing images, and for this very reason, I think that it is not impossible to reverse the common sense of the world. Hopefully I can realize my concept "World Abuse" and unveil not only the real world, but also the reality of a new world-view and imagination. And if this is realized, painting will gain another meaning and role as a genre beyond the existing field of painting while becoming the new style. I want to be a pioneer opening up an unknown world-view.

This is the end of my presentation. Thank you for your attention.

q.v.6: Physicists named this issue “Olbers' paradox.“ Cf. Michio Kaku, “Parallel Worlds: A Journey Through Creation, Higher Dimensions, and the Future of the Cosmos.”

q.v.7: Michio Kaku, “Parallel Worlds: A Journey Through Creation, Higher Dimensions, and the Future of the Cosmos.”

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EXPERIMENT: Bathtab Drawing
2013, pigment & medium & Water
WORK: A Piece of Waterfall 1, 2, 3
2013, pigment & medium on panel, 330mm x 480mm
EXPERIMENT: Water & Pigment & medium
EXPERIMENT: Water & Pigment & Sand Paper
WORK: Radius
2013, pigment & medium on panel, 965mm x 965mm
WORK: Mirage Mountain
2012, pigment & medium on panel, 1250mm x 520mm
PROCESS: Coating Operation