In the realm of three-dimensional space, the interplay of surfaces on objects forms a recognizable and meaningful shell. However, the presence of 'fragments,' born from glitches or disrupted textures resulting from camera movements or technical anomalies, serves to underscore that 3D objects inhabit a virtual realm defined by connections. Simultaneously, this process dismantles the polygonal, severing the meaning and control ascribed by people to 3D objects.

During my painting process, I strive to capture the moment when the 'fragments' appear. Imagining the rotation of the camera’s perspective, my body explores virtual space through my eyes. The 'fragments' do not destroy the integrity of this virtual domain. Instead, they transcend the boundaries of human imagination, giving birth to diverse worlds.

In my choice of medium, I use paper for its ability to convey subtle tactile traces. I imagine myself as a modeling tool, connecting dots and lines to form surfaces, and adding texture mapping. In this process, which approaches mechanical precision and borders on digital smoothness, when the brush is dipped in paint and water to smear on paper, it leaves behind subtle brushwork, reflecting the indelible handwork involved. Through this, I aspire to express my exploration of the human position in virtual space and contemplate the interactive relationship with objects in virtual space.
 

The recurring motif of plants in my work is due to their unique structural characteristics as virtual entities, which are easily prone to glitches induced by camera movement. Additionally, the way leaves are arranged in plants is similar to how we create a sense of depth using flat colors in 3D objects.

I place color blocks on the platform. It's like using digital tools in a limitless, weightless space. The colors scatter freely, while the whitespace remains an untouched void.