All my hummingbirds have alibis, and a hundred deep cracks cover my body, 2024
Oil on canvas
My oath To the discipline and substance that’s bewitched me Whose will I obey and will continue to obey I’ll wrestle with it forever The mass always pulls me in, and I never know Whether I’ll sink deeper and disappear completely or Stay on the surface and crawl out If I rise, I might fall back in I try to stay afloat But there’s always the fear that at any moment, I might descend again It’s an eternal struggle An eternal crossroads The mass never leaves The works form a continuous sequence of transformations. Each step affects the next. Through different mediums, I explore the essence of the material of paint. In the painting, paint is an organic mass but in the drawings, I examine it more analytically. By enlarging the drawings, I found forms, which in turn gave birth to the dynamics of the stained glass. James Elkins describes in his book “What Painting Is” the materia prima as the starting point for an alchemist’s life’s work or magnum opus. It’s the raw material that the alchemist begins to purify, distill, and transform, to create the philosopher’s stone. The materia prima is formless and chaotic, containing eternity within itself. The alchemist’s task is to discover and reshape this ultimate and infinite source of potential, which can manifest as mud or be interpreted as paint and the unpredictable act of painting.
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