Through
the philosophy of Yin and Yang and the Five Elements, I explore the ideas of
connection and circulation. Everything in existence is interconnected, moving
in circular rhythms where every ending becomes a new beginning. We are part of
the Earth's ecosystem, which itself relies on the Earth's orbit and the energy
of the Sun — and these, in turn, unfold within the greater rhythm of the
universe’s expansion and contraction. Just as the universe breathes through
cycles of growth and retreat, we, too, live through the simple rhythm of
inhaling and exhaling.
Before I
encountered these ideas, I perceived the world as chaotic, accidental, and
without order. I believed there was no truth to be found, and thus nothing
certain to trust or hold onto. In such a worldview, only the fleeting
sensations and emotions of each moment seemed genuine. My early works in oil
painting were born from this mindset. They were expressionistic, impulsive, and
centered on momentary feelings. I did not pursue overarching narratives or
consistent themes — I regarded them as irrelevant, even deceptive, in what I
saw as a random world. Each day's emotion became its own image, layered over
yesterday’s without concern for contradiction or coherence.
The
turning point came when I encountered the philosophy of ‘Yin and Yang’ and the ‘Five
Elements’.
‘Yin and
Yang’ and the ‘Five Elements’.
‘Yin and
Yang’ describes the interplay of apparent opposites — light and darkness,
motion and stillness — each completing and transforming into the other in an
endless cycle.
The ‘Five
Elements’ — Wood, Fire, Earth, Metal, and Water — represent dynamic
relationships, where all things are born, grow, decline, and return in patterns
of mutual creation and control.
The
shifting of the seasons, the cycle of growth and rest — all reveal that meaning
arises not from fixed states, but through changing relationships and
circumstances.
Understanding
this, I no longer saw change as disorder, but as the very nature of reality
itself — a living, breathing truth.
In my
practice, I primarily work with repurposed and natural materials, especially
wood.
I gather
wood from felled trees in forests and parks, or reuse discarded lumber. When I
must use new materials, I prefer natural or low-toxicity options.
This
approach grew naturally from my study of the ‘Five Elements’, which deepened my
awareness of the Earth's cycles and ecological balance.
Choosing
recycled and organic materials feels not only environmentally responsible, but
also emotionally resonant — supporting my exploration of connection and
circulation.
When
creating, I value bodily sensation, the innate character of materials, and the
embrace of chaos.
I seek to
leave visible the traces of the body. Whenever possible, I choose hand tools
over power tools, preserving the physical gestures embedded in the making
process. I try not to over-refine surfaces; too much polishing erases the
lively marks left by hand.
I work to
honor the raw beauty of my materials. In shaping wood, I respect its natural
grain and form. When applying pigments, I adjust the transparency to allow the
material’s original presence to breathe through the color.
While I
hold certain ideas and directions in mind, I also allow myself to let go — to
move without purpose at times. I believe that purposelessness and intention are
not opposites but companions, and that through this interplay, the true essence
of the work can reveal itself.
