Throughout art history, simulacre has been a subject of resistance. Cézanne’s apples liberated the realm of truth from the framework of illusion, reframing it through the artist’s gaze. Since then, fine art has continuously observed and redefined its worldview in response to a changing society. However, today, illusion optimised for the smart device environment encroaches on life, presenting itself as a simulacre more vivid than reality.

 

I re-contextualise the physical and mental constraints that have been optimised for the consumption of images by using the canvas as a medium. Traditionally, the canvas remains a medium for generating images. Yet, I try to render its structure unfamiliar by experimenting with varied approaches. Drawing on situations encountered in the media environment—art history, popular culture, and commercial imagery—I undertake various experiments, using the canvas as a meta-medium.

 

In my practice, I navigate the boundaries between image and language, three-dimensionality and flatness, meaning and meaninglessness, allowing meanings to overlap and dissolve. These explorations aim to resensitise my perception of a rapidly changing society while making the allegories of modern life, bound by chains of image consumption, feel unfamiliar and strange.

 

When I confront the canvas—a surface that serves as the backdrop for illusion—I feel a sense of melancholy. Paradoxically, this feeling fuels my continued experiments.