There had been a long bench at my childhood home that was primed in red paint, bound by tightly knit cloth, and painted again in aqua lacquer. Once it had fully dried, the most attention-grabbing objects are placed on it. I often sat on it alone and painted as I pleased. As dawn breaks, I'd rush over to the pier and watch the rising sun over the sea of reefs and the chiming cargo boat on the canal, it was the unknown distance of my heart's desire, and when I came back, I'd doodle the rising sun on the bench. After a while, the aqua surface is covered with various patterns of paints and scratches, and the primer is gradually worn off, only the lacquer spots and various smears are left on it. Mixed with red and blue primers and the water blue gauze looks like an abstract painting lying on a stool. After that, the bench and the pier have long become the prey that was forgotten and weathered, where only the awkwardness and an arid pile of chaste and weeds were left.

Interestingly, although they have been warped with time, were left in my mind as newly edited and reimagined forms, and the longer it is the clearer they become. The uneven surface blend with the abstract and ambiguous image of the sunrise, this marked the first moment when I had a notion of an image, which stimulated a strong desire for me to conceive the unknown image of the void.

"Shutter Island" presents my initial expression of this desire. By means of mixing memories and images, and the conflict between my own emotions and the unknown void, I search for the appeal released from the unknown. The oil painting accumulated on the surface is then polished to smoothness, incited from my fascination with real touch inscribed in my consciousness. The image aims to depict the misty, distant, and fleeting vague emotions, rooted in the formation of consciousness in childhood. The recurring female body in the work originated from various characters in classical mythology of the Renaissance period. The body full of strength embodies the most original and wildest desire that has not yet surrendered to the world. It is the awakening of love and the highest symbol of beauty.

I repeatedly sketched its outlines from what I have memorized, trying to escape from the spying of time and returning to the field of consciousness that was established at that time. I regard this process as a romantic voyage of "conspirators." Here, all the scales of time and space have changed. The process of creation has become a new and unknown direction to the unconscious. This is an unusual novel and tempting experience, like the smashing of clouds that are gradually close to reality without reaching it. It is a fanaticism like love that is released in the heart. It is also a process of searching for the spirit.