In realistic portraits, in which the proportions and
postures of the figures become very important, I used photographs
of myself as a reference for a stronger realism. Becoming the model
for my portraits was only natural and yet coincident on the other
hand. Most of all, despite the voluntary modelling, my works laid
different characters over the figures; therefore I have not considered
them as myself. Then one day, I encountered a moment when
I realized that the person on the canvas looked like the person
reflected on the mirror in my studio. It was a small, but significant
turning point. The person on the canvas, whom I had believed to be
someone else all along, had not only my face, but also my current
state: not being proud of who I truly am but being lukewarm and
conscious of other people’s opinions. When I witnessed myself as a
third person, my direction that has longed to find my true self but
instead been indecisive could finally focus towards introspection,
starting a new phase of a complete immersion. Though a definite
confirmation of my identity may not be reached, but I may become
more confident as I start honestly confessing the current condition
of being bound to other people’s judgements as it is. Confessional
art practice about my quotidian state is how I came to start the
search for my true self. Subjects in my paintings often reflect my
regular behaviors and habits, which is an artistic practice as well
as an honest confession from reflecting my life. At this phase, the
Faux-Naif (Feign) series, having made a transition to self-portraits,
have also been reconsidered as a practice that confesses who I am.
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