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As a continuation to my ongoing motion cycle, I commenced a project in 2020 instantly by finding a new source material and medium to work with. The low grade plywood sheets with their repeating patterns–showing up as ornaments on the surface–are perfect backgrounds for the roads, the street views I’ve been painting since 2015. I use the printmaking technique of dye sublimation with a special selection of images for the wooden surfaces, where the panning layers create an intense, painterly atmosphere. It's a conceptual process, with a fresh and playful outcome, that upcycles the industrial trash (raw plywood sheets), makes a connection with motion “in reality" for the Google street-view images at the same time by finding them a new stage through the marriage with the natural patterns made by time.


The second series I printed on plywood I call Light works Terminal. It's literally about what it says. I consider these prints more of paintings, being unique on their own. It’s a series of photos of oil tanks I've made in Northeast Philadelphia and along the Delaware. It caught me especially how the sunlight plays on the huge, rough surfaces. With just a few objects that would stick out to cast lines and elongened, elliptical shapes of shadows on their enormous bodies. The few variable elements such as the bending, gradual keyboard-like steps as ladders soaring and descending around the ellipse of the body, the huge bold numbers vanish and reappear on the surfaces along with the changing light and milky-grey shadows. The constellations with the wooden patterns gives the series a fresh air, as if it was all observed from a different dimension.

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