The Wall of Existential Cry
PART ONE
WALL OF EXISTENTIAL CRY
Here the journey begins in its rawest form. Before culture, identity, or memory offers comfort, there exists only the universal, wordless cry of existence itself. This opening section confronts viewers with the stark fragility of life and the silent question shared by every living being: What does it mean to be here, now, and finite?
These paintings speak a language older than words. Golden and silvery fish gleam with metallic intensity — some suspended in quiet tension, others piled in dense clusters or swimming through torn nets. Shrimps dangle vividly, their segmented bodies luminous in suspension. All remain mute, eyes open, forms radiant yet unmistakably mortal.
The artist’s hybrid technique is both precise and expressive. Layered impasto builds sculptural volume, fused with seigaiha wave patterns and geometric collage, then fractured by meticulously induced craquelure — fine silvery fissures that reveal underlying glazes and pigments. In Golden Call of Sustenance and Golden Gaze of Sustenance, thick palette-knife impasto merges with lavish gold leaf, creating opulent yet cracked surfaces. The shrimp works Hang On There and Last Cuddle feature energetic gestural brushwork, wet-into-wet mixing, and dramatic vertical drips against abstracted backgrounds with checkerboard motifs.
These are not traditional still lifes, but existential portraits — raw and unflinching. Through impasto, collage, sgraffito, glazing, engineered craquelure, and gestural drips, the works strip away narrative comforts to reveal life’s elemental truth: hunger, struggle, beauty, and the quiet certainty of transience.
Featured works in this section