There is no object to look at in the paintings. There is no suggestive object to think about in the paintings. There is no specific landscape in the paintings. Even so, we might see recognizable things in the paintings. We generate our knowledge and meaning through looking at the paintings. We have a natural disposition to see and to find everything as something.

     There is a structure in the paintings that appears through the lines, colors, shapes, white area without paint and painted white on part of surface of the canvas.

     There are visible and invisible things in the paintings. Everybody sees the lines, the colors and shapes in the paintings, because everybody can agree with what they see. We have the knowledge to explain their characteristics. Everybody does not see the balance, the rhythm, the harmony, the movement and unity, because everybody cannot agree with what they are. These things we only feel through our perception. We can verbalize our feelings, but we cannot explain what they really are.

     To see is to feel the invisible energy from the visible force. Each individual element, the lines, the colors and shapes create balance, rhythm, harmony and movement. And they also create invisible space and time in our senses. The paintings are not measurable things and understandable things, but they are concreate in the scope of the sensation.

     I set a canvas on the easel or on the wall to paint. I also paint the paintings setting a canvas on the floor. With a canvas on the floor, I paint from all the directions as I walk around the canvas. There is no fixed top and bottom. The gravity does not exist in that sense. A painting becomes free from being an object and it becomes the consciousness on the ground."

     I develop the way of seeing the subject and paint in relation to the physical world. For the paintings on the floor, I was the one moving around the canvas to paint, but instead of that I also started to rotate the canvas on the wall to paint and see.

     To see is to feel. It is not to identify the things. It is listening to the flow of the sensation itself.