In conventional thinking, the theater is understood as a space prepared for storytelling—a vessel for narrative, seemingly unrelated to abstraction. However, as abstract art has gained ground through its resistance to narrative, it has fundamentally altered the nature of the theater itself. The theater is no longer solely a narrative medium; it also becomes a site for the non-narrative.In fact, art itself can be seen as a form of theater. 

While modernist thinkers once compared artworks to living organisms capable of growth, I draw from Heidegger’s existential notion of Dasein—a being-toward-death that moves actively yet unknowingly through the forest path of existence. I see the act of artistic creation as a similarly active yet unpredictable journey. In this sense, the artwork is not only a living entity but also a process of becoming—an ongoing emergence. 

This openness in the creative process, along with the inspiration I draw from my spatial environment and relational interactions, leads me to understand art-making as the construction of an “open theater.” Creation is not merely a solitary act of production, but a staging of potentiality—a contemporary space of inclusion, openness, and communication. This open theater echoes what I believe to be one of the inner responsibilities of contemporary art. When a viewer stands before an abstract work and experiences a continual flow of shifting interpretations, it signals that the work is alive—vibrant, generative, and ever-unfolding.

It continues to perform within the theater of perception. My “Series A” marked a pivotal return to abstraction after a year and a half of upheaval during the pandemic in the U.S., following a period of figurative expression. The lingering traces of geometry and minimalism reveal my enduring metaphysical obsession.

In “Series B,” I embraced a heightened creative freedom—allowing intuition to guide the process, where spontaneity and flow became fruitful.

“Series C” intensified a primal sensibility, evoking symbolic origins and guiding me directly into the development of the text-based series that followed.