These paintings evolved from my own myopic condition of vision. Not knowing exactly where my gaze

lands on the view outside the window, partially obstructed by the blinds, I was nevertheless fascinated

by how the flickering light was free, but meandering only in a highly structured, restricted manner of

the gap between each blind. Such partial trajectory of light passage became a kind of metaphor for my

own inability to grasp nature, beauty of nature, or the unknown. As Richter indicated, all of our

descriptions of nature, such as beautiful, catastrophic, etc., are our projection and nature is completely

indifferent to such values. Perhaps to state that nature is indifferent to our descriptions is also

incorrect, for to be indifferent it must have a mind of its own. The ambiguous illusionism in these works

is a way to place the landscape into parenthesis, a means by which I intended to construct

landscapes that mediate the cultural and the natural.