DRAGON Black Dragon P20

CANVAS BLACK DRAGON 01

*CANVAS BLACK DRAGON 01* is positioned as the inaugural work of the “DRAGON” series; its significance extends far beyond merely marking the beginning of a series, as it possesses a power that foreshadows the entire subsequent development. The “primacy of the first work”—a concept often highlighted in art history—namely the purity and irreversible tension inherent in a debut piece, is clearly evident in this work as well.

One of the most notable features of this work is the layering of paint, which consists of no fewer than 38 layers. These layers are not merely a physical accumulation; they represent the passage of time, a record of action, and function as a mechanism for generating visual depth.While each color remains distinct, they interpenetrate one another, resulting in complex and rich tones that could not be achieved by a single color alone. Although this color composition is left to chance, it ultimately achieves a high degree of harmony, blurring the boundary between the intentional and the unintentional.

In creating this work, the artist has deliberately avoided any intentional composition. Nevertheless, a clear flow and rhythm are present. This is determined by the traces of carving etched throughout the piece. These traces emerge not so much from the act of drawing as from that of carving; they destroy the surface while simultaneously revealing the interior. One senses a movement driven by a force beyond conscious control—a sort of “invisible guidance”—giving the impression that the work has generated itself autonomously.

This process stands in stark contrast to the constructivist approach found in traditional painting; rather, it should be understood as a continuous process of creation and discovery. Rather than receiving a finished image, the viewer re-experiences the traces of time and action that have settled deep within the layers. In this sense, this work is not only a visual art but also possesses a strong aspect of time-based art.

The fact that, at the time of its creation, the artist felt that “it would take a considerable amount of time to produce a work that surpasses this” speaks to the high standard this piece has achieved. This is not merely self-assessment, but rather an intuitive recognition of the work’s inherent density and irreversibility. Indeed, while this piece marks the starting point of the series, it already exhibits a sense of fulfillment that is close to a finished form.

《CANVAS BLACK DRAGON 01》 successfully integrates opposing elements—such as chance and necessity, destruction and creation, and individual will and invisible forces—on a higher plane. As such, this work serves as both the origin of the “DRAGON” series and a symbolic embodiment of its overall vision, occupying a position of great artistic significance.

CANVAS BLACK DRAGON 01

This work is the first piece in the “DRAGON” series. Its significance goes beyond simply marking the beginning of a series; it embodies an intensity that foreshadows the entire trajectory that follows. As is often noted in art history, the “primacy of the first work”—the purity and irreversible tension inherent in an initial expression—is distinctly present here.

One of the most remarkable aspects of this piece lies in its 38 meticulously layered strata of paint. These layers are not merely a physical accumulation, but a sedimentation of time, a record of action, and a mechanism for creating visual depth. Each color retains its individuality while simultaneously blending with the others, resulting in a complexity and richness that cannot be achieved with a single hue. Although left partly to chance, this chromatic structure ultimately achieves a high degree of harmony, blurring the line between intention and accident.

In creating this work, the artist deliberately avoided a predetermined composition. Yet, a clear sense of flow and rhythm emerges. This is largely defined by the traces of carving that traverse the surface. These marks arise not from the act of painting, but from the act of removal—excavating rather than applying—simultaneously disrupting the surface while revealing what lies beneath. Within this process, one senses a force beyond conscious control, a kind of unseen guidance, giving the impression that the work has generated itself autonomously.

Such a process differs from the constructivist tendencies of traditional painting and is best understood as a continuous interplay of creation and discovery. The viewer does not simply encounter a finished image, but instead retraces the layers of time and the traces of action embedded within it. In this sense, the work exists not only as visual art, but also as a form of temporal art.

At the time of its creation, the artist felt that surpassing this work would require a considerable amount of time—a statement that speaks to the exceptional level it had already attained. This is not merely a self-assessment, but an intuitive recognition of the work’s depth and irreversibility. Indeed, despite being the starting point of the series, it already conveys a sense of near-completion.

By embracing opposing forces—chance and necessity, destruction and creation, individual will and invisible guidance—the work succeeds in integrating them on a higher plane. As such, it stands not only as the origin of the “DRAGON” series, but also as a symbolic distillation of the series as a whole, occupying a position of profound importance within the realm of contemporary art.