In my artistic practice, writing and painting intertwine in an integrated manner. When developing a narrative, the story simultaneously emerges in images, with each form of expression influencing the other. In this creative process, writing and painting mutually envision one another, stitching together metaphors. Between the story and the painting, there is no emphasis on sequentiality; instead, the approach is non-linear, fragmented, and permeable to both the narrative of the story and the imagination of the viewer. Just as in life, where our certainties are constructed from scattered fragments and silent gaps, the viewer composes their own interpretation from the voids and the parts revealed to them. My navigation between the languages of literature and painting seeks a synthesis—an expression that suggests or invites an intuition of the multiplicity of senses inhabiting silence.
The notion of silence is central to my artistic research. For me, silence is not merely the absence of sound but a layer of hidden meanings that permeate my visual and literary narratives. It is the interval, a pause between words and images, a space for reflection where the viewer is invited to create new senses.
In the expository graphic tales, silence is symbolically presented in the tension between what is said and what is left unsaid, allowing for multiple and open interpretations.
The fragmented use of sequential narrative in my works also evokes the notion of silence found in Japanese artistic traditions, such as Ma, where empty space is an active part of the composition, offering breaths and pauses that are as significant as the filled sections. I value in painting the fragments and absent moments in the tale, which contribute to what can be imagined from it—and vice versa. In the conception of the works and the arrangement of the exhibition, I seek to reflect these notions. The appreciation of silence, through the fragmentation of the tale into visual elements, allows the viewer to fill the "void" with their own interpretations and feelings.
In my master's dissertation, I aimed to demonstrate how the intervals between the frames of graphic novels uniquely explore this pause, this instance rich with senses. While the intersection of different languages in the visual arts is increasingly explored, the specific combination of writing and painting in my work challenges the conventions of how visual art and literature can interact, incorporating literature as an essential part of the visual experience.