“As we co-exist with unpredictable complexities in our everyday life, my art making process sustains me to encapsulate the hybrids that have assisted me for many years. These accumulated particles are utterly wrought through the chronic basis of my entire life. They seem randomly constructed and never appear to be related to one another. I am totally composed of these diminutive irreplaceable pieces that are irregularly mingled. These erratic elements and the physical dilemma of mine have been obvious resources in manipulating my sensibility, which now allows me to perceive and detect these daily complexities. I expend the momentary images from daily accidents to convey my aesthetic notions. They are impacts and/or revelations, which have always been some sort of sparking plug for my inspiration. These transitional afterimages are completely stilled in time, frozen in anecdotal ways for my art making process. I am not interested in approaching these hybrids with “Collage” form of physically visible procedures. I’d rather chase them in the company of drastic and highly mastered formal treatments. Therefore, my paintings are equally juxtaposed with daily life in the formal aspect. I pursue revealing the metaphysics of natural phenomena. I use fine marks, not necessarily for constructing shapes or describing the plasticity of the image depicted, but to discard illusionary characteristics. I do not trick the process of my work with smudged illusions that are decorated by some intensities of chroma. In other words, I do not have any intention of manipulating paints or the surface of picture planes to create a rich painterly fantasy. I direct my brush marks to dissect the substance of the subject matter. So they are distributed by particles of hues, implied equality, and applied by other formal commands for their necessities. These marks may be conceptual, but to me it is narrative calligraphy.