Up until now, I was always playing with the idea of portraying compressed time. Only I didn't know that was what I was doing. All of my work up until now has dealt with multiple scenarios in one setting. Those which don't belong in the same timeline brought together in one plane.
I think all this stems from the my fascination with the mind. Especially, conscious thought, the subconscious, as well as the construction of memory. When recollecting an event, say, a family dinner, you may recollect specific aspects surrounding that event such as the setting, food, and whatever else, but don't just think about that dinner, other thoughts tend to invade or are occurring in tangent to that dinner. Your subconscious mind intrudes upon all conscious thought. I want to capture these intrusions.
My early work was much more immature as I couldn't exactly put my thesis into words. To make it easier, I started with existing narratives such as films. At the time, my professor described it as creating a visual novel from various sources. The idea was to displace multiple timelines and narratives to create a new narrative.
Now, I'm working on investigating my own mind and those of others around me. Richter said that he would rather not paint at all if he were to paint something unspecific. Specificity became an essential quality for my work. I'm avoiding painting anything allegorical or symbolic as I feel it cheapens the work by establishing itself as absolute, interpretable idea, to the likes of propaganda. The best images are infinitely interpretable, or better yet, don't need to be interpreted.