Since the 19th century, the discovery of non-Euclidean geometry has had a major impact on the modernization of society. Among them is projective geometry, which has long been developed in the history of Western painting as linear perspective. However, the high scientific breakthrough brought about by this new geometry has gradually separated science and art from each other beyond the realm of what can be considered as art. The fact that modern society is built on this scientific achievement is deeply related to the fact that, from a certain point in time, it became difficult for painting to demonstrate its social validity.
If the history of painting had followed the path of highly abstract theories such as topology, Riemannian geometry, and noncommutative geometry, which started from projective geometry with the discovery of non-Euclidean geometry, would contemporary art really be the same as it is today?

"Painting is the art of dimensional manipulation, of capturing a higher dimensional space on a two-dimensional plane."

By redefining painting as that, I hope to connect it with contemporary scientific theory, which has not been fully captured by conventional theories of painting.

In this solo exhibition, with the cooperation of mathematicians, I will attempt to create new landscape paintings that topologically copy onto a two-dimensional picture plane the high-dimensional natural phenomena envisioned by the most advanced theories.
In other words, I would like to present a new model of beauty in which the laws of proportion, which have been closely related to natural forms such as the golden ratio, the √2 ratio, and the harmonic ratio, and which have defined beauty since ancient times, are cohabited on the picture plane using modern mathematical methods.
I hope that this series of creations will serve as a foundation to open the way for a new theory of painting as a new system of knowledge.