I pay attention to the process ins which the experiences objects form random places each become landscape paintings. Before they become landscapes, I observe the individual layers and make drawings of them repetitively. In other words, from scenes which had been defined into objects or scenes that were moved by physical changes into each of the divided pictures.
This is a process of studying in mass quantity, preparing or embodying a single painting which will become an original piece of work. In the method of relationship in between the place where it becomes the source of the landscape and the observer, the process of removing layers rather than creating them on canvas is more important.
The process of removing the laters from a scene means that one must analyse every single layer in which a certain landscape structure possesses. It means that it rejects two-dimensional observation. It does not merely cease from the problem of seeing, but the scene coexists with me and it id discovering the social value existing in every single objects in it. In the end, the sensual experience of the landscape for painting must experience repetitively the many layers of time that is in it.
I just paint what was experienced physically from within the place. It is because it is an object and a scene which by themselves already possess the value of age.