Black and White were the basic elements to recognize my art world. While the black color stressed the shade of the painting, the white color stressed the light. The Chinese ink, with all its unlimited potentials in creating all grades of black, its technicalities in creating the thinnest lines using a radiograph pen, is capable of having an integrated expression in the painting.

I felt I am not only drawing, but at the same time weaving the surface of the painting with this ink that is best described as a noble material, and the pen that is best described as an obedient tool, in a way that ink is integrated with paper.

In my previous exhibition, the adventure has begun. Color, using Chinese ink and the quill pen, started to sneak slightly to limited light areas in the painting. With its varied beams, which differ based on the nature of the element; light began to crave diverse colors, in some areas.

In this exhibition, color becomes inevitable. It dominates expressions of light. The white color alone becomes incapable of expressing, entirely, the light value in the painting. Hence, color becomes my assistant to achieve this.

Work starts while putting into consideration black and white as the two basic elements in the skeleton. The painting is also concluded with black and white. After the skeleton is done, the turn of color comes. The painting starts over, anew, based on thinking in color. Color spreads over the light area in the painting, and it is sometimes mixed with shaded areas when needed.

In this tripartite relation, black, white and color integrate to achieve assimilation. White, the still element in the painting, is a principal element to recognize the light value, even with the existence of color which stresses the same value. Meanwhile, black stresses the balance between shade and light.

I hope that a new dimension is introduced to this art experience through having color embraced by black and white as a third element.