<shadowless> ; Works with no frontality nor faces. They penetrate through the "creeping pieces" that are mere "surfaces" with no thickness that are innumerably seen among my works. Those installations retain not much thickness nor height when they are installed on walls or even floors. They are, in a perspective, resistant treatments to defy being individual sculptures that pursue "lopsided attention" by being more three-dimensional. However, the artistic operation of the not-at-all fixated work-holding no such disposable body nor sculptural entity just like a ghost- that has already filtered through artistic values or concepts such as plasticity nor uniqueness, is not emitted by the artistic object itself or contained within. It only gains certain "fields" created by primary connections and affections from time to time. In short, it means that we cannot only experience the conditions(differences) set by the karma system called "temporality" nor keep it open that way.

<artless> ; Forms of deviation that are more of a trial and error type. The concept stands for rather technique-less works. Wills of expression with no personality that resist spontaneous identity Non-subjective wills of creation. Working condition-rhythms with no unity nor consistency, reciprocal forms or irresponsible arrangements with random forms of time with no development showing its time or era. Installations without definite forms. Objects existing with no necessity. Or even hidden or not revealed enough forms of exhibitions with insufficient exterior. Forms of exhibitions that are capable of being parasitic on any places therefore whoever could design and furthermore neglecting their viewers.

<mindless> ; Anachronic and anarchistic gestures of deviation, exclusion of active narratives or description based on subjective point of view, will of art that could be named as "the anonymous individuality with holding no personality". They refract and transfigure my subject and triggers senses that could move on to become anything. Impersonal senses, the other side of the concept, or a-conceptive ideas and motions. Experimenting with potentials of heterogeneous ways of thoughts that inevitably resist social issues and myths. A secretive intention dreaming of the encounter with other's senses going against the subjective point of view.
Often, my works precede the control of the intention and concept hidden behind their birth. They flip themselves over to become works with somewhat new intentions-opportunities that cannot be controlled by my consciousness. Formation of works that defy the very ground of the works themselves.

-- However, the classification of my works' concepts mentioned above is only significant because of the fun the process holds. In reality, they are already involved with or influence each other.

As medicines and foods with expiration dates, I hereby state that my works too, have expiration dates. I was deeply worried that for how long artworks should be respected of their value and significance. In my perspective, artworks today should start on the realization understanding that it will not receive constant attention. Not only that, even for the most superb works of art, the permanent reign in public spaces is already nothing but an empowerment and a tyranny. Whether the value is evaluated in art historic sense or art-market-wise, it is a totally differenct factor from the power that draws out the artistic affection of its times. Artworks too, just like foods, maintains us through our time but could be an already rotten emotions. I do not deny that they hold their value as an antique, but I think that the artistic function of art nowadays is far from antique values.
Artists nowadays should no longer feel honored just by their works preserved in museums like monuments. Rather, as more museums hold his or her works, the artist should realize that they suppress and play the role of obstacles to those new and innocent sensitivities that are facing new relations. (The underlined sentence is quoted from the essay in <Space> where the author proposed the concept "art-ecology".)

the other keywords of my works
- earrings they become when put on ears/ noserings they become when put on noses.
- Whatever we do this way/Whatever we do that way.
- struggles against the consistency without consistency.
- Bugs in winter/Plants in summer; cordyceps
- here/there, nowhere/anywhere, wherever,
- mimicery after/befer the mimics
- looks Like .., as if ...,
- toxication
- camoufragy
- zebra pattern
- meta-sculpture, meta-pattern, meta-form/meta-mind,
- para-site, para-logy,
- de-veloping/en-veloping
- temporality
- horizontality