As a painter, I diagnose contemporary theories of art as situated in a limbo state, a residue from the radical opening of the art world, the subjectivist weltanschauung, dissolutions of disciplines, and the referential dialectical construct of social compartmentalization. Employing radical defense mechanisms, the contemporary world is reducing personhood to barrier zones and identity diffusions. I aim to restore objectivity and the character of working truth to the work of art by giving ontological credence to the five-dimensional modality of consciousness and Orch OR theory’s collapse postulate, and surveying the metaphysics of the art object manifesting regional universal truth in its mereological establishments with the subject, the represented, and the artist. From the eye of the universe, when truth value and valorizations descend into subjectivism, I see aesthetics as the sole hope for an absolute that transcends the delimitation of regional borders. Yet, aesthetics is threatened by the apostasy of a priori logic and the deconstruction of disciplinary boundaries, which open its bounds and turn inwards as expressions of intention and aesthetic experience. I sympathize with the beauty amid the branches of regional truths and look beyond the scales of schisms. As my thoughts flee and as layers of oil dry, the painting paints itself, imprinting its precipitative being with autonomous freedom. Arts portray what might happen, are statements of nature and truth, and history legitimizes individual paintings of singular universals as coherent. My being is nondefinable except for existence alone, and this existence I share with all beings: a universal agentive “I”.

As our field of view elevates, the density of belief decreases. Pernicious freedom, falling into nihilism, evokes a force of solastalgia to recover clarity and identification, implemented through the progressive displacement of social consciousness. The dissolution of self does not stem from being a point on an empty canvas, but from the process of dynamic self-expansion: one realizes that one cannot judge, delimit, or fill the unbounded infinity. As aesthetics shifted from a priori structure of belief to a dynamic, sensuous experience, art historical theories and works of art took aesthetics in a vertiginously accelerating direction of deconstruction, transforming the fundamental and illegible aura into an organized mystification. The death of art, when art is situated in a world constructed by language and science, is predicated on treating art as an expressive, descriptive, or representative work whose media is no longer satisfactory to the aesthetic experience the conceptually constructed world is familiar with, but in returning art to its objechood with direct stipulative intuition, the essence and the power of truth of art is restored to its existential dimension in resonance with the human conscious. Auras of individual artworks, as wavefunction fields, are vessels of tabula rasa, allowing for conceptual multitude as intercessors of compartmentalized standard of knowledge, psychological echoes, and the reconstruction of art history in modernity, after the mobility and agency of individual artists replace periodic categorization. 

My theory of painting as a double collapsed image reveals to us the manifestations of the subject, the represented, and the painting’s true being through the artist’s conscious intention in consecrating their relationships. The physical collapse is founded upon the absolute existence of the physical painting, embodying the nature of materiality and the particular lineage. The conscious collapse undergoes an orchestrated objective reduction process, retroactively objectifying the relational truth as a counterpart to five-dimensional consciousness, as documented by the process of painting, which illuminates the essence of the subject through the artist’s existence. Zooming into the macroscopic level, the only tangible access to existence is ontological manifestation, and painting is the essential activity that embodies both creation and consciousness. This regionally culminated universality encompasses subsets of specific scales and urgencies, as a perpetual triumph over nihilism entailed by solipsism. By challenging codified valorizations, geographic and cultural stipulations, and the presumed totality of sensuous experience, my works encapsulate the objecthood of art: reharmonize the language about art within the rhizomatic contemporary mental habits. 

The will of my work is to rejoin objectivity back to the work of art, awaken to us that the attempts at re-mystification reacting to the dialectical paradigm of theories and the rampant chaotic purification of infused meanings is indeed a veil of maya beneath which the abyss between personal limits of the manifested body and the ever-expanding potentiality of consciousness, organic spirit, rhizomatic multiplicity, and a consolidation of the existences that peer us alienates a unifying mental habit from our core being. The artist must tear off the façade of reconstructed configurations of the concept of art, renounce permissions to formalized valorizations with never-ceasing antithesis, and conciliate individual truths whose subjects are the bifurcating, achronological, nonhierarchical, recomposed connections between aesthetics and life.

The microscopic objectification is embodied by painting as a dynamic field of potentialities that reveals multiple interpretations and categorizations. Organic pigments in my oil and mineral paintings resist digital reduction; their breath, aura, and additive process renew with each viewer’s movement. The consecrated relationship between form, materiality, and being anchors its essence. Collapse, the entangled wavefunction that records collective historicity, is laid down as painterly tactility, embodying the organic forms and sensuous thoughts. My surfaces mediate flow and density, opacity and luminosity, portraying the reality that consciousness collapses. Painting embodies the objectified manifestation of reality through conscious collapse as a self-sustaining objective ground of truth, one that my paintings invite others upon.

A painting fills the existentially entrenched anxiety of a self-confirming completeness of existence, beyond ownership or propositions of self, as an object of regional universal truth of reality and potentialities that peers us ontologically. It faithfully unveils its origin of natural chance, material nature, and freeplay of the mind; its form appeals to phenomenological humanistic universality, born from primal emotion, manifesting concrete existence of the subject and portraying the represented’s essence with accuracy, harmony, and the characters of work and breath, overcoming propositions, enriched by contrasts, novelty, and synthesizing worldly disseminated perspectives, embodying kunstwollen, the self-justifying union of art and life, the intentional recurrence of alienation and mystification by abstraction, and the dionysian retrieverance of potentiality and possibilities. A painting is an absolute, and by leading it credence, art is the light to reconcile the fallibility of communication, displacement of self, and dialectically looping subjective schisms to a transcendental, objective ground of reality.