"Blurring Lines" functions at the intersection of sculptural volume and abstract expressionism. This series is a conscious effort to liberate painting from the "four corners" of the traditional canvas and the two-dimensional surface of the wall. I treat paint not just as a medium of representation, but as a physical skin that wraps, binds, and defines three-dimensional space.
This project moves painting into the "expanded field." It is no longer a window to look at, but an object to live with. By giving the painting legs and weight, I am exploring how color can occupy a room, interact with light, and assert its own physical presence. It is a celebration of the raw, tactile power of the medium, pushed beyond the flat canvas into a tangible, architectural reality.
When does a painting stop being a picture and start being a place? By transforming the wall-bound canvas into a free-standing monolith, the work bridges the gap between the lyrical abstraction and the rugged, industrial materiality of contemporary sculpture. It is an exploration of color as a physical substance—raw, heavy, and undeniably present in the viewer’s space.
