Unit 2 Documentation:


detail in process
Sweet Trap, 30 x40 cm, Oil on Linen
In Unit 2, I continued exploring the theme of intimism. I focused on small, personal moments from daily life that feel emotionally important. I started working with unprimed small canvases because I wanted to show these moments in a more honest and direct way. Before, I often used photo references and tried to copy the shapes exactly. In this unit, I changed that approach. I now paint from memory and focus more on the feelings. My brushstrokes became looser, and the forms became less exact. I stopped trying to make the image look perfect. I paid more attention to the mood, light, and movement. This new way of working helped me connect more deeply with the subject.

In A-B Space


In process
It just it, We just are, 40 x50 cm, Oil on Linen
This painting of two pairs of boots marks a subtle but meaningful continuation of my exploration into shared domestic life. The work captures a quiet intimacy through something as ordinary as footwear—one pair in dark blue, the other in soft pink—positioned side by side with a strip of yellow space between them. There’s a gentle playfulness in the colour choices and the way the laces curve like loose threads of conversation. The words partially visible on the boots add a strange familiarity, almost like a whisper between two people who know each other well. I was drawn to this composition because it says something about presence without needing the figures themselves—it’s a portrait without faces. Like much of my recent work, I painted this piece without strict reference, relying more on memory and feeling. The softness of the edges and the bright, almost artificial palette lend a dreamlike quality to an otherwise grounded scene. It’s a small moment, but one that holds the quiet emotional weight of togetherness.



Reference Photo

In the process

Details
Pocker!, 20x30 cm, Oil on Linen

Shower Time, 40 x 40 cm, Oil on Linen

In A-B Space

In the Process

Studio View
For Unit 3, I plan to continue deepening my exploration of intimacy, domesticity, and the emotional weight of everyday moments. I want to push further into how memory and feeling can shape the way I paint—not just what I choose to depict, but how I approach surface, scale, and composition. In particular, I’m interested in experimenting more with installation and spatial presentation, such as integrating wall paintings or background environments that expand the narrative field of my smaller works.