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Vision is often treated as a neutral faculty—something natural, given, and universal. My practice begins by questioning this assumption.

 

I approach vision as a historically and institutionally constructed regime, shaped by training, conventions, and power. What we see, and how we see, is never innocent; it is organized long before perception takes place.

 

Through painting, I bring into collision different visual regimes that are usually kept separate: pre-modern Japanese modes of representation and modern Western cinematic vision. Rather than synthesizing them into a new style, I use their friction to expose the conditions under which vision becomes normalized.

 

I call this inquiry The Third Visual Regime—not as a fixed theory, but as an ongoing investigation into how vision operates, stabilizes itself, and can be made unstable again through painting.