Thinking of the things that cannot be grasped. Such as waves, winds, and the passing of times. Facing the problem of understanding and even possessing the virtual, I count with my fingers and unfold them. Then, through the sympathetic eyes of today, I quietly gaze at the picture screen of the painting as caringly embracing our skins.
It is only the mind that moves when we encounter a motionless painting. Sensation invariably priors logic. It comes from unfamiliarity created by overall encounters of time, memory, sound, and sense of touch that are captured within the skins of the painting. Is it compassions of human beings with physical bodies that motivate us to discover the seemingly touchable virtuality or to witness the truth of illusion upon a single surface of painting? If a duty was given to paintings, it would be to render invisible forces visible. This transparent force is only capably sensed upon a wavefield; the body. The material of the force that starts from the painter’s body and returns to the viewer’s body can be converted into various forms through a special medium; painting. Within this journey stands the paint and brush. The scale of the canvas and studio, the temperature and humidity of the day all participate. Past events, current feelings, and imaginations about the near future are all implied within.
Excerpt from “Skins” | Miran Park (Curator, Exhibition Director at Hakgojae Gallery)
 Gill Deleuze, Francis Bacon: the logic of sensation, trans. Daniel W. Smith (London & New York: Contiuum, 2003), pp. 56-57