I am currently working on a series of twelve panels (61 × 121 cm each) depicting mountains beneath moving clouds. Installed side by side, the panels will extend horizontally to nearly twelve meters.

​

I decided to begin this project during a recent visit to the Metropolitan Museum of Art in New York. In the Asian art galleries I encountered Landscape of the Four Seasons, attributed to Kano Chōkichi (16th century). The work (see image below)  does not present nature as a static scene. Mountains, mist, and trees emerge through variations of value rather than through contour or colour. 

​

The project is also informed more broadly by the Chinese landscape tradition, particularly the shanshui approach, in which mountains and clouds are conceived not as fixed masses but as dynamic formations, and in which emptiness functions as a structural principle rather than as absence.

​

A further reference is the Panorama Mesdag by Hendrik Willem Mesdag. Mesdag’s cylindrical panorama surrounds the viewer and dissolves the conventional boundary between image and spectator, constructing an immersive horizon in which one stands within the landscape rather than before it.

 

In both the East Asian screen tradition and Mesdag’s panorama, landscape ceases to function as a distant view; it becomes a space to be experienced spatially and perceptually.