Today, we live in a "flat world" where all information is laid out equivalently. In the past, the "lack of depth" in traditional Japanese painting and subculture was brilliantly defined by Takashi Murakami as the concept of "Superflat," bringing a new perspective to the global art scene. While paying homage to the profound exploration of that great predecessor, I pose a question: the reality we face is not a simple plane. It is, in fact, a "multilayered parallel world" where countless possibilities and different dimensions overlap, emerging as a single reality.
I have named this state "Parallelflat."
Parallelflat is a worldview in which conflicting elements—tradition and modernity, science and spirit, destruction and preservation—coexist with equal value, without negating one another. As quantum mechanics suggests, the universe is an overlap of countless parallel worlds, and it is only through the act of "observation" that it is fixed into a single reality (Flat).
In my work, this act of "observation" is "prayer."
The continuously flowing scales of the dragon are the quantum waves with discontinuous continuity, the trajectory of energy piercing through multilayered dimensions. I reconstruct traditional techniques as a vessel for modern thought, fixing the invisible "fluctuations" of the universe onto the flat surface of the canvas.
I was once an artist who painted dragons. As I painted, I explored "what is a dragon?" from every conceivable angle. Why does an invisible entity so deeply captivate people and become ingrained in society across various fields? When I stripped away all the concepts of "dragon" that everyone had attached, what remained was pure energy: "fluctuation," "flow," "connection," "superposition." This is an "architecture of prayer" for us to find essential harmony in a complexly intertwined modern society. When standing before the work, the viewer also becomes an observer, connecting to a serene and universal "sanctuary" deep within the overlapping dimensions.