Across the Faces of War series and Multiplicity of Self, I approach the human figure as an archetypal structure—one that exists beyond the individual and operates within a shared psychological field. Rather than depicting specific people, these works investigate recurring patterns of identity, conflict, and interior division that resonate across cultures and histories. The figures emerge not as portraits in the traditional sense, but as embodiments of enduring human conditions.
These works are grounded in ideas associated with Carl Jung, particularly his concept of the archetype as a universal psychic pattern. In Faces of War, the figure can be understood as a manifestation of the Warrior archetype—an enduring symbol of protection, conflict, and sacrifice. In Multiplicity of Self, the imagery aligns more closely with Jung’s notions of the Shadow and the fragmented psyche, where identity is shaped by both conscious and unconscious forces. The paintings do not illustrate these ideas directly but instead create conditions through which they can be experienced perceptually.
Art historically, the work draws from multiple traditions. The fractured surfaces and shifting viewpoints recall aspects of Pablo Picasso and Cubism, where the figure is broken apart and reassembled to suggest simultaneous perspectives. At the same time, the use of discrete color units connects to the optical experiments of Georges Seurat and Pointillism, in which the viewer’s eye completes the image. The grid structure introduces a modernist sensibility, echoing artists such as Chuck Close, whose portraiture similarly negotiates the tension between fragmentation and unity.
Ultimately, these paintings position the human figure as a site where perception, memory, and psychological structure converge. The mosaic becomes more than a technique; it is a conceptual framework through which the instability and coherence of identity can be explored. In both works, meaning does not reside in any single fragment, but emerges gradually through the viewer’s engagement—reflecting the way the human self is continually assembled from the dispersed elements of experience.
