SNAP-CRACK

Snap–Crack examines painting as a labor-based process rather than an aesthetic outcome. The work transforms painting into a repetitive, mechanical drawing act, rooted in the artist's firsthand experience of factory labor and industrial production. Gesture is stripped of expressivity and replaced by automated movement, turning the hand into a functional tool within a rigid system. Painting here operates as a temporal document, recording duration, fatigue, and bodily presence rather than visual pleasure. Time becomes the primary medium: extended, monotonous, and materially inscribed through accumulation and repetition. The repeated motif loses individuality, echoing industrial seriality and the anonymity of the working body. Within this controlled structure, minor deviations—errors, exhaustion, interruptions—emerge as traces of human vulnerability. The work foregrounds labor as "living labor," embedding spent energy and working time directly into the surface. By refusing correction, refinement, or completion, the process exposes the anti-idealist conditions of production. Snap–Crack ultimately positions painting as evidence of work performed, where value arises not from image but from labor itself.