In daily life, the most intuitive potential exerted through a language translated in texts is the definition of words themselves. They are formed through respective contexts and history, and often point in different time and space. 


The artwork that is currently being developed takes form of one Chinese character painted over and over again on a canvas. In this piled-up result of the repeated handwriting (which has become inevitably unreadable), the characters/words are separated from their semantic, original orientation. 


The words are of simplified Chinese characters which by themselves are considerably symbols. Hence, by looking at symbols as images with endless interpretations, meanings are blurred to the stage of vagueness.  The semantics of the words themselves are eventually deconstructed. 


In this way, repeatedly writing has a dual purpose. Firstly, blurring and deconstructing the language as a text. Then, the performative action serves as a labour that maneuvers the construction of a ‘new’ language. The conscious repetition of the characters becomes the language, not their initial meanings.