### Artwork Concept

This work is part of my *I Wanna See You* series, in which I portray women from different parts of the world making the same **Dharmachakra Mudra**.

In Buddhism, the Dharmachakra Mudra is a hand gesture symbolizing the Buddha teaching the Dharma—“turning the Wheel of Dharma.”

In this gesture, I have come to see an image of people exchanging words and seeking to understand one another’s worlds.

We are born in different countries, speak different languages, and grow up within different religions, cultures, and environments.

The landscapes we see, the things we believe in, and the ways we live are all different.

And yet, we belong to the same human species, living at the same time on the same planet.

What do you see, living within a world so different from mine?
What do you feel?
What causes you pain?
What do you cherish?

**I want to meet you. I want to talk with you.**

It was from this desire that the *I Wanna See You* series began.

Many years ago, my younger brother told me about a journey he had made to India. He spent an entire day sitting on the banks of the Ganges, simply watching the river.

He told me of people bathing and washing their clothes in the same river where the dead were carried away.

Along the riverbank, smoke rose into the sky from the cremation of the dead, while beside it, the everyday lives of the living continued without interruption.

I have never seen that place with my own eyes.

And yet, the scene my brother described left such a powerful impression on me that it remained in my mind for many years.

Life and death were not separated from one another, but existed side by side along the same river.

In a landscape so different from the one in which I live, what do people think and feel? How do they perceive life and death?

I wanted to meet them.
I wanted to talk with them.

The image of the Ganges that remained with me from my brother’s story eventually merged with the desire at the heart of the *I Wanna See You* series, and this work was born.

The patterns on the woman’s veil are not painted onto its surface.

To preserve the natural grain and luster of the wooden support, I developed a method inspired by textile-dyeing techniques, allowing the golden surface of the wood beneath to emerge as the lace-like pattern.

Rather than concealing the character of the wood, I wanted its own texture and light to become part of the work.

Experiments such as this continued to evolve through many years of research, eventually developing into my original technique, **Sacred Earth Painting**.