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The artworks from the late 1980s to early 1990s, a critical turning point in the artist’s career, are often referred to as zigzag Ecriture. The artist started using hanji, Korean traditional paper, more actively for his paintings after thorough experiments of the material. He begins with attaching patches made up of small pieces of layered hanji onto the canvas and keeps drawing lines with a pencil while the surface of the canvas is still wet. The interaction between hanji and the pencil leaves marks or traces of the journey on the canvas made by the pencil. During this process, hanji gets manipulated or torn by the movement of the pencil. The small pieces of hanji permeate into the canvas in all directions in the form of irregular pattern or regular pattern with rhythm. “I have a soft spot for this particular work. I was working on this painting until the early hours of the morning and ended up leaving it unfinished after seeing off my sons to school. To this day, I regret not having completed the painting. I had an opportunity to have this unfinished painting exhibited at the White Cube gallery in London and later sent it off to a new owner with rather mixed feelings.”