Min gravitates toward subjects that emphasize the vertical and the immersive: towering eucalypts seen from below, dense rainforest canopies, and expansive vistas from elevated viewpoints. His work conveys a direct engagement with place and an interest in how light transforms the familiar into something vivid and heightened.
Min has exhibited at The Other Art Fair in Sydney and Melbourne.
About Min's Process
What media do you work with, and why have you chosen them?
I primarily work with watercolour, oil paint, and gouache. Each offers something different that I love.
Watercolour is unforgiving – it’s hard to control and demands precision, especially in detailed areas. Sometimes it can surprise you and those happy accidents can turn out better than anything I could have planned.
Oil is the opposite: it stays wet for days, so I can keep manipulating, layering, and refining. I also love its flexibility – I can thin it down to behave almost like watercolour or build it up into thick, textured surfaces.
Gouache sits beautifully in the middle – it gives me some of the fluidity of watercolour with more control and opacity. Having all three lets me move between transparency, texture, and speed depending on what the piece needs.
How does your artwork get from initial concept to exhibition stage?
It starts the moment I take the photograph. When I’m in a place, framing the shot, I’m already composing the painting – the bones of the piece are decided there.
Back in the studio I do a lot of studying before I ever touch paint: pencil sketches, value studies, sometimes 15–20 minutes just staring at the photo to understand the light and spatial relationships. Only then do I commit to the actual painting.
Once I’m working, the process is layered and slow. With oils especially, I keep going back in, adjusting, refining. Truthfully, a piece is never really finished – I could tweak forever. At some point I just have to sign it and say “enough.” That signature is my way of forcing myself to stop and let the painting go out into the world.
Tell us a little more about your creative working environment?
I work from a studio in my home, which I love. The light is beautiful – soft and even for most of the day – and being at home means I can paint whenever inspiration hits, morning or midnight. My cat is almost always with me, keeping me company (or walking across wet paintings when I’m not looking). It’s quiet, comfortable, and completely mine, so I can spread out sketches, test palettes, and let works-in-progress live on the walls for weeks without interruption. Having everything in one place blurs the line between life and work in the best possible way.