[Gemstone]-Drawings & Sculpture
2010
Jong-ro Gallery, Seoul, Korea
접근
원석/gemstone
가공하지 않은 원석은 보석이 되어 지기 전의 자연석이다.
“보석이 되어 지기 전의 자연석”이라는 의미에 초점을 맞추어 작품을 하고자 한다.
금속으로 만들어진 원석
원석은 가공되어지기를 기다린다.
그러나 가공하지 않은. 그렇기에 의미가 있는 원석
원석의 이미지 차용.
때로는 빛이 나는 원석
상품이 아닌 원석
작가에게 있어서 보석(jewel/gem)의 의미
허영과 사치의 용품, 과시, 소유욕의 파생물, 물질적 가치(the faustian value), 견고한 물질성(solid materiality)
인간의 심리적 측면에서, 강렬한 욕구를 수반하는 것들은, 대개 항상 아름답지만은 않은 것이다. 그러나 많은 이유로 인간은 그에 이끌리고 있다.
한편 인간은 문학적 혹은 예술적 입장에서 일상을 대하며, “보석같은”이라는 표현을 한다.
아름답고 소중하다는 뜻이다. 꽃, 나비, 무지개...등의 표현은 허상처럼 사라지는 불분명한 시간적 개념을 뜻하기도 하는데, ‘보석’은 항구 불변의 몸체를 갖고 있기도 하다.
풀이
정형화된 symmetry의 모습으로 존재하는 상품으로써의 모습에서 달리 가보도록 한다.
결코 같은 형태의 면(面)이 없는 비정형의 다면체-다면체는 gemstone(원석)과 보석 사이의 비교적 친절한 연결 코드로 삼는다.
여러 모습으로 가공된(부식, 광택, 또 다른 표면처리 방법...) 여러 종류의 금속판들은 이후 가공 불가(작가 기준)의 절대치의 모습으로 원석과 보석 사이에서 정의를 내린다.
금속으로 만들어진 원석
원석을 다루어 만듦에 carving이 아닌 attaching-깎기가 아닌 붙이기
원석은 가공되어지기를 기다린다.
그러나 가공하지 않은. 그렇기에 의미가 있는 원석
판재(7mm이하)로 만들어졌기에, 더 이상 깎아 들어갈 수 없는 의미론적인 모순이 있다.
비정형, 다각형의 면체(面體)들이 이룬 입방체는 그 형태에서, 자연의 숨결을 담고 있어야한다.
원석을 다루어 만듦에 carving이 아닌 attaching-깎기가 아닌 붙이기
원석은 가공되어지기를 기다린다.
그러나 가공하지 않은. 그렇기에 의미가 있는 원석
판재(7mm이하)로 만들어졌기에, 더 이상 깎아 들어갈 수 없는 의미론적인 모순이 있다.
비정형, 다각형의 면체(面體)들이 이룬 입방체는 그 형태에서, 자연의 숨결을 담고 있어야한다.
2010, 작가노트 중
Manif 06
2006
Hangaram Art Museum, Seoul, Korea
The scene
2005
Noam Gallery, Seoul, Korea
***
Lyricism
I take the way of life in which the portion of thinking is larger than acting. Though the hunger or thirst of the life makes me act inconsistently sometimes, people say that is also myself, soon I notice it is not me. Therefore I recently rather admit that the weight of thinking is heavier than acting and live with it.
Meanwhile, the sentiments from seventeen to eighteen constructed my basic mind, which strengthen itself even more: meaning, there is not any critical change in my root of thinking.
What I feel serious is always emerging from a certain covering, still it comes with the outlook of lyricism.
Lyricism
I take the way of life in which the portion of thinking is larger than acting. Though the hunger or thirst of the life makes me act inconsistently sometimes, people say that is also myself, soon I notice it is not me. Therefore I recently rather admit that the weight of thinking is heavier than acting and live with it.
Meanwhile, the sentiments from seventeen to eighteen constructed my basic mind, which strengthen itself even more: meaning, there is not any critical change in my root of thinking.
What I feel serious is always emerging from a certain covering, still it comes with the outlook of lyricism.
Materiality
The reason I was interest in sculpture was for its existential meaning and for I was strongly attracted by the play of sensation that the materiality of work offered. Then... what I felt interested has been already old code. In spite of that, there is everlasting curiosity in me to know the materiality still now, together with the obsolete method of figure.
The reason I was interest in sculpture was for its existential meaning and for I was strongly attracted by the play of sensation that the materiality of work offered. Then... what I felt interested has been already old code. In spite of that, there is everlasting curiosity in me to know the materiality still now, together with the obsolete method of figure.
Sensibility
I do not know my sensibility is how different with whom in what sense. Sensibility is one of the most understanding parts of constituting myself and it to my work.
Among the parts constituting myself, sensibility is the most understanding factor between me and my work. Once getting tired of it, just like playing games, I made my work without any sensibility as possible as I can. Now I look back it was totally unuseful toil that I voluntarily chose.
I do not know my sensibility is how different with whom in what sense. Sensibility is one of the most understanding parts of constituting myself and it to my work.
Among the parts constituting myself, sensibility is the most understanding factor between me and my work. Once getting tired of it, just like playing games, I made my work without any sensibility as possible as I can. Now I look back it was totally unuseful toil that I voluntarily chose.
Landscape-Scene
What I intended in using "landscape-scene" is for its strong factor of scenery it depicts. With the combination of works made from several plastic methods, they project somewhat different scenes. And they become scenes of time presentness and various approaching method, which project each different situation from each different perspective.
It may confuse the viewer that the show is a group exhibition. This is a way of playing. All that dealing with the figures, with the minimal forms-most of them are rectangular of metal partly cut or hammered, and with the direct plaster modeling, wood, object, I am showing a mess. Because I want show a series of scenes through such a certain confusion.
What I intended in using "landscape-scene" is for its strong factor of scenery it depicts. With the combination of works made from several plastic methods, they project somewhat different scenes. And they become scenes of time presentness and various approaching method, which project each different situation from each different perspective.
It may confuse the viewer that the show is a group exhibition. This is a way of playing. All that dealing with the figures, with the minimal forms-most of them are rectangular of metal partly cut or hammered, and with the direct plaster modeling, wood, object, I am showing a mess. Because I want show a series of scenes through such a certain confusion.
--Quoted from all around notes of the artist.
