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HOME 전국문화 글로벌유망대표작가 300선
글로벌유망작가 300선(5), 서정민 작가 선정서정민의 작품은 회화가 멈춘 곳에서 시작되었다.

업코리아는(upkorea) 한국 작가를 세계에 알리고 한국의 예술 애호가들에게 뛰어난 유망 대표 작가들의 작품을 알리기 위하여 “글로벌 유망 대표작가 300선”을 매년 기획하여 작가를 소개한다. 그해에 선정되지 아니한 작가는 대표가 아니며 작가 선정은 (사)한국현대문화미술협회, 글로벌아트리더조직위원회, (주)비전코리아29 미옥션삼현갤러리 국제자문위원회의 추천을 받아 진행한다.    

선정된 작가는 세계 230개 국가의 국립미술관 박물관에 작품을 소장할 수 있도록 자료를 제공한다. 세계 500위 안에 있는 화랑과 유망 대표 작가를 연결하여 작품을 널리 알린다. 세계 언론사와 협력하여 유망대표작가의 작품을 세계예술 애호가들에게 소개한다.  

   
▲ 업코리아선정 글로벌유망작가 300선에 선정된 서정민 화가 ⓒ업코리아

서정민의 작품은 회화가 멈춘 곳에서 시작되었다. 그의 초기 회화는 그가 살았던 남해 풍경이었으나 지금 그의 작품은 붓도 물감도 풍경도 없이 오롯이 종이의 결만 남았다. 그는 자신의 회화가 더 이상 탈주할 수 없는 곳에서 붓을 던졌다. 그 대신 한지를 선택했다. 파지나 휴지가 된 한지를 모아 곱게 편 뒤 둥글게 말아서 오리고 잘라낸 종이뭉치 토막들은 다시 그의 붓이 되고 물감이 되었다. 종이뭉치는 빈틈없이 접어 풀을 바른 것이라 단단하기가마른 나무에 버금가는데, 그의 치밀하고 집요한 정신이 가장 먼저 느껴지는 부분이다. 토막으로 잘라 낸 것은 다시 세로로 반원을 잘라 쓰기도 하지만 비스듬히 사선으로 잘라 쓰기도 한다. 우리는 그 종이가 본래 서예나 문인화에 쓰였던 것임을 찾아볼 수도 있다. 먹의 농담과 채색의 흔적들이 잘려진 단면에서 쉽게 발견할 수 있으니까.

   
▲ 작품명 : out of mind (서정민 작가)    ⓒ업코리아

개념적 평면의 구축 ; 구체적 현실의 개념적 직조

수없이 쓰이고 그려졌던 종이들은 그것이 미완이든 초벌이든 혹은 실패작이든 상관없이 하나의 서화(書畵) 즉 작품이었다는 것인데, 그는 작품이 되지 못한 그것들을 마치 본래의 원형질인 나무로 재생시키듯 둥근 종이뭉치로 말아서 사용한다. 나무가 흩어져 종이가 되고, 종이가 흩어져 나무가 되는 이 순환의 고리는 서정민의 작품을 이해하는 첫 번째 단초일 것이다. 나무에서 종이로, 종이에서 나무로 오는 과정은 말처럼 단순하지 않다. 나무는, 특히 한지의 재료가 되는 닥나무는 껍질을 주로 쓰는데, 물에 삶아서 표백하고 잘게 부수어 한 장씩 떠내 말린다. 그 종이에 누군가의 글과 그림이 더해진다. 그러나 그 중에서 작품이 된 것은 극히 일부일 터. 서정민 이 이곳저곳에서 수거한 버려진 작품들은 그렇게 미학이 되지 못한 오류와 착오의 실체들이다. 그는 오류와 착오의 개념을 잘게 부순 뒤 뭉치토막이라는 새로운 오브제로 전환하여 미학화 함으로써 이질적이나 결코 낯설지 않은 ‘개념적 평면’을 완성했다.

그의 ‘개념적 평면’은 누군가의 글과 그림이었던 작품(실재. 구체적 진실)이 종이뭉치가 된 뒤 절단되어 뭉치토막이라는 오브제(개념)가 된 것에서 정의될 수 있다. 본래의 한 성질이 무수한 재료가 되어 추상에 가까운 오브제로 전환됨으로써 본래의 성질은 온데간데없고, 오직 오브제인 개념과 그것들이 이어 붙어 형성된 평면 이미지만 남게 되었다는 것. 그가 회화를 그만 두게 된 것도 이와 같은 개념적 전이현상으로 독해할 수 있을 것이다. 그는 시각적 사실로서, 색채의 구체적 인식을 화면에 투영할 수 있는 풍경화를 오랫동안 그려왔으나 그의 작품은 결코 새로운 예술의 비등점을 형성할 수 없었다. 그것은 또한 그 자신의 새로운 예술에 대한 목마름일 수 있었다. 결국 그는 종이뭉치를 선택함으로써 비등점에 오르지 못한 풍경화(혹은 회화)의 실재성을 낱낱이 쪼개어 흩어지게 할 수 있었다. 그리고 그 흩어진 종이를 다시 화면에 개념적으로 재구축하여, 풍경화가 성취하지 못한 구체적인 현실을 드디어 성취할 수 있었다. 이것은 분명히 역설일 수 있다. 그러니까 구체적 현실로서의 풍경은 객관적인 진리라 할 수 있다. 그런데 그는 그런 객관적 진리(구체적 현실로서의 풍경화)를 해체하여 주관화함으로서 미학적 진리란 오직 작가적 주관성(개념적 평면-개념으로서의 풍경)에 의해 결정된다는 것을 보여준다. 주관적 진리야말로 가장 구체적인 현실이란 얘기. 그러므로 그의 개념적 평면은 풍경화보다역설적으로 더 현실적이라 할 수 있는 것이다.

 

   
▲ 작품명 : shouting(서정민 작가)    ⓒ업코리아

 

확장형 구조 ; 하나의 결에서 무한으로

그는 뭉치토막들을 평면에 집합적 형식으로 부착함으로써 다양한 구조의 평면을 만들어 내고 있다. 위에서 아래로 차곡차곡 붙여 내려온 세로형 결, 지층을 올리듯 쌓은 가로형 결, 둥근 단면이 드러난 밀집형 결, 둥근 원의 방사형 결, 두 개의 지각이 충돌한 맞배형 결, 단층형 결, 휘몰이 결, 그 외에도 수없이 다양한 구조의 결들을 보여주고 있는 것인데, 그 결이 어떻게 형성되고 배치되는가에 따라 <함성>이 되고 <소리의 흔적>이 되며, <바람>이 되고 <달>이 된다. 뿐만 아니라 그것들은 <윤회>나 음과 양, 공간, 무심(無心)과 같은 다소 철학적 개념조차도 형상화하고 있다. 이렇게 볼 때 그의 결들은 작품명이 하나의 명제로 작동하는 것이 아니라 결의 집합과정에서 또는 집합 후 그의 심상에 떠 올랐던 이미지의 풍경을 작품명으로 명명하는 것이 아닌가, 생각된다.

그의 작품들은 뭉치토막이 형성하는 결이 무한으로 확장될 수 있는 ‘확장형 구조’를 취하는 특징이 있다. 만약 캔버스 화면이라는 평면구조의 제한이 없다면, 그의 작품은 크기와 무관하게 하나의 결을 이루며 지속적으로 성장하게 될 것이다. <소리의 흔적>을 예로 들자. 일정한 크기의 토막을 가로형 결로 이어 붙여 쌓은 이 작품은 그 밖을 상상하는 것이 결코 어렵지 않다. 결의 상상은 캔버스 크기의 제한점을 쉽게 월경해 버리는 것이다. 캔버스의 크기가 ‘소리의 흔적’을 제한하고 있는 것이 아닌 것이다. 그것은 다만 어느 한 순간의 크기, 즉 캔버스 크기에 멈춰 있을 따름이다. 멀리서 보면, 소리의 흔적은 다만 하나의 결로 보인다. 더 멀리서 보면, 작은 선과 회색빛이 만들어 낸 평면일 뿐이고. 지극히 작은 두께의 결을 쌓아 올렸으나 상상에 따라 그 크기는 천리가 될 수도 있고, 우주가 될 수도 있다는 것을 그의 작품은 보여준다. <달>이란 작품도 다르지 않다. 그의 달은 무수히 많은 결들이 응집한 결의 집합이다. 그 결의 크기를 판의 크기로 보는 것은 편협한 시각적 인식일 따름이다. 달은 우주의 결과 더불어 형성되었고, 그의 작품도 그렇게 확장형 결로 완성되었다.

유연하게, 물컹하게, 자유롭게 열려있는 가능성의 세계가 바로 현 단계 서정민의 작품세계일지 모른다. 그럼에도 불구하고 우리는 그의 개념적 평면들이 발산하는 언어와 소리에 귀 기울여야 할 것이다. 그의 세계는 결국 사람과 자연, 하늘과 땅, 그리고 그것들을 한데로 아우르는 하나의 이치에 집중하고 있기 때문이다. 즉 그의 주관이 보여주는 어떤 진리의 이미지를 통해 우리는 그동안 우리가 잊고 있었던, 혹은 상실해 버렸던 세계와 조우할 수도 있을 것이기 때문이다.  

 

<300 Leading Artists with Global Prospects>

Artist Angie Suh Jeong-Mim has been selected as No. ‘0027-1161’   

 

In order to introduce Korean artists to the world as well as to inform art collectors in Korea of the outstanding paintings of those promising painters, ‘UpKorea’ organizes the project “300 Leading Artists with Global Prospects” every year. Only those who’ve been chosen for the year are ‘the leading artists’ and the selection is made on the recommendations of (사)한국현대문화미술협회, 글로벌아트리더조직위원회, (주)비전코리아29, and ‘International Organizing Committee at Mi-Auction Samhyun Gallery’.   

 

For the selected artists :

1. We provide a wide range of data on National Art Museums of 230

countries across the world to help their works on display.

2. We introduce ‘those chosen’ to the 500-largest galleries in the world

for publicity.

3. We, in collaboration with the foreign media, introduce the paintings

of ‘those chosen’ to many art lovers throughout the world.   

 

Suh Jeong-Mims work begins from the place where painting ceases to exist. While his early painting featured scenes of Namhae, brush marks, watercolors, and landscapes are absent from his recent work. Present is only grain, present in paper pieces. He gave up painting when it restricted escape. He then chose hanji - traditional Korean paper. Tiny paper rolls, made with waste hanji, become his brush and paint. As they are tightly rolled, they are hard as wood: Suhs meticulous, tenacious spirit is here. He uses these rolls, cutting them in half or obliquely. And as the paper in the rolls was originally used for calligraphy and literati painting, they leave traces of ink-wash and color.

The construction of the conceptual plane: the weave of concrete reality

The paper-pieces Suh uses were used in calligraphy or paintings, finished or unfinished, successful or failures. Suh uses the pieces by rolling them into tinywooden cylindrical chips. And the cycle - from wood to paper and vice versa - is key to understanding Suhs work, however difficult it is to grasp. Hanji is made from the inner bark of Paper Mulberry, which is cut into pieces, boiled, and bleached. Paintings and calligraphic works are then rendered on this paper. Abandoned pieces of this Suh collects are from works that failed to show a specific aesthetics. He gathered these and transformed them into extremely tiny paper lumps, completing a conceptual plane His conceptual plane is made with paper lumps cut from the paper which was painting and calligraphy.

Suh Jeong-Mim felt a thirst for new art, so quit landscape painting, through which he reflected his concrete perception of color. He shattered the substantiality of landscape painting by using tiny paper rolls as his medium. He made a conceptual reconstruction with these, attaining a concrete reality unattainable through landscape painting. But, a landscape painting as concrete reality can be considered an objective truth. To this, Suh shows aesthetic truth depends on an artists subjectivity, through the deconstruction and subjectification of objective truth, so any subjective truth can be a concrete reality. This conceptual plane of his is thus more realistic than landscape painting.

Expansive structure: from a grain to infinity

Suh creates grain structures of great diversity by putting tiny paper rolls on a plane surface. These structures appear horizontal, vertical, round, radial, clustered, faulted, or whirling. They seem to shout, mark sound, wind, or the moon. The grains are waves of wind, land, and water. He also represents philosophical concepts with them, such as reincarnation, yin and yang, space, and the absence of desire. To these the titles of each work appear as afterthoughts, not preconceptions.

His work is characteristically in an expansive structure in which grains shaped by tiny paper lumps expand infinitely, so the grains can grow and expand limitlessly. If there is no limit in its size, his work may grow consistently, forming grains. The Traces of Sound shows a grain structure in paper rolls arranged horizontally. The grains can transcend the limit of the canvas; the structures are not confined by the canvas ? they just stop expandingwithin its boundary. From a distance this work looks like simply grain, or a plane made up of small lines and gray color. It appears tremendously thin too, even infinite, eventually becoming a universe. The Moon is similar to this: an aggregation of innumerable grains, composed of infinitely expanding grains, like the universe. 

 

Suhs art world is flexible, open, liberal, suggesting possibilities; we must note the words and sounds his conceptual plane emits, because his work highlights the law encompassing man and nature, heaven and earth. Through truthful images his subjectivity presents are encounters with a world forgot, or lost.

 

Tradition Formed Anew: The Art of SuhJeong-Min

By Michael Anderson 

 

The artwork of Suh Jeong-Min employs the timeless structures of geometry while simultaneously pursuing an idiosyncratic aesthetic that combines cultural references with unusual formal techniques. These elegant and somewhat imposing works are neither painting nor sculpture, yet have properties of both, and extend recent trends in art such as the privileging of material and the use of language into new territory. For some viewers, Suh’s artwork will arouse curiosity about Korean culture through its attractive, tactile surfaces, while others more familiar with hismaterials will find themselves rediscovering these materials in new and unexpected ways. 

Suhbuilds up each artwork through an accumulation of discrete units of paper rolled into tubes or overlaid so that they resemble thin blocks of wood. Eachone contains so many individual paper scraps compressed together that when they are cut by him their ends resemble the horizontal cross section of the trunk of a cut-down tree with its annual rings. These are affixed to the support by Suh with a rice-based glue in either a fairly ordered way, or more randomly to create specific visual effects. He cuts each piece by hand, eschewing machinery for the intentional imprecision of the personal touch.  

The paper Suhuses is called hanji, and is made from the inner bark of Mulberry trees. This paper is usually formed into laminated sheets that are pounded to compact the wood fibers, giving it great resilience and durability. The world’s oldest surviving wood block print, the Buddhist "Pure Light Dharani Sutra," which is Korea's National Treasure No. 126, was printed on hanji in c. 704 and is still in good condition. Hanji is so sturdy that it was used to make furniture such as cabinets and trays, and as a window covering.   

As a craft unique to Korea, hanji is considered integral to the culture,and so its use by artists can be considered an acknowledgment of this traditional craft, albeit in a distinctly non-craft way. Its use also shows how an aspect of culture long superseded by technological changes can continue in a transformation from the commonplace to the exceptional through an artist’s innovative methods.  

In earlier works on paper Suhused graphite to build up geometric shapes in varying densities, and has retained this compositional device in the wall pieces. From afar, the overall geometry and patterns within them, made by the arrangement of lighter and darker paper units, give some of these works the appearance of an updated take on the mandala,a schematized representation of the cosmos through a configuration of geometric shapes, here without images of deities. In other pieces Suharranges the paper units in subtle tonal shifts from light grey to grey-green or blue, or bright yellows and reds, making imagery that appears to hover just outside perception, like distant galaxies seen through a telescope, or fields of grain.   

These paper units, whether arrayed in concentric circles, set side by side in rows, or set on top of each other like hastily stacked lumber, have a dense bodily presence, and give these works, despite the lightness of the material, a visual weightiness, owing in part to their scale—many of them are the height of an average person and as wide as a picture window. While paper has the connotations of flimsiness and fragility, no such impression is given by Suh’s work—quite the opposite is true. They appear to be as solid as a building, and although made up of flexible, organic elements, are quite substantial in their final form. They command the wall in a way that causes viewers to take them in from afar as minimalist constructions before their variegated surfaces come into play.   

These artworks share the characteristic of raised surfaces with wall-relief sculpture, yet are diffusely colored and patterned, like painting. Crossing techniques of two-dimensional painting with those of three-dimensional sculpture, Suh conflates figure and ground so that form creates image. Their merger does not feel forced in this work, but rather natural in the sense that he is true to the nature of the material.   

On closer inspection, the individual units of rolled and compressed paper give the work a density and presence unlike a typical painting, and command the eye with their teeming mass and detail. The surface abounds with tiny variations in tone and texture, rewarding a prolonged interaction. Even the edges of the paper units, cut on the diagonal or through a block, show infinitesimal variety. The ink that can be seen bleeding through the paper on the incised edges of the rolled-up tubes hint at the contents within, causing the viewer to wonder at their hidden messages.   

It is in the unseen core of the paper units that Suh’s artwork generates its unique properties, for each scrap of paper comes from other artists’discards. Traditional calligraphy and literati ink paintings on paper scrolls are cut up to make the paper units, and so their origin as artworks in their own right is subsumed into Suh work, like individuals gathered into a society.   

Suhcompresses these multitudes of creations, the fits and starts, warm-up exercises and failed attempts, scrawls of ink that seemed important at the time, only later to be found lacking, into these rolls of cut paper, making their origins unrecognizable and anonymous, while preserving them and even celebrating their collective authors. Rather than being seen as wasted efforts, the castoffs Suh has gathered to make his work become a sort of informal collaboration among peers.   

He seems to acknowledge this implicit collaboration in the piece titled "A Forest of Writing,"in which the ends of the paper tubes are seen tightly packed together, where the title suggests a profusion of language hidden from view, crowded into a sort of archive. The title also echoes a line in the poem "Correspondences" by the poet and critic Charles Baudelaire: "Man passes through forests of symbols,"ones that the artist is more responsive to than others are. This work, like the others, presents a topography of the structural relationship among artists in the cumulative effect of all these individual paper pieces, each an artwork in itself, pressed into a sort of survey of artistic endeavor.  

One can then see in the ink stains and irregular pigmentation in this work a re-working of traditional Asian painting to bring it into the modernist practice of forefronting materials with minimal change to their characteristics. What appears to be a severance from Asian painting in Suh’s work is instead a continuity of the practice in a new guise, renewed and updated by switching from images created by brushing ink onto paper, to the paper itself, along with its incidental marks and colors, creating an overall form and image.   

Again, Suh blurs the distinctions between painting and sculpture with these pieces, in keeping with the pervasiveness of multimedia in contemporary art, yet the captivating surface of each work ultimately derives its formal power by packing in countless pieces of paper marked up in keeping with an ancient mode of art making.  

While some Western artists have used accumulations of pre-made or found material in their work, such as Arman and John Chamberlin, Suh differs from them in choosing the paper scrolls, which arise from traditionalAsian artistic practices, as well as being handmade rather than manufactured. Another key difference is that Suh’s work does not stem from popular culture per se, but from the deeper currents of traditional culture made relevant to a contemporary audiencethrough a transformation of materials, as mentioned earlier.   

The edges of some of Suh’s works have readable snippets of hangeul, the Korean language, suggesting signage or captions, although they probably function more as abstract forms placed randomly.Viewers not familiar with the language might be interested to know that hangeul is a phonetic script, rather than a logographic one in the case of written Chinese, and can be printed both horizontally and vertically. It too, along with the type of paper it appears on in Suh’s work, is indigenous to Koreaand reinforces the uniqueness of these pieces in relation to the milieu in which they were made. 

In other pieces, the paper, rather than being tightly rolled or stacked, is layered in stacks or shaped into massive rolls, suggesting modern printing presses and the industrial uses of paper, although Suh maintains the allusion to scroll painting by adding a wash of ink around them that bleeds into the canvas support.  

Suh has also continued to use graphite in more recent works, this time not for making drawings, as was mentioned earlier, but in wall pieces with apertures in them that contain dozens of colorful pencil stubs spilling out onto a thickly applied graphite field. These playful works allude to their own making by including the tools that created their dense, dark grey surfaces. The square and rectangular openings holding the pencils echo the similar geometric shapes found in his other works.   

Prior to making the constructions with hanji paper Suh painted landscapes in an area of the Korean countryside where communities still live in traditional-styled homes, called hanok in Korean. Seen from above clustered together, these homes, with their distinctive colored-tile roofs, are rendered as nearly abstract horizontal bands that cut across the composition in his paintings. The choice of imagery indicates Suh’s attraction to traditional culture while already hinting at the shift toward abstraction he would make in the more recent artworks.   

In Suh’s artwork one can sense an attentiveness to time-honored practices in Asian art, particularly the craft of papermaking in Korea and scroll painting, along with an innovative approach to these practices that distills their material essence. Traditions that havebeen marginalized by the onward rush of technological progress are given a privileged status for contemporary viewers, a new relevance that might have seemed unattainable before. Suh presents aspects of Korean culture in a non-historicized, vital way in artwork that extends the formal possibilities of contemporary art.     

[Michael Anderson is an artist and curator who has written extensively for publications in the U.S. such as Art in America and Art Issues, as well as international magazines and journals.] 

 

<グローバルな有望な代表作家300選>

の作家 Suh Jeong-Mim 0027-1161号に選ばれている  

UPKOREAは、韓国の作家を世界に知らせ、韓国の芸術愛好家に優れた有望な代表作家たちの作品を発表するために<グローバルな有望な代表作家300選>を毎年企画して作家を紹介する。介するその年に選定されていない作家は代表ではなく、作家の選定は、

(社)韓国現代文化美術協会、世界的なアートのリーダー組織委員会、(株)VISIONKOREA29 MEAUCTION SAMHYUN GAULIIY 国際諮問委員会の推薦を受けて進行する。 

 

選定された作家は!

1. 世界230カ国の国立美術館博物館への作品を所蔵するためにデータを提供する。

2. 世界500位の中にあるギャラリーや有望な代表作家を接続して、作品を広く発表する。

3. 世界の報道機関と協力して、有望な代表作家の作品を世界の芸術愛好家たちに紹介する 

ソジョンミンの作品は、会話が止まったところで始まった。彼の初期の絵画は、彼が住んでいた南海の風景だったが、現在彼の作品はブトド絵の具でも風景でもなく、ひっそりと、紙のギョルマン残った。彼は自分の会話がこれ以上タルジュハルできない場所でも筆を投げた。その代わりかどうかを選択した。パジナ紙くずになったかどうかを集めてきれい編後、丸く巻いてカットし切り抜いた紙の束の断片は、再び彼の筆がされて塗料となっている。紙の束はきっちりまとめてプールを正しいものと堅いが乾燥した木に匹敵するが、彼の緻密で執拗な精神が最初に感じら​​れる部分だ。切り身にカットしたのは[縦]に半円を切って使ったりもしますが斜めに斜めに切って使ったりもする。私たちは、その紙が本来ソイェナ文人画に使われたものであることを調べることもできる。墨の濃淡や彩色の痕跡が不完全な切り口で簡単に見つけることができるから。

概念的な平面の構築、具体的現実の概念織り

数えきれない程使われて描かれた紙は、それが未完でもチョボルでも、あるいは失敗作かに関係なく、一つの書画(书畵)つまり作品であったのだが、彼の作品がされていない、それをあたかも本来のウォンヒョンジルイン木に再生させるように円形の紙の束に巻いて使用します。木々が散らばって紙になり、紙が散らばって木になる、この循環の輪はソジョンミンの作品を理解する最初のダンチョイルのだ。木から紙で、紙から木へのプロセスは、言葉のように単純ではない。木は、特に韓紙の原料となるコウゾの皮を主に使うが、水にゆでて漂白し、細かく砕いて一枚ずつトネ乾燥する。その紙に誰かの文と絵が加わる。しかし、その中で作品になったのはごく一部はず。ソジョンミンは、あちこちで回収した捨てられた作品は、そのような美学がされていないエラーやミスの実体だ。彼は、エラーとエラーの概念を細かく砕いた後、束の断片と呼ばれる新しいオブジェに切り替えてミハクファすることで、異質なも決して不慣れではない、"概念的な平面"を完成させた。

彼の"概念的な平面"は、誰かの文と絵だった作品(実在。具体的真実)は、紙の束になった後、切断され、束の切り身というオブジェ(概念)となったことから定義することができる。本来のある性質が無数の材料になって抽象的に近いオブジェに切り替えることにより、本来の性質は陰も形もなく、ただオブジェーン概念と、それが続いてついて形成された平面画像が残ることになったとのこと。彼が絵画をつぶすのも、このような概念的な転移現象にドクヘハルことができるだろう。彼は視覚的な事実として、色彩の具体的な認識を画面に投影する風景画を長くグリョワトが、彼の作品は、決して新しい芸術の沸点を形成することができなかった。それはまた彼自身の新しい芸術のモクマルムイルことができた。結局、彼は紙の束を選択することで、沸点に上がることができない風景画(もしくは会話)の実在性を一つ一つ分けて分散してしまいすることができる。そして、その散らばった紙を画面上に概念的に再構築し、風景画が達成していない具体的な現実をついに達成することができた。これは明らかにヨクソルイルすることができる。だから、具体的現実としての風景は、客観的なジンリラすることができる。ところが彼はそんな客観的真理(具体的な現実としての風景画)を解体し、主観化することで、美学的ジンリランただ作家的主観性(概念上の平面 - 概念としての風景)によって決定されることを示しています。主観的真理こそ、最も具体的な現実とは話しています。そのため、彼の概念上の平面は、風景画よりも逆説的に、より現実的といえるのである。

拡張可能な構造、一つのDataSocket接続から無限に

彼は束の切り身を平面上に集合的な形式に付着することで、様々な構造の平面を作り出している。上から下に着々とつけてきた縦型シューティング、地層をオルリドゥト積んだ横型結果、丸い断面が明らかになったミルジプヒョン結果、丸い円のレーダーチャート結果、二つの認識が衝突したマトベヒョン結果、ダンチュンヒョン結果、フィモルイ結果、そのほかにも数えきれないほど様々な構造のギョルドゥルウル見せているのに、その表面がどのように形成され、配置かによって"叫び声"になって"音の跡"になり、"風"になって<月>となる。だけでなく、それは"輪廻"や陰と陽、スペース、無心(无心)のような、やや哲学的な概念でさえも、形象化している。このように見るときに彼のギョルドゥルウン作品名が一つの命題として機能するのではなく、決議セット時や設定後の彼のイメージに浮かんで上がった画像の風景を作品名に命名しているのではないか、と思われる。

彼の作品は束の切り身が形成される表面が無限に拡大することができる"拡張可能な構造"をとる特徴がある。もし、キャンバスの画面という平面構造の制限がない場合は、彼の作品は、サイズとは無関係に一つの接続を成し、持続的に成長することになるだろう。 <音の痕跡"を例にあげよう。一定の大きさの切り身を横長結露つないで積んだ、この作品は、それ以外を想像することは決して難しくない。決議想像はキャンバスのサイズの限界を容易に越境してしまうのである。キャンバスのサイズが、"音の痕跡"を制限しているのではないのだ。それはちょうどある瞬間の大きさ、すなわち、キャンバスのサイズに止まっているのである。遠くから見ると、音の跡は、ただ一つの結露だ。より遠くから見ると、小さな線と灰色が作り上げたピョンミョンイルだけだし。極めて小さな厚さの接続を積んで上げたが想像するに、その大きさは、千里になることもあり、宇宙になることもあることを彼の作品は示しています。 <月>という作品でも変わらない。彼の月は、無数のギョルドゥルイ凝集した決意のセットです。その決意のサイズを板の大きさで見ることは、偏狭な視覚的なインシクイルだけだ。月は宇宙の結果を加えて形成され、彼の作品にもそのように拡張性の結露完成された。 

しなやかに、ムルコンハゲ、自由に開いている可能性の世界がまさに現段階ソジョンミンの作品の世界かもしれない。それにもかかわらず、我々は、彼の概念上の平面が発散している言語と声に耳を傾けなければならないだろう。彼の世界は結局、人と自然、天と地、そしてそれらを一点で一緒に一つの理に集中しているからだ。つまり、彼の主観が示すいくつかの真理のイメージを介して、我々はこれまで、我々が忘れていた、あるいは喪失してしまったの世界と遭遇することもあるからだ。

이승욱 기자  kuroop@naver.com

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