โ€‹๊น€ ์„ฑ ํ˜ธ Kim Sung Ho

Volume ville

Volume ville

32X32cm, oil on canvas, 2017

Volume Ville

Volume Ville

100X100cm, oil on canvas, 2019

Volume ville

Volume ville

80X80cm, oil on canvas, 2019

Volume ville

Volume ville

80X80cm, oil on canvas, 2019

Plastic Garden

Plastic Garden

116.8X91.0cm, oil on canvas, 2017

Mirage

Mirage

32X32cm, oil on canvas, 2018

Plastic Garden

Plastic Garden

100X100cm, oil on canvas, 2017

< ๊น€์„ฑํ˜ธ ์ž‘๊ฐ€ ํ‰๋ก  >

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๊น€์„ฑํ˜ธ์˜ ๋ณผ๋ฅจ ํƒ€์›Œ - ๊ทธ์˜ ๋ฆฌ์–ผ๋ฆฌ์ฆ˜์€ ์–ด๋–ค ํƒœ๋„๋ฅผ ์š”ํ•˜๋Š”๊ฐ€?

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์ด๋Œ€ํ˜• LEE Daehyung

(Hzone๋Œ€ํ‘œ, ํ˜„๋Œ€์ž๋™์ฐจ์•„ํŠธ๋””๋ ‰ํ„ฐ,

2017๋ฒ ๋‹ˆ์Šค๋น„์—”๋‚ ๋ ˆ ํ•œ๊ตญ๊ด€๊ฐ๋…)

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 ํด๋กœ์ฆˆ์—…์€ ๋””ํ…Œ์ผ์„ ๋“œ๋Ÿฌ๋‚ด์ง€๋งŒ ํ™”๋ฉด ๋ฐ–์˜ ๋Œ€์ƒ์„ ๊ฒฐ๊ณผ์ ์œผ๋กœ ๊ฐ์ถฐ๋ฒ„๋ฆฌ๋Š” ์šฐ๋ฅผ ๋ฒ”ํ•œ๋‹ค. ํ™”๋ฉด ์† ๋Œ€์ƒ์˜ ์ด‰๊ฐ, ์ƒ‰์ƒ, ํ˜•ํƒœ ๋“ฑ ๋ฌผ๋ฆฌ์ ์ธ ์†์„ฑ์€ ์„ธ๋ฐ€ํ•˜๊ฒŒ ๋ฌ˜์‚ฌํ•˜์ง€๋งŒ, ๊ทธ๋กœ ์ธํ•ด ์žฅ์†Œ, ์‹œ๊ฐ„, ๊ทœ๋ชจ ๋“ฑ ๋งฅ๋ฝ์ ์ธ ์†์„ฑ์€ ํ”„๋ ˆ์ž„ ๋ฐ–์œผ๋กœ ๋ฐ€๋ ค๋‚˜ ์‹ค์ฒด๊ฐ€ ์™œ๊ณก๋  ์ˆ˜ ์žˆ๋‹ค. ์‹ค๋ฃจ์—ฃ์ด ์ž˜๋ ค๋‚˜๊ฐ€๊ณ  ๋ชธํ†ต๋งŒ ํ™•๋Œ€๋˜์–ด ๋ฌ˜์‚ฌ๋œ ๋Œ€์ƒ์€ ์„ ๋ช…ํ•˜๊ฒŒ ๋ˆˆ์•ž์— ํ˜•ํƒœ๋ฅผ ๋“œ๋Ÿฌ๋‚ธ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด์ง€๋งŒ, ์‚ฌ์‹ค์€ ์‹ค์ฒด์˜ ์ „ํ›„ ๊ด€๊ณ„๋ฅผ ๊ฐ์ถ”๋Š” ์ผ์ข…์˜ ํŠธ๋ฆญ๊ณผ๋„ ๊ฐ™๋‹ค. ๋งฅ๋ฝ์€ ์‚ฌ๋ผ์ง€๊ณ  ๊ฑฐ๋Œ€ํ•˜๊ฒŒ ํ™•๋Œ€๋œ ๋ฌผ๋ฆฌ์  ์†์„ฑ๊ณผ ๋Œ€๋ฉดํ•œ ๊ด€๊ฐ์€ ์ถ”์ธก๊ณผ ๊ฒฝํ—˜์— ์˜์กดํ•ด ์ž˜๋ ค๋‚˜๊ฐ„ ํ”„๋ ˆ์ž„ ๋ฐ–์˜ ๋ฌธ๋งฅ์„ ์ƒ์ƒํ•ด ๋ณผ ์ˆ˜ ๋ฐ–์— ์—†๋‹ค. ์ด์ฒ˜๋Ÿผ ๋งฅ๋ฝ์„ ์ง€์›Œ๋ฒ„๋ฆฐ ํด๋กœ์ฆˆ์—…์€ ๋” ์ด์ƒ ๋…ผ๋ฆฌ์ ์ธ ์ผ์ƒ์ด ์•„๋‹Œ ์ƒ์ง•์œผ๋กœ ๊ธฐ๋Šฅํ•˜๊ฒŒ ๋œ๋‹ค. ๋ฏธ์ˆ ์„œ์ ์„ ์Œ“์•„ ์˜ฌ๋ ค ํ™”๋ฉด์„ ๊ณผ์žฅ๋˜๊ฒŒ ๊ฐ€๋“ ์ฑ„์šฐ๊ณ  ์žˆ๋Š” ๊น€์„ฑํ˜ธ์˜ ์ตœ๊ทผ ์ž‘์—… <๋ณผ๋ฅจ ํƒ€์›Œ>์‹œ๋ฆฌ์ฆˆ ์—ญ์‹œ ๋งฅ๋ฝ์„ ์ง€์›Œ๋ฒ„๋ฆฐ ํด๋กœ์ฆˆ์—…์œผ๋กœ ์‹œ์ž‘ํ•œ๋‹ค. ๊ทธ์˜ ์ด ๊ฐ™์€ ์˜๋„์ ์ธ ๊ณผ์žฅ๊ณผ ์ž˜๋ผ๋‚ด๊ธฐ๊ฐ€ ์–ด๋–ค ์ƒ์ง•์„ ๋งŒ๋“ค์–ด ๋‚ด๊ณ  ์žˆ๋Š” ๊ฒƒ์€ ์•„๋‹๊นŒ? 

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๋ชจ๋ฆฌ์ง€์˜ค ์นดํ…”๋ž€ (Maurizio Cattelan)์˜ 1999๋…„์ž‘ 'la nona ora'๋Š” ๋‹จ์ˆœํžˆ ํ˜„์‹ค์„ ์‚ฌ์‹ค์ ์œผ๋กœ ๋ฌ˜์‚ฌํ•œ ์ž‘ํ’ˆ์ด ์•„๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์„ ๋ฐ”๋ผ๋ณด๋Š” ๋น„ํŒ์ ์ธ ์‹œ๊ฐ์„ ๊ฐœ๋…์ ์œผ๋กœ ์–ด๋–ป๊ฒŒ ๋ณด์—ฌ์ค„ ๊ฒƒ์ธ๊ฐ€์˜ ์ „๋žต์ด ๋‹๋ณด์ธ ์ž‘ํ’ˆ์ด๋‹ค. ํ˜„์‹ค์„ ๋˜‘๊ฐ™์ด ๋ฌ˜์‚ฌํ•˜๋Š” ๊ธฐ๋ฒ•์ ์ธ ์™„์„ฑ๋„๋ฅผ ์˜๋ฏธํ–ˆ๋˜ ๋ฆฌ์–ผ๋ฆฌ์ฆ˜์˜ ์ „ํ†ต์ ์ธ ์ •์˜๊ฐ€ ํ˜„๋Œ€๋ฏธ์ˆ ๋กœ ์˜ค๋ฉด์„œ ์–ผ๋งˆ๋งŒํผ ์ˆจ๊ฒจ์ง„ ํ˜„์‹ค์„ ์ž˜ ๋“œ๋Ÿฌ๋‚ผ ๊ฒƒ์ธ๊ฐ€์˜ ๋ฌธ์ œ๋กœ ๊ทธ ์˜๋ฏธ์˜ ์™ธ์—ฐ์ด ๋„“์–ด์ง€๊ณ  ์žˆ๋‹ค. ํ˜„์‹ค์„ ์‹œ๊ฐ์ ์œผ๋กœ ์ถฉ์‹คํ•˜๊ฒŒ ์žฌํ˜„ํ•˜๋Š” ์ˆ˜๋‹จ์ธ ๋ฆฌ์–ผ๋ฆฌ์ฆ˜์ด ์ž‘๊ฐ€์˜ ์˜๋„์— ๋”ฐ๋ผ ์•„์ด๋Ÿฌ๋‹ˆ์™€ ํ’์ž๊ฐ€ ๋˜์–ด ์ œ๋„ํ™”๋œ ์‹œ๊ฐ์˜ˆ์ˆ ์˜ ๊ฐ€์น˜ ์‹œ์Šคํ…œ์„ ๊ณต๊ฒฉํ•˜๊ณ  ๊ทธ ํ•œ๊ณ„๋ฅผ ๋“œ๋Ÿฌ๋‚ด๋Š” ํ‘œํ˜„๋ฐฉ๋ฒ•์ด ๋œ๋‹ค. ๊น€์„ฑํ˜ธ์˜ ์ž‘ํ’ˆ์—์„œ ์ œ์ผ ๋จผ์ € ๋“ค์–ด์˜ค๋Š” ์ด๋ฏธ์ง€๋Š” ์ˆ˜๋ถ์ด ์Œ“์ธ ๋ฏธ์ˆ ๊ด€๋ จ ์ฑ…๋“ค์ด๋‹ค. ์„œ์–‘ ๊ฑฐ์žฅ๋“ค์˜ ํ™”์ง‘, ๋ฏธ์ˆ ์‚ฌ ์›์„œ๋“ค, ์˜๋ฌธ ์ œ๋ชฉ๊ณผ ํ•œ๋ฌธ ์ œ๋ชฉ, ํ‘œ์ง€๋งˆ์ € ์–‘์žฅ์ธ ๋‘๊บผ์šด ๋ฏธ์ˆ ์‚ฌ์ฑ…๊นŒ์ง€ ์ „๋ถ€ ๋ฏธ์ˆ ๊ด€๋ จ ์ฑ…๋“ค์„ ์Œ“์•„ ์˜ฌ๋ ธ๋‹ค. ๊ทธ ๋†’์ด๋ฅผ ์•Œ ์ˆ˜ ์—†์„ ๋งŒํผ ํ™”๋ฉด์„ ๊ฐ€๋“ ์ฑ„์› ๋‹ค. ์Ÿ์•„์ ธ ๋‚ด๋ฆด๋“ฏํ•œ ํ™”๋ฉด์€ ์œ„์••์ ์ด๋‹ค. 

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๊น€์„ฑํ˜ธ๊ฐ€ ๋ฏธ์ˆ ๊ด€๋ จ ์ฑ…์„ ์„ ํƒํ•œ ์ด์œ ๋Š” ์ด ๊ฐ™์€ ํ™”๋ฉด ๊ตฌ์„ฑ์„ ํ†ตํ•ด ๋”์šฑ ๋ช…๋ฐฑํ•ด์ง„๋‹ค. ๊ทธ๊ฐ€ ๊ทธ๋ฆฐ ์ฑ…๋“ค์€ ์ฒ ์ €ํ•˜๊ฒŒ ์ œ๋ชฉ๋งŒ ๋…ธ์ถœํ•  ๋ฟ ๊ทธ ์•ˆ์˜ ๋‚ด์šฉ์€ ๋…ธ์ถœํ•˜์ง€ ์•Š๋Š”๋‹ค. ๊ทธ๋ž˜์„œ์ผ๊นŒ? ๊น€์„ฑํ˜ธ์˜ ์ž‘ํ’ˆ์€ ์ผ์ข…์˜ ํŒŒ๋ผ๋…์Šค ์œ„์— ์Œ“์•„ ์˜ฌ๋ฆฐ ํƒ‘์„ ์—ฐ์ƒ์‹œํ‚จ๋‹ค. ๊ท ํ˜•์„ ์žก๊ธฐ ์œ„ํ•ด, ๋ฌด๋„ˆ์ง€์ง€ ์•Š๊ธฐ ์œ„ํ•ด ๊ณผ์žฅ๋˜๊ฒŒ ๋ถ€ํ”ผ๋ฅผ ํ‚ค์šฐ๊ณ , ์“ฐ๋Ÿฌ์งˆ ๊ณต๊ฐ„๊นŒ์ง€ ํ™”๋ฉด์—์„œ ์ง€์›Œ๋ฒ„๋ฆด ๋งŒํผ ๊ฐ€๋“ ์Œ“์•„ ์˜ฌ๋ฆฐ ์  ๊ฐ€(jenga)ํƒ‘ ๋ง์ด๋‹ค. ์›ํ–ˆ๋“  ์›์น˜ ์•Š์•˜๋“  ๊ทธ๊ฐ€ ๋งŒ๋“ค์–ด๋‚ธ ํŒŒ๋ผ๋…์Šค๋Š” ๋‘ ๊ฐ€์ง€ ์‚ฌํšŒํ˜„์ƒ ์œ„์— ๊ธฐ์ƒํ•  ์ˆ˜ ๋ฐ–์— ์—†๋‹ค. ํ•˜๋‚˜๋Š” ๋ฏธ์ˆ ๊ต์œก๊ณผ ํ˜„์‹ค ์‚ฌ์ด์˜ ๋ชจ์ˆœ ํ˜น์€ ์–ต์••์˜ ๊ธฐ์ œ์ด๊ณ , ๋‹ค๋ฅธ ํ•˜๋‚˜๋Š” ์ด๋ฏธ์ง€์˜ ๊ณผ์žฅ์„ ์กฐ์žฅํ•˜๋Š” ํ˜„๋Œ€ ์‚ฌํšŒ๊ฐ€ ๋‚ณ์€ ์‹œ๊ฐ์˜ˆ์ˆ  ๊ฐ€์น˜ ์‹œ์Šคํ…œ์ด ์–ด๋А ๋ฐฉํ–ฅ์œผ๋กœ ํ˜๋Ÿฌ๊ฐˆ์ง€ ์•Œ๊ธฐ ์‰ฝ์ง€ ์•Š์€ ์˜ˆ์ธก๋ถˆ๊ฐ€๋Šฅ์„ฑ์ด๋‹ค. ์‹ค์ œ๋กœ ๋ฌด์—‡์ด๋“ ์ง€ ๋ถ€ํ’€๋ ค์„œ ํ‘œํ˜„ํ•ด๋ฒ„๋ฆฌ๋Š” ํ˜„๋Œ€์‚ฌํšŒ์˜ ๊ณผ์žฅ ๊ฐ•๋ฐ•์ฆ์€ ๊น€์„ฑํ˜ธ ๊ทธ๋ฆผ ์† ์ˆจ๊ฒจ์ง„ ์˜๋ฏธ๋ฅผ ์ฝ์–ด๋‚ด๋Š”๋ฐ ์ค‘์š”ํ•œ ํ‚ค์›Œ๋“œ๊ฐ€ ๋œ๋‹ค. ์ฑ…์˜ ๊ทœ๋ชจ๊ฐ€ ์ปค์งˆ ์ˆ˜๋ก, ํƒ‘์˜ ๋†’์ด๊ฐ€ ๋†’์•„์งˆ ์ˆ˜๋ก ๊ทธ๊ฒƒ์˜ ๋ถˆ์•ˆ์ •์„ฑ๊ณผ ๋ถˆํŽธํ•จ์€ ๋” ์ปค์ง€๋Š” ๊ฒƒ์ด๋‹ค. 

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์ด๋Ÿฐ ์ด์œ ๋กœ ๊น€์„ฑํ˜ธ์˜ ์ฑ… ๊ทธ๋ฆผ ์† ์ฑ…๋“ค์€ ๋‹จ์ˆœํžˆ ์ฑ…์„ ์ƒ์ง•ํ•˜๋Š” ํ˜•์‹๋ก ์œผ๋กœ ์„ค๋ช…๋˜์ง€ ์•Š๋Š”๋‹ค. ๊ทธ ์•ˆ์— ๊ฐ์ถฐ์ง„ ๊ด€๊ฐ๊ณผ์˜ ๊ต๊ฐ, ๊ฐ€์น˜์ฒด๊ณ„๋ฅผ ์•„์Šฌ์•„์Šฌํ•˜๊ฒŒ ํ•ด์ฒดํ•˜๊ณ  ์žฌ๊ตฌ์„ฑํ•˜๋Š” ํŒŒ๋ผ๋…์Šค๊ฐ€ ๊ฑฐ๋Œ€ํ•œ ์ฑ…์ด ๋งŒ๋“ค์–ด๋‚ธ ํƒ‘์œผ๋กœ ์‹œ๊ฐํ™”๋˜์—ˆ๋‹ค๊ณ  ๋ด์•ผ ํ•œ๋‹ค. ์กฐ์šฉํ•œ ํšŒํ™”์ž‘ํ’ˆ์ฒ˜๋Ÿผ ๋ณด์ด์ง€๋งŒ ๊ทธ์˜ ๊ทธ๋ฆผ์ด ๋งŒ๋“ค์–ด๋‚ธ ๋„์ƒํ•™์  ์ƒ์ง•์€ ํ˜„๋Œ€๋ฏธ์ˆ ์„ ๋ฐ”๋ผ๋ณด๋Š” ์‹œ์ ๊ณผ ๊ทธ๊ฒƒ์„ ์ƒ์‚ฐํ•ด๋‚ด๊ณ  ์žˆ๋Š” ์‹œ์Šคํ…œ, ๊ทธ๋ฆฌ๊ณ  ๊ทธ ์‹œ์Šคํ…œ์„ ์ปจํŠธ๋กค ํ•˜๊ณ  ์žˆ๋Š” ์™ธ๋ถ€์˜ ํž˜(์„œ์–‘ ๋ฏธ์ˆ ์‚ฌ)๊ณผ ๋‚ด๋ถ€์˜ ํž˜(ํ•œ๊ตญ์  ์ƒํ™ฉ๊ณผ ์ž‘๊ฐ€์˜ ๊ฐœ์ธ์  ๊ณ ๋‡Œ) ์‚ฌ์ด์˜ ๋ถˆ๊ท ํ˜•์„ ๋น„ํŒํ•œ๋‹ค. ๊ทธ๋ ‡๋‹ค๊ณ  ๊ทธ ์ž์‹ ์ด ์†ํ•ด ์žˆ๋Š” ๋ฏธ์ˆ ๊ณ„์˜ ํ˜„๋Œ€ํŒ ๋ฌธํ™”์‚ฌ๋Œ€์ฃผ์˜๋ฅผ ์ „๋ณตํ•  ์ˆ˜ ์žˆ๋‹ค๊ณ  ์ž์‹ ํ•˜์ง€๋Š” ์•Š๋Š”๋‹ค. ๋˜ํ•œ ์–ด๋–ค ๋„๋•์ , ์ด๋ฐ์˜ฌ๋กœ๊ธฐ์  ํฌ์ง€์„ ๋„ ๊ฑฐ๋ถ€ํ•œ๋‹ค. ์–ด๋–ค ์ง์ ‘์ ์ธ ํ•ด๊ฒฐ์ฑ…์„ ์ž‘ํ’ˆ ์•ˆ์—์„œ ์ œ์‹œํ•˜์ง€ ์•Š๋Š”๋‹ค. ์ž‘๊ฐ€ ์ž์‹ ์ฒ˜๋Ÿผ ๊ทธ์˜ ๊ทธ๋ฆผ์€ ์ด์•ผ๊ธฐ๋ฅผ ์‰ฝ๊ฒŒ ๋…ธ์ถœํ•˜์ง€ ์•Š๋Š”๋‹ค.  ์ž‘๊ฐ€๋Š” ๊ด€๊ฐ๋“ค์ด ๊ทธ์˜ ๊ทธ๋ฆผ์„ ๋ฐ”๋ผ๋ณด๋˜, ๊ฒฐ์ฝ” ๊ทธ์˜ ๊ทธ๋ฆผ์— ์ง€๋ฐฐ๋˜์ง€ ์•Š๊ณ , ๊ทธ๊ฐ€ ๋งŒ๋“ค์–ด๋‚ธ ๊ทธ๋ฆผ ์† ์„ธ๊ณ„์™€ ์†Œํ†ตํ•˜๊ณ  ๊ทธ ์•ˆ์—์„œ ์ž์‹ ๋งŒ์˜ ์ด์•ผ๊ธฐ๋ฅผ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์žˆ๋Š” ์—ฌ์ง€๋ฅผ ๋‚จ๊ธฐ๋Š” ๋ฐฉ๋ฒ•์„ ์„ ํƒํ•œ๋‹ค. ์žฌํ˜„๊ณผ ์ƒ์ง•, ํ˜„์‹ค๊ณผ ํ”ฝ์…˜ ์‚ฌ์ด๋ฅผ ๋ถ€์œ ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒฝํ—˜์€ ์ง์ ‘์ ์ธ ์‹œ๊ฐ์–ธ์–ด๋กœ ์–ป์„ ์ˆ˜ ์—†๋‹ค๋Š” ์ž‘๊ฐ€์˜ ๊ณ ์ง‘์ด๊ธฐ๋„ ํ•˜๋‹ค. 

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๊น€์„ฑํ˜ธ๋Š” ํ˜•์‹์ ์œผ๋กœ ํ•˜์ดํผ๋ฆฌ์–ผ๋ฆฌ์ฆ˜์ด๋ž€ ๋ฐฉ๋ฒ•๋ก ์„ ์„ ํƒํ–ˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ํ‘œ๋ฉด์„ ์–ด๋–ป๊ฒŒ ์ฒ˜๋ฆฌํ•ด ์ผ๋ฃจ์ „์„ ๋งŒ๋“ค์–ด ๋‚ผ ๊ฒƒ์ธ๊ฐ€์˜ ๋ฌธ์ œ๊ฐ€ ์•„๋‹Œ, ๊ทธ ์ผ๋ฃจ์ „์ด ์–ด๋–ป๊ฒŒ ๋ฌผ๊ฐ์ด๋ž€ ์žฌ๋ฃŒ๋ฅผ ํ†ตํ•ด ๋งค์ฒด์  ์†์„ฑ์„ ์žƒ์–ด๋ฒ„๋ฆฌ์ง€ ์•Š์„๊นŒ๋ฅผ ๊ณ ๋ฏผํ•œ๋‹ค. ํŠธ๋กฑํ”„๋ขฐ์œ (tromp l'oeil)์˜ ์‹œ๊ฐ์  ํ™˜์˜์ด ์•„๋‹Œ, ํ‘œ๋ฉด ์œ„์— ๋ง์น ๋œ ์•ˆ๋ฃŒ์˜ ๋ฌผ์„ฑ์„ ์ค‘์š”์‹œํ–ˆ๋‹ค๋Š” ์˜๋ฏธ์ด๋‹ค. ์ด๋Š” ์ด๋ฏธ์ง€์™€ ๋ฌผ์„ฑ ์‚ฌ์ด์˜ ์ƒํ˜ธ๋ณด์™„์ ์ธ ์†์„ฑ์„ ์ดํ•ดํ•˜๊ณ  ๊ทธ๊ฒƒ์„ ์ปจํŠธ๋กค ํ•  ์ˆ˜ ์žˆ๊ธฐ์— ๊ฐ€๋Šฅํ•œ ๊ฒฐ๊ณผ์ด๋‹ค. ํ™”๋ฉด ๊ตฌ์„๊นŒ์ง€๋„ ๋ˆˆ์— ๋“ค์–ด์˜ค๊ฒŒ ๋งŒ๋“ค์–ด ๋ฒ„๋ฆฌ๋Š” ์„ธ๋ฐ€ํ•œ ๋””ํ…Œ์ผ ๋ฌ˜์‚ฌ์™€, ๋ถ€๋ถ„์ด ์ „์ฒด๋กœ ๋˜ํ•œ ์ „์ฒด๊ฐ€ ๋ถ€๋ถ„์œผ๋กœ ๋น„์ถฐ์งˆ ์ˆ˜ ์žˆ๋„๋ก ๋งŒ๋“ค์–ด๋‚ด๋Š” ํ™”๋ฉด๊ตฌ์„ฑ๋งŒ์„ ๋ณด๊ณ  ๊ทธ์˜ ์ž‘ํ’ˆ์„ ์–ด๋–ค ๊ฒƒ์„ ์—ฐ์ƒ์‹œํ‚ค๋Š” ์ผ๋ฃจ์ „์œผ๋กœ ์˜ค๋…ํ•ด์„œ๋Š” ์•ˆ๋œ๋‹ค. ์ผ๋ฃจ์ „์ด ์•„๋‹Œ ๋Œ€์ƒ์„ ๋ฐ”๋ผ๋ณด๋Š” ๋ฐฉ๋ฒ•๊ณผ ์‹œ์ ์— ์ ๊ทน์ ์œผ๋กœ ๊ด€์—ฌํ•˜๊ณ  ์žˆ๋‹ค๋Š” ์‚ฌ์‹ค์„ ๊ฐ„ํŒŒํ•ด์•ผ ํ•œ๋‹ค. ๊ทธ๋Ÿฐ ์˜๋ฏธ์—์„œ ํ‘œ๋ฉด์„ ๊ด€ํ†ตํ•ด ํ‘œ๋ฉด ์•„๋ž˜์„œ๋ถ€ํ„ฐ ๋ถ“์งˆ์ด ๋ฐ€๋„์žˆ๊ฒŒ ์ถ•์ ๋˜์–ด์˜จ ์‹œ๊ฐ„์„ ๋ณผ ์ˆ˜ ์žˆ์–ด์•ผ ํ•œ๋‹ค. ํ‘œ๋ฉด ๊ด‘์ฑ„๊ฐ€ ๋งŒ๋“ค์–ด๋‚ด๋Š” ๊ธฐ๊ต ์–ด๋ฆฐ ์ผ๋ฃจ์ „์ด ์•„๋‹Œ ๊ทธ๋ฆผ์˜ ๋ผˆ๋Œ€์—์„œ ๋ฌป์–ด๋‚˜์˜ค๋Š” ํ˜•์ƒ์„ ์ฝ์–ด๋‚ด์•ผ ํ•œ๋‹ค๋Š” ๋ง์ด๋‹ค. 

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๊ทธ์˜ ์ž‘ํ’ˆ์„ ๋ฐ”๋ผ๋ณด๋ฉฐ ์ฑ…, ์ฑ…์ด๋ž€ ๋Œ€์ƒ์ด ๋†“์ธ ๋ฌธ๋งฅ, ๊ทธ๋ฆฌ๊ณ  ์ด๋“ค์„ ํ•ด์„ํ•˜๋Š” ๊ด€๊ฐ์ด๋ž€ 3์ž์˜ ๊ด€๊ณ„ ์†์—์„œ๋งŒ์ด ์˜๋ฏธ๊ฐ€ ๋งŒ๋“ค์–ด์งˆ ๊ฒƒ์ด๋ผ ์‰ฝ๊ฒŒ ๋‹จ์ •์ง€์–ด์„œ๋„ ์•ˆ ๋œ๋‹ค. ๋งฅ๋ฝ์ด ์ง€์›Œ์ง„ ๋Œ€์ƒ์€ ๋” ์ด์ƒ ์ผ์ƒ์ด ์•„๋‹Œ ์ƒ์ง•์˜ ๊ธฐ์ œ๋กœ ์ž‘๋™ํ•˜๊ฒŒ ๋œ๋‹ค. ๋ฌผ๋ฆฌ์  ์†์„ฑ๊ณผ ๋งฅ๋ฝ์  ์†์„ฑ์˜ ์—ฐ๊ฒฐ๊ณ ๋ฆฌ๊ฐ€ ํ™”๋ฉด ์•ˆ์—์„œ ์ฐพ์„ ์ˆ˜ ์—†๊ฒŒ ๋˜๋ฉด์„œ ์ด์•ผ๊ธฐ๊ฐ€ ๋ณต์žกํ•ด์กŒ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ทธ ๋งŒํผ ํ•ด์„์˜ ํญ์ด ๋„“์–ด ์กŒ๋‹ค. ๋ฌด๊ฑฐ์šธ ์ˆ˜ ์žˆ๋Š” ์ฃผ์ œ๋ฅผ ํ‚ค๋œํŠธ์ ์ธ ๊ฐ์„ฑ์œผ๋กœ ํ‘œํ˜„ํ•˜๊ณ  ์žˆ๋Š” ๊น€์„ฑํ˜ธ์˜ ์ „๋žต์ด ํž˜์„ ๋ฐœํœ˜ํ•œ๋‹ค. ์ด๋Š” ์ž‘๊ฐ€๊ฐ€ ์—ญ์‚ฌ๋ฅผ ๊ฐ์ง€ํ•˜๋Š” ๊ฐ๊ฐ์ด ํ•ญ์ƒ ํ˜„์žฌ ์‹œ์ ์—์„œ ์ถœ๋ฐœํ•˜๊ธฐ ๋•Œ๋ฌธ์— ๊ฐ€๋Šฅํ•œ ํ™”๋ฉด ์ง€๋ฐฐ๋ ฅ์ด๋‹ค. ๊ณผ๊ฑฐ์—์„œ ์ถœ๋ฐœํ•œ ๊ฒฐ๊ณผ๋ฌผ๋กœ์„œ์˜ ํ˜„์žฌ๊ฐ€ ์•„๋‹Œ, ํ˜„์žฌ ์ƒํ™ฉ์—์„œ ๋ฒŒ์–ด์งˆ ์ˆ˜ ์žˆ๋Š” ์‹ฌ๋ฆฌ์ ์ธ, ์‚ฌํšŒ์ ์ธ ์ƒํ™ฉ์— ์–ด๋–ป๊ฒŒ ๋ฐ˜์‘ํ•  ์ˆ˜ ์žˆ๋Š”๊ฐ€๊ฐ€ ๊ทธ์—๊ฒ ์ค‘์š”ํ•˜๋‹ค. ํ˜„์‹ค์„ ์–ผ๋งˆ๋‚˜ ์ž˜ ๊ทธ๋ ธ๋Š”๊ฐ€๊ฐ€ ์•„๋‹Œ ํ˜„์‹ค์„ ์–ด๋–ค ๊ฐœ๋…์œผ๋กœ ํ•ด์„ํ•˜๊ณ  ๋…์ฐฝ์ ์ธ ์—ฐ๊ฒฐ๊ณ ๋ฆฌ๋ฅผ ๋งŒ๋“ค์–ด ๋‚ด๋Š”๊ฐ€๊ฐ€ ๊ด€๊ฑด์ด๋‹ค. ๊ทธ๋ž˜์„œ ํ˜„์žฌ๊ฐ€ ์—ญ์‚ฌ๋ณด๋‹ค ์ค‘์š”ํ•˜๋‹ค. ํ˜„์žฌ์— ์ถฉ์‹คํ•œ ์ž‘๊ฐ€์˜ ๊ทธ๋ฆผ์„ ๋ณด๋ฉฐ ์—ญ์‚ฌ๋ฅผ ์ฝ์–ด๋‚ด๋Š” ๊ฒƒ์€ ์ „์ ์œผ๋กœ ๊ด€๊ฐ์˜ ์ˆ™์ œ๋กœ ๋‚จ์•„ ์žˆ์–ด์•ผ ํ•œ๋‹ค. 

 

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< Art critic >

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Kim Sung-hoโ€™s Volume Tower โ€“ What attitude does his โ€œrealismโ€ requires?

 

by LEE Daehyung.

 

Close-up shows details of an object, however, it eventually hides objects that are outside of a screen. Although it portrays physical features such as touch, color and shape in detail, contextual features such as location, time and size are ousted from the frame. Accordingly, the substance of an object can be distorted. The portrayed object whose silhouette was severed and main body was enlarged in the frame looks as if it clearly shows its shape. In fact, however, the technique is a kind of a trick which hides the context of a substance. Audience in front of the screen which contains enlarged physical features without context cannot help but imagining the severed and ousted context based on guess and their experience. Like this, the close-up technique hiding the context plays a role as a symbol, not logic. Kim Sung-hoโ€™s latest work of art <Volume Tower> series in which stacked art books fill a screen start with the close-up technique without context. Maybe his intentional exaggeration and cutting techniques create a certain symbol.

'La nona ora', Maurizio Cattelanโ€™s work of art in 1999, isnโ€™t a work that simply portrays actualities realistically. It clearly shows the strategy how to conceptually show a critical view toward the actualities. The definition of realism has been transforming into a larger one: for modern art, the definition of realism is showing the hidden reality while the conventional definition was the degree of technical perfection for exactly portraying actualities. Realism, a mechanism for visually portraying actualities, can be transformed into irony and satire, attacking the institutionalized value system of visual art and expressing its limitations. The first thing the audience can see is piled art books. Those books are all related with art: art books of western great artists, original editions of art history, books with English and Chinese titles and thick art history book with hardcover. The tower of stacked books โ€“filling the screen in full- cannot be guessed for its height. The tower looks as if it can be collapsed right now, showing daunting image to the audience.

The reason why Kim Sung-ho selected art books for his painting becomes clear by seeing the composition of the screen. The books in his work show their titles, not the contents. That may be why his work reminds the audience of a tower built on a kind of โ€œparadox foundationโ€. Toe tower reminds the audience of Jenga in which the volume of a tower is enlarged so as to balance and not to collapse and the space for collapse is erased in the screen. Whether he intended it or not, the paradox he created has no choice but to rely on two social problems. The first problem is the contradiction between the art education and the reality and suppressing mechanism. The second one is the fact that we cannot predict to which direction the value system โ€“which was created in the modern society that encourages the exaggeration of image-of visual art are headed. The obsessive-compulsive syndrome for exaggeration of modern society can be a key-word for finding out the hidden intention and meaning in his painting. The instability and uncomfortable nature become even more severe as the size of books gets bigger and the height of the tower gets longer.

Due to these facts, the books in his painting cannot be explained as formalism that simply symbolizes a book. The hidden communications with audience and paradox that slightly dismantles and reconstructs the value system have been visualized as a book tower. His work looks like a quiet and silent painting. However, the symbol of his painting actually criticizes the view toward modern art, the system that produces modern art, and the imbalance between the outer power (western art history) that controls the system and the inner power (the situation in Korea and artistsโ€™ agony). However, he isnโ€™t overconfident that the modern cultural toadyism of the art circle to which he belongs can be toppled. Moreover, he denies any moral and ideological positions and does not show direct solutions in the painting. Just like him, his painting does not easily express its own story. The artist selected a way in which the audience looks at his painting but is not controlled by it, communicates with the world of his painting and creates its own story in the world. His principle is, experience which can floats between reproduction and symbol / reality and fiction cannot be obtained through direct visual language.

Kim Sung-ho chose Hyper-Realism for form. He considers how โ€œillusionโ€™sโ€ quality as a medium does not be missed out through colors, not how to finish the surface for creating โ€œillusionโ€. That is, he regards the nature of color on the surface as important, not the visual illusion of โ€œTromp lโ€™oeilโ€. This can be possible because he can understand and control the complementary nature between image and the nature of an object. The audience should not misunderstand his painting as illusion which reminds of something simply by looking at the detailed portrayal through which even corners of the screen attract the audience and the composition of the screen in which a part can be looked like the whole and the whole can be looked like a part. The audience should understand that his painting actually joins in the method and view for looking at an object, not illusion. In the same context, the audience should be able to catch the time in which colors were densely painted over and over again. Accordingly, the audience should understand the shape in deep inside the painting, not the technical illusion of the brilliant surface.

While looking at his work, the audience should not easily concluded that the paintingโ€™s meaning is all about the relationship between books, the context in which books are located and the audience who understands them. An object without context plays its role as an imaginary mechanism, not daily life any more. As the connection between physical nature and contextual nature became hidden in the screen, the story came to get more complicated. The range for interpretation got wider. The strategy of Kim Sung-ho, who expresses serious topics in a kidult style, works really well. This is thanks to his ability to control the screen: he always starts from the present when considering history. For him, how to respond to psychological and social situations in the present, not the present as outcome from the past, is important. For him in what way the reality is understood with which idea and how creative connection can be made, not how the reality is exactly portrayed, is essential. Thatโ€™s why the present is more important than history. Understanding history while looking at the painting of an artist โ€“always put the present ahead of other things- remains as the audienceโ€™s assignment.

CHOI YUN HEE  ใ…ฃ  (04390) 168-16, Noksapyeong-daero, Yongsan-gu, Seoul, Korea

T.+82(0)2 501 2486  |  M.+82(0)10 3223 5102  |  E. choiceartcompany@gmail.com  |  www.choiceart.company

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