​이 건 용 Lee Kun Yong

The Method of Drawing 76-1-04-2012

The Method of Drawing 76-1-04-2012

72.7☓90.9cm, Acrylic on canvas 2012

The Method of Drawing 2014 76-1

The Method of Drawing 2014 76-1

91☓116.8cm Oil on canvas 2014

The Method of Drawing 2014 76-1

The Method of Drawing 2014 76-1

91☓116.8cm Acrylic on canvas 2014

The Method of Drawing 76-1-2016

The Method of Drawing 76-1-2016

72.7☓90.9cm Acrylic on canvas 2016

The Method of Drawing 76-1-04-2016

The Method of Drawing 76-1-04-2016

72.7☓90.9cm Acrylic on canvas 2016

The Method of Drawing76-1- 2014-06

The Method of Drawing76-1- 2014-06

72.7☓90.9cm Acrylic on canvas 2014

작가노트

 

 

전통적인 의미에서 화면과 그리는 사람의 눈과의 조응관계 때문에 행위자의 시선 앞에 화면이 놓이게 되며 눈(지각)과 손(행위)가 동시적으로 작용하게 되어있는 것이다. 사실상 전 미술사를 통하여 모름지기 손에 의해서 작업이 이루어지는 경우 조형자와 조형물과의 관계는 눈으로 보면서 창조행위를 한다는 것이 한 관례이다. 그러나 나는 그러한 회화작업상의 인식관계를 포기함으로써 신체가 지각자요 표현자라는 역설적인 회화인식 관계를 수립할 수 있었다.

 

이건용, 신체적 회화, 1985

Traditionally, due to the correspondence between the painter’s eyes and the canvas, the canvas has been placed in front of the artist’s eyes, and the eyes(perception) and hands(action) are bound to operate simultaneously. Through the whole of art history, the relationship between the painter and the painting has primarily been considered in terms of the painter conducting creative activities wherein the eyes coordinate the movement of the hands. I’ve tried to move beyond this purely perceptive relationship to establish a somewhat paradoxical condition wherein the painter’s body acts as the agent of both perception and expression.

 

LEE Kun-Yong, Physical Painting, 1985

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

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