|
Àü½Ã ¼¹®_±¤¹°½É¸®ÇÐ Á©¸®½ÅÀÇ ½Ã°ø°£À» À¯¿µÇÏ´Â ¼ø°£, ¿ì¸®´Â ÀüÀûÀ¸·Î ´Ù¸¥ ¼¼°è¸¦ ¸¶ÁÖÇÏ°Ô µÈ´Ù
À¯½Â¾Æ (¹Ì¼úºñÆò)
½Å¿¡°Ô´Â ½ÃÁ¦°¡ ¾ø´Ù . ½ÅÀº °ú°Å¿Í ÇöÀç , ±×¸®°í ¹Ì·¡¸¦ µ¿½Ã¿¡ »ê´Ù . Àü½Ã °ø°£¿¡ ¹æ»çÇüÀ¸·Î ÆîÃÄÁø ÀÛÇ°µéÀº ÅÂÃÊ¿Í ¸ê¸ÁÀÌ µÚ¼¯ÀÌ°í ±× ½ÃÁ¦¸¦ ±¸ºÐÇÒ ¼ö ¾ø´Â Á©¸®½ÅÀÇ ¼¼°è¸¦ ÀǹÌÇÑ´Ù .1) Á©¸®½ÅÀº ½ÃÁ¦ ¾øÀÌ Á¸ÀçÇϹǷΠÁ©¸®½ÅÀÇ À̾߱â´Â ÀÌ¹Ì ¹ß»ýÇÑ °ú°ÅÀÇ »ç°ÇÀÏ ¼öµµ , ¾ÆµæÈ÷ ¸Õ ¹Ì·¡ÀÏ °¡´É¼ºµµ ÀÖ´Ù . ¿øÀΰú °á°ú »çÀÌÀÇ Àΰú°ü°è·Î ±¸¼ºµÈ ¼¼°èÀÇ ÀÎÁö ¹æ½ÄÀ» ¹þ¾î³ À̾߱Ⱑ ¿ì¸® ´«¾Õ¿¡ , Ãâ·· , µµ·¡ÇÑ´Ù . ¿ì¸®ÀÇ ½Ã¼±Àº ÀÛÇ° ¾Õ¿¡¼ ¡® õó¾î¾ðÈ÷ÀÌ . õó¾î¾ðÈ÷ÀÌ '2) À¯¿µÇÑ´Ù . Á©¸®½ÅÀÇ ¼¼°è¿¡ µµ´ÞÇÏ´Ù º¸¸é , ¹®µæ ±Ã±ÝÇØÁø´Ù . ÀÛ°¡´Â µµ´ëü ¿Ö ½ÅÀ̶ó´Â ÃÊ¿ùÀû Á¸Àç¿¡°Ô ¹«¸£°í ¹°ÄÈÇÑ ¸ð¾çÀ» ¼±¹°Çß³ª ? ÃßÃøÇÏ°Ç´ë ±×´Â ½Å¿¡°Ô ¹°··ÇÏ°í ¸ôIJÇÑ ÇüŸ¦ ºÎ¿©ÇÔÀ¸·Î½á ½¬ÀÌ ´Ù°¡°¥ ¼ö ÀÖ°Ô ¸¸µé¾î , Àΰ£À¸·Î ÇÏ¿©±Ý ¼±±³¿¡ ´ëÇÑ °æ°èÀÇ ¸¶À½À» Ç®°Ô ÇÏ·Á´Â ½É»êÀ̾úÀ» °ÍÀÌ´Ù . ÇÏÁö¸¸ ±×º¸´Ù ´õ Áß¿äÇÑ °ÍÀº , ÀÛ°¡°¡ Á©¸®½ÅÀÇ Á¸Àç·ÐÀû ¼Ó¼ºÀÎ À¯¿¬ÇÔÀÌ ÀÌ ¼¼°è¸¦ ±¸¼ºÇØ ³ª°¡´Â °¡´É¼ºÀÌÀÚ º»ÁúÀ̶ó°í ¹Ï°í ÀÖ´Ù´Â »ç½ÇÀÌ´Ù . ƯÈ÷ ÀÛ°¡´Â À̹ø Àü½Ã¿¡¼ µ¿Á¤À̶ó´Â °¨Á¤¿¡ ¹Î°¨ÇÏ°Ô ¹ÝÀÀÇÑ´Ù . µ¿Á¤ÀÇ Àǹ̴ ŸÀÚ¸¦ Â÷°¡¿î ¸¶À½À¸·Î ´ëÇÒ ¼ö ¾ø´Ù´Â °ÍÀ» ¶æÇÑ´Ù . µ¿Á¤½ÉÀ» °®´Â´Ù´Â °ÍÀº ŸÀÚ¿¡ ´ëÇÑ ¿¬¹ÎÀ» ´À³¢´Â °Í»Ó¸¸ ¾Æ´Ï¶ó ±×¿¡°Ô È£±â½ÉÀ» °¡Áö°í ºÐ³ë , ȯÈñ , ºÒ¾È°ú °°Àº ´Ù¸¥ °¨Á¤µµ ÇÔ²² °øÀ¯ÇÒ ¼ö ÀÖ´Ù´Â °ÍÀ» ÀǹÌÇÑ´Ù . ÀÌó·³ ÀÛ°¡°¡ À̹ø Àü½Ã¿¡¼ ½É¸® »óÅ¿¡ ÁÖ¸ñÇÑ ÀÌÀ¯´Â , À̼ºÀû ³í°Å°¡ ¾Æ´Ñ °¨Á¤Àû µ¿¿ä°¡ Çö½ÇÀ» ´Ù¸£°Ô º¸°Ô ÇÏ´Â °è±â°¡ µÉ ¼ö Àֱ⠶§¹®ÀÌ´Ù . °íµµÀÇ °¨Á¤Àû »ó»ó·ÂÀº ÀÌ ¼¼°è¸¦ ¿ì¸®°¡ ¾Æ´Â ±×´ë·Î º¸Áö ¾Ê°Ô ÇÏ´Â ½ÃÁ¡À» °¡´ÉÇÏ°Ô ÇÑ´Ù . Çö½ÇÀÇ ¼ø°£µé¿¡¼ ¸ðµç °ÍÀÌ ´ç¿¬ÇÑ °ÍÀ¸·Î ¹Þ¾Æµé¿©Áú ¶§ ±×°ÍÀ¸·ÎºÎÅÍ Å»ÃâÇØ ¡® ´À¸®°í ÆòÇüÀ» ÀÌ·é ¼¼°è '3)¸¦ ²Þ²Ü ¼ö ÀÖ´Â °¡´É¼ºÀÇ ¼ø°£ÀÌ´Ù . ÀÛ°¡´Â ĵ¹ö½º¸¦ Á¶ÇÕÇØ ½Ã°£°ú °ø°£ÀÌ ¹«ÀǹÌÇÑ ¼¼°è¸¦ ÆîÃÄ º¸Àδ٠. Å丷 ³ª ¹èÄ¡µÈ ĵ¹ö½ºµéÀº Çϳª°¡ ´Ù¸¥ Çϳª¿¡°Ô ¿µÇâÀ» ¹ÌÄ£´Ù´Â Àΰú °ü°è°¡ ¼º¸³µÇÁö ¾Ê´Â´Ù . °¢°¢ÀÇ ÀÛÇ°Àº °³º°ÀûÀ¸·Î ÀÐÀ» ¼ö ÀÖÀ¸³ª À̾îÁö°í ¿«ÀÌ¸é¼ ÇϳªÀÇ Å¸·¡¸¦ ÀÌ·é´Ù . ±ºÁýÀ» ÀÌ·é °³º°ÀÇ Äµ¹ö½º ÀÛÇ°µéÀº ½Ã°øÀ» ÃÊ¿ùÇÏ´Â Á©¸®½ÅÀÇ °üÁ¡À» ÀºÀ¯ÇÑ´Ù . ƯÈ÷ ¾¾½Ç°ú ³¯½ÇÀÌ ¾ôÈ÷°í ¾î±ß ¸Å¾îÁø õ¿¡ ¿©¹é °ø°£À» °¡µæ ä¿ö ¿òÁ÷ÀÓÀ» °ÅÄ¥°Ô Ç¥ÇöÇÑ ÀÛ¾÷Àº ½ÅÀÇ ¹«°Å¿î Á¸Àç·Ð¿¡ ´ëÇÑ ÀºÀ¯ÀÌ´Ù . ½ÅÀÇ Á¸Àç´Â Áö±¸¿¡¼ ¾ó¸¶°£ »ì¾Æ°¡´Ù , »ç¶óÁö°í ¸¶´Â °¡º¿î Á¸ÀçÀÎ Àΰ£°ú ´Ù¸£´Ù .4) »ý¼º°ú ¼Ò¸ê·Î ÀÌ·ç¾îÁø ÀÏÁ÷¼±ÀÇ ½Ã°£ÀÌ ¾Æ´Ñ , ¿µ¿øÈ÷ ¼øȯÇÏ´Â ½Ã°£À» »ì¾Æ°¡´Â Á©¸®½ÅÀÇ °¨Á¤ÀÇ ±âÀú¿¡´Â µ¿Á¤ÀÌ ÀÖ´Ù . ÀÛ°¡´Â À̹ø Àü½Ã¿¡¼ Á©¸®½ÅÀÇ ÀÔ²¿¸®¸¦ óÀ½À¸·Î ³»·Á ±×·È´Ù . ¾ó±¼ÀÌ Äµ¹ö½º ¼Ó¿¡ ³ì¾Æ ´«µ¿ÀÚ°¡ À§Ä¡ÇÑ ÀÚ¸®ÀÎ ¸Á¿ïµµ ¿ï··ÀÌ´Â µíÇÑ Á©¸®½ÅÀÇ ¸ð½ÀÀº ÅÂÃʺÎÅÍ Àΰ£ ¼¼°è¸¦ ¹Ù¶óº» ½ÅÀÇ ±àÈáÀÇ ¸¶À½À» ÀºÀ¯ÇÑ´Ù . ÀÌó·³ ÀÛ°¡°¡ °¨Á¤À¸·Î Â÷¿À¸£´Â »óŸ¦ Ç¥ÇöÇÏ°íÀÚ ½ÃµµÇÏ´Â °ÍÀº ºÒ°¡ÇØÇÏ´Ù°í ¿©°ÜÁ® µµ´ÞÇÏÁö ¸øÇß´ø ¼¼°è·Î ÇâÇÏ´Â ±æÀ» , ´êÀ» ¼ö ÀÖ´Â °Å¸®·Î Ãà¼ÒÇÏ´Â °¨Á¤Àû »ó»ó·ÂÀ» ¹ßÈÖÇÏ´Â °ÍÀÌ´Ù . ±× »ó»ó·ÂÀ¸·Î ÀÎÇØ ¹Ú½ÂÈñÀÇ ÀÛ¾÷¿¡¼´Â »ì¾ÆÀÖ´Â ¸ðµç °ÍÀÌ ¿òÁ÷À̸ç ÃãÃá´Ù . »Ñ¸® ³»·ÁÁø ³ª¹« , Á¤ÁöÇØ ÀÖ´Â »ê , ¸¸°³ÇÏ´Â ÀÙ»ç±Í ¸ðµÎ ¼·Î¸¦ ´ç±â°í ¹Ð¾î³»¸ç ¾àµ¿ÇÏ´Â Á¸Àç´Ù . ÀÚ¿¬°ú ±¤¹° , Àΰ£ÀÌ ³»»Õ´Â ¿¡³ÊÁö´Â ¿¬°áµÇ¾î ÀÖ°í ¶Ç ¼øȯÇÑ´Ù . ÀÌ°ÍÀº È¸È Ç¥¸é¿¡¼ Ǫ¸¥»ö°ú ¹àÀº ³ë¶õ»ö , ±×¸®°í ¹ã»öÀÌ °ã°ãÀÌ ½×¿© ¸¸µé¾îÁø µ¿¼¼·Î ÀÀÁýµÈ´Ù . ÀÛ°¡´Â Áï°¢ÀûÀÎ ±×¸®±â ÇàÀ§¸¦ ÅëÇØ º×À» ±ß°í ¹°°¨ÀÇ ÃþÀ§µéÀ» Â÷°îÂ÷°î ½×¾Æ ÇÑ µ¢¾î¸®°¡ µÇ¾î ±»¾îÁö°Ô Çß´Ù . ¹Ì¹¦ÇÏ°Ô °ãÄ£ »ö µ¢¾î¸®µéÀÇ ¿òÁ÷ÀÓ¿¡ , ´«¿¡ º¸ÀÌÁö ¾Ê¾Ò´ø °¨°¢ÀÇ È帧ÀÌ °¡½Ãȵȴ٠. °¢±â ´Ù¸¥ Å©±âÀÇ Äµ¹ö½º¿¡ ÀÀÁýµÈ ÀÚ¿¬ dz°æ°ú Ãß»óÀûÀÎ µ¿¼¼ÀÇ È¸ÈµéÀº µ¿½Ã¿¡ Àü½Ã °ø°£À» Áøµ¿½ÃŲ´Ù . À̶§ ÈÖ¾îÁö°í À̾îÁø º×ÁúÀº Áö±¸ Ç¥¸éÀ» ÀÌ·ç°í ÀÖ´Â À¯±âüµé »çÀÌ¿¡ È帣°í ÀÖ´Â ¿¡³ÊÁö¸¦ ÀǹÌÇÑ´Ù . ±×°ÍÀº ¹Ú½ÂÈñ°¡ ±¸ÃàÇÑ ¼¼°è°ü¿¡¼ , ±¤¹°ÀÇ Á¸À縦 ÀºÀ¯ÇÏ´ÂÁöµµ ¸ð¸¥´Ù . ÈûÀÇ Áøµ¿ÀÌ Çϴ÷ΠºÎ»óÇÏ´Â °ÍÀÎÁö ȤÀº Áß·ÂÀ» ¹Þ¾Æ ¶¥À¸·Î ÇâÇÏ´Â °ÍÀÎÁö ´ÜÁ¤ÇÒ ¼ö ¾ø´Â ÀÛÇ°µéÀ» µû¶ó Àü½ÃÀåÀ» °øȸÀüÇÏ´Ù º¸¸é , ¿ì¸° ÀÌ¹Ì Á©¸®½ÅÀÇ ½Ã°ø°£À» À¯¿µÇÏ°í ÀÖ´Ù . ½Ã°øÀ» ÃÊ¿ùÇÑ ½ÅÀÇ °üÁ¡À» ÀÌÇØÇÏÀÚ , ÀÌÁúÀûÀ¸·Î ±¸ºÐµÇ¾ú´Ù°í ¿©°ÜÁö´ø ¼¼°èµéÀÌ ±³ÁýÇÕÀ» ÀÌ·ç¾î Áö»óÀ» ±¸¼ºÇÏ°í ÀÖ´Ù´Â »ç½ÇÀ» ±ú´Ý°Ô µÈ´Ù . ¶Ç ½±°Ô °£°úÇÏÁö¸¸ ½ÅÀÇ °üÁ¡¿¡¼ º¸¸é ¿ì¸®´Â , ¿ì¸® ¾Æ´Ñ °ÍÀ¸·Î ¹Ï¾ú´ø Á¸Àçµé°ú ÃæºÐÈ÷ °¡±îÀÌ ÀÖ´Ù . µû¶ó¼ ¹Ú½ÂÈñ´Â ½Ã°£°ú °ø°£ÀÇ È帧ÀÌ ¹«ÀǹÌÇÑ Á©¸®½ÅÀÇ °üÁ¡À» ºô·Á ÀÌ ¼¼°è¸¦ ´Ü¼ö·Î °¨°¢ÇÏ´ø Àΰ£ÀÇ À§»ó °ø°£À» Àç¹èÄ¡ÇÏ´Â °ÍÀÌ´Ù .
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Introduction to exhibition_Mineral Phychology The moment we float through the time and space of Jelly God, we encounter a completely different world.
Seunga You (Art Critic)
God has no tense. God lives simultaneously in the past, present, and future. The radially spread works in the exhibition space signify the world of Jelly God, where the beginning and the end are mixed, and a tense cannot be distinguished.1) Jelly God exists without a tense, so the story of Jelly God could be an event that has already occurred in the past or is yet to occur in a distant future. Stories appear before our eyes which deviate from our cognition of the world, which consists of a causal relationship between cause and effect. Our eyes float 'slooowwwwly, sloowwwly'2) over the work. When one reaches the world of Jelly God, one suddenly becomes curious. Why did the artist present us with this soft and squishy shape and refer to it as a transcendent God?
Presumably, she may have intended to ease the wariness of humans toward missions by giving God a soft and approachable form. More important than that, however, is the fact that the artist believes that flexibility, an ontological attribute of Jelly God, is both the possibility and the essence of constructing this world.
In particular, this exhibition deals sensitively with the notion of sympathy. Sympathy means not treating others with a cold heart. To be compassionate means not only to feel compassion for another person, but also to be curious about them, and to share other emotions, such as anger, joy, and anxiety. The reason the artist paid attention to the psychological state in this exhibition is that emotional agitation, not rational arguments, can serve as an opportunity to see reality differently. A high degree of emotional imagination allows for a point of view that challenges our perception of the world. It is a moment of potential escape from a reality in which everything is taken for granted; it dreams of a ¡®slow and balanced world'3). By combining canvases, the artist unfolds a world in which time and space are meaningless. The relationship between the arranged and cut canvases does not imply that one affects the other. Each work can be read individually, but it forms a single, connected, intertwined skein. Clustered individual canvases metaphorize the perspective of Jelly God, one that transcends time and space.
Notably, we find a metaphor for the heavy ontology of God where warp and weft threads are intertwined and tied with each other, filling empty space to roughly express movement. The existence of God is different from human beings who briefly live on earth, then disappear.4) Sympathy lies at the base of Jelly God's feelings, living in an eternally circulating time, not a linear time of creation and extinction. In this exhibition, for the first time, the artist drew Jelly God with a downturned mouth. The appearance of Jelly God, whose face melts into the canvas, and whose eyes growl, is a metaphor for God's compassionate heart that has seen the human world from the beginning. In this way, the artist's attempt to express a state filled with emotions serves to exercise emotional imagination by reducing the length of the road to something more achievable or reachable.
Because of that imagination, everything that is alive moves and dances in Seunghee Park's work. Rooted trees, still mountains, and leaves in full bloom are all dynamic beings, pulling and pushing each other. Nature, minerals, and human energy are connected and circulated. This is condensed into a movement created by layering blue, bright yellow, and chestnut on the surface of the painting. Through the act of immediate drawing, the artist used a brush and gradually layered paint to from a hardened mass. In the movement of the subtly overlapping layers of color, the invisible flow of senses becomes visible. The condensed paintings with natural landscapes and abstract brush strokes on canvases of different sizes vibrate the exhibition space at the same time. At this time, the curved and continuous brush strokes mean the energy flowing between the organisms that make up the earth's surface. It may be a metaphor for the existence of minerals in the worldview constructed by Seunghee Park.
As we idle around the exhibition space, unable to determine whether the vibrations of power rise into the sky or go into the ground, we are already floating in the time and space of Jelly God. When we understand God's perspective that transcends time and space, we realize that worlds considered heterogeneous, intersect to form the earth. Also, easily overlooked, from God's point of view, we are not as different as we like to think. Therefore, Seunghee Park assumes the point of view of Jelly God, where the flow of time and space is meaningless, and rearranges the phase space of humans, who sensed this world as singular.
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
|