Solo Exhibition
touching stardust
September 4 - October 16, 2020, Noblesse Collection, Seoul, South Korea
노블레스 컬렉션
서울시 강남구 선릉로 162길 13 노블레스 1층
Noblesse Bldg., 13 Seolleung-ro 162 gil, Gangnam-gu, Seoul, KOREA
info.collection@noblesse.com
회화론
글. 샌정, 2019
스튜디오에서 본인의 관조적 태도가 회화로 크리스털화하는 것을 염두에 두고, 형상들은 작가의 사유 끝에서 서로 부딪치고 만나며, 내면 속에서 이들의 전체적 혼돈과 고립은 숙고 후에 화면으로 탈출하듯이 던져진다(experience of the mysterious). 이 요소들은 그림에서 때로는 일정한 한 지점에, 때로는 허공에 던져진 무상한 표상의 그 무엇으로 자리한다. 이 과정에서 사용되는 모든 회화적 형상은 화면 속 어색함과 확신의 사이, 그 평면의 세계에서 완성되는 시점까지 특정 의미를 찾으며 부유한다. 구체적으로 최근 작품에서 무채색 안에 자리한 추상 이미지는 생각의 궤도가 만들어낸 또 하나의 세계를, 흐릿하게 관조의 중심축으로 자리한 형상들을 추상적 노스탤지어와 멜랑콜리아로 표현한 것이다.
팔레트 위에서 시작되는 매번의 실습에서 색채와 붓 터치, 그것은 태고의 세계관과 존재론의 질문들과 희석되면서 회화의 형식을 갖춘다. 동시에 화면에서 중첩되며 펼치는 모험에 가까운 미적 판단은 내면에서 새로운 형상을 빚어내고, 미학적 접근을 심화시키기도 하면서 생각의 표출을 좀 더 자연스럽게 만드는데, 이는 직접적으로 캔버스에 물감과 붓으로 실린다. 이를 토대로 동양적 감수성에 바탕을 둔 회화론 위에서 동서양 회화의 접점을 모색하며, 이와 함께 지속적으로 페인팅 그 자체를 숙제로 안고 있는 현대적 의미에서의 ‘회화 미학’ 또는 ‘미적 판단’의 해석과 재해석(somehow, pushed the boundaries of painting)에 작품 제작의 가치를 두며, 미술사에서 보듯 한 작가의 큰 걸음 뒤로 회화는 어떤 의미에서 또는 어떤 범주에서 유한성과 무한성(Mortality and Immortality) 사이를 이어주는 거대한 다리라고 생각한다.
''세계(the world)는 회화라는 장르에
생각이 이르게 하고, 회화는 숙명처럼 그 세계를 열어 보인다.''
Painting Theory
Text by Sen Chung, 2019
"The world leads our thought to the genre of painting, which as if by fate, leads us to open that world."
Painting is one of many forms through which the traces of my thought can linger, and a frame that captures what has not yet been detected or contacted in my mind. Painting is considered something intangible yet something that’s immortal of the soul. Going on further, an imagined membrane is put up in between the inside and outside of the painting. When I gaze at the rectangular surface, or the beginning of the inside of the painting, what opens up behind it is a space of an atmosphere that’s different from the world outside of the painting. In other words, the relationship between the inside and outside of the painting is divided into metaphysical philosophy and physical science to some extent, and is considered to exist in forms of different dimensions. Painting exists, as a channel through which to approach the understanding of the essence of existence, and the artist’s exploration on the canvas visualizes a certain implied philosophy to some extent.
Keeping in mind how the contemplative attitude crystalizes into a painting in the studio, forms encounter and clash with each other at the end of the artist’s thought, and the overall chaos and isolation within the artist are thrown onto the canvas as if to escape, after much consideration. These elements at times take root in the painting, while at other times becoming something of a transient symbol thrown in the air. All painterly forms engaged in this process float around in the canvas in a state between awkwardness and certainty until the point of completion, in search for a specific meaning in the world of flatness. Specifically, the abstract images positioned in the monochromatic and neutral sense of atmosphere in my recent works are closer to a glimpse of material and existence. At the same time, it takes on the tendency to express the forms that faintly place themselves at the central axis of contemplation in a world, through abstract nostalgia and melancholia.
The colors and brush strokes that begin on my palette each time are diluted with questions on the outlook on the world of the ancient times and ontology, taking form of the painting. At the same time, the sense of aesthetic judgement, which overlaps and unfolds in an adventurous way on the surface, brings a new form to the inner world and makes the expression of the thought more natural while intensifying the aesthetic approach. Such aesthetic judgements are demonstrated on the canvas through the paint and brush strokes. Based on this, my work explores the point of contact between oriental painting and western painting on the theory of painting rooted on eastern sensitivity. In addition, the value of my work lies on the interpretation and re-interpretation of the ‘painting aesthetics’ or the ‘aesthetic judgement’ in contemporary meaning, in looking at painting itself as the subject of my work. As illustrated in art history, I think of painting by an artist as an enormous bridge that connects mortality and immortality in a certain meaning or realm.
