Tache에 의한 서정적 추상표현

Abstract

There are two main and distinctive attitudes in modern art. One is that of experssionism which implies artist does express himself. The other is that of abstractionism which emphasizes composition of pure sense of sight and perceptible tendency. The conception of abstraction is not always obvious, but it may rater mean breaking away nature of simplicity of abstracting from the concrete. In the situation of various modern art abstraction is to make great efforts to experiment many different kinds of attitudes and methods for developing newer expression and its techniques. In this paper, with the process of experimental working, the all-over composition has been taken and Tache technique used by accidental phenomena created unartificially with artists' actions and materials employed themselves as the technique coincided with the author's intense expressional desire. The theoretical views of this paper are based on some eminent modern painters such as Kenneth Noland with his method of filling the overall canvas with a kind of perceptible intensity, one image to one canvas, with new dyeing techniques, Jeong Sang Hwa whose works of art always remain in the esthetics of Informel's Tache and the importance of actions, Jackson Pollock who has identified his feeling with pure formative means of action, and Nam Kwan who was much conscious of the principle of chance and has developed it to the utmost. In this paper, the new possibility of the formative search of a picture and new techniques in expression has been surveyed and an original value-view of pictures has been also tried to be established by analyzing works of modern art.;現代美術에는 두가지 명백한 態度가 提示되어 있다 미술가는 자신을 表現하고 있다는 表現主義的 側面과 純粹 視知覺的 경향을 띈 것으로 構成 한다는 것이다. 抽象의 槪念은 반드시 명확한 것이 아니라 오히려 單純한 自然으로 부터의 이탈 혹은 具體性의 喪失이라는 뜻으로 될 수도 있겠다. 多樣한 現代美術의 狀況속에서 抽象繪畵는 보다 새로운 表現方法을 모색하기 위하여 實驗的 態度와 方法을 펼치고 있다. 本人은 作業 過程에서 全面(all over 的) 構圖를 이용하였고 行爲自體와 材料自體가 自發的으로 일어나는 遇然的 現象에 의한 따쉬(Tache)의 사용을 本人의 강한 表現的 慾求에 부합되는 技法으로 삼았다. 본 論文의 理論的 기반으로는 새로운 染色 技法을 채택하여 한 이미지가 畵面 全體를 차지하는 일종의 知覺의 强度로 畵面 全體를 채워 넣도록 처리한 케네드 놀랜드(Kenneth Noland), 앙포르멜(Informel)의 無意味한 얼룩의 美學이나 行爲의 중요성등에서 벗어나지 아니한 鄭 相和의 作品, 그의 감정을 行爲의 純粹造形 수단과 同一時한 잭슨 폴록(Jackson Pollock)과 遇然의 原則을 意識하고 최대로 探險 硏究한 南 寬의 作品을 근거로 硏究하였다. 본 作品의 分析을 통하여 畵面의 造形的 探究와 技法과 表現의 가능성을 추구해 나가면서 本人의 繪畵的 가치관을 定立해 나가고자 하였다.