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은유적 image의 형상성연구

은유적 image의 형상성연구
Other Titles
(A) Formative Study of Allegorical Image
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대학원 서양화과
은유적 image형상성서양화
이화여자대학교 대학원
1960∼70年代의 寫實主義는 新寫實主義라 할 수 있는 Pop Art, Nouveaue Realism, Nouvelle Figuration, Huper Reallism등 새로운 樣式上의 潮流들이 事物에 대한 여러가지 見解를 보여 주었다. 이런 寫實主義的 傾向의 美術은 1950年代 藝術家 內面의 精神性을 個性的으로 나타낸 抽象 表現主義의 形式追求에 反對한 美術運動으로 非個性主義, 客觀主義이다. 이에반해 1980年代는 客觀的이고 現實的인 外的모델을 使用하지 않고 '나'를 客觀的 現實로 認識하여 自身의 '內'的인 感情과 思想을 主觀的으로 歪曲, 表現한 直觀的, 本能的, 非論理的인 個性主義, 主觀主義라고 할 수 있다. 즉, 藝術家의 關心이 客觀的으로 보이는 外的 實在에서 떠나 '나' 自身이 느끼는 主觀的인 것으로 變化해서 藝術과 現實社會의 關聯이 密接해 졌음을 뜻한다. 現代 機械文明 속에서 人間性 喪失, 人間疎外 現象은 社會的 問題로 登場하기 始作하는데 本人은 이러한 現實 속에서 惹起된 諸般問題를 畵面을 通한 隱喩的 Image의 形象性 導入으로 表現하였다. 不安하고 孤獨하게 疎外된 現代의 人間像을 表現함으로써 共同體意識의 形成과 人間性 回復이라는 問題를 逆說的으로 喚起시키고자 했다. 理論的인 基盤으로는, 急速한 經濟成長과 飛躍的으로 發達된 科學技術에 依해 人間 自體가 機械化되고, 人間 스스로가 開發한 機械에 依해 그 實存이 侵害당하고 있는 現實을 어떻게 보고 느끼고 있는가 하는 '視覺의 問題'에 重點을 두었다. 社會學的인 側面에서 不安한 精神的 苦惱와 葛藤을 지닌 人間의 Image가 어떤 方式으로 나타나는지 具象的 表現方法을 使用한 新具象繪畵의 特徵을 通해 살펴보면서 隱喩的 表現方法과 技法을 本人作品과 比較·分析하였다. 方法的인 面으로 寫眞을 利用한 Collage를 밑그림으로 活用하였고, 幾何學的 形態의 畵面分割로 空虛하고 密閉된 空間을 造形的으로 構築하고자 하였다. 比較될만한 BenShahn(1898∼1968), Francis Bacon(1909∼ ), David Hockney(1937∼ )의 作品을 硏究하여 色彩의 選擇的 使用 및 形象의 適切한 表出問題, 空間 表現問題를 本人의 作品과 比較하였다. 이러한 硏究를 通하여, 大衆 消費社會的 特徵을 가지고 있는 現實空間의 領域과 그 空間을 가득 채우고 있는 劃一的으로 大量生産된 事物의 世界로부터 本人이 選擇한 對象을 自身의 意識과 內的 現實을 反映한 主觀的 Image로 表現하여 깊이있는 繪畵空間을 이루고자 하였다.;In the past 60's and 70's the world of Fine Arts faced the new trend of Realism which comprises Pop Art, Nouveaue Realism, Nouvelle Figuration, and Hyper Realism, etc... This new trend emerged Largely in an objection to Abstract-expressionism of 50's which tried to express artists' inner mentality in much more Liberal and individual ways than ever. Therefore, this so called Neo-Realism healed non-individualism and objectism. However, the trend did not last long and 80's has turned back to the stress of Individualism and subjectism again. Instead of relying on the objects in the real world, artists emphasize and appreciate more to express their inside metality, sometimes even defomating it, if necessary. Of course this is based on the recognition that the artists themselves can be possibly considered as objective reality, too. So the works of these days naturally show the conglomerate of intuition, irration, and their instincts in general. With the shift of artists' concern to inside mentality and, even in the case of describing objects in the real world, the artists subjectively interpreted images of them. Therefore it could be said the world of Fine Arts and the real world has got much closer each other in terms of image-sharing. This has become possible because the artists of 80's are willing to incorporate their own ideas and what they perceive into their works. In this context, I tried to restructure and express in a rather metaphorical way the phenomena of the loss of humanity and human being's estrangement in our modern society. If there is any wish in my works, that will be to arouse the social needs for restoring the humanity and the consciousness of community in the mass. Basically the perspective that I took in the composing phase was to express the deterioration of the real existence of human beings due to the rapid economic and technological development in our modern society. The images of Lonely and unstable people of today described in the field of sociology, could be compared with the ones metaphorically suggested in my works in the form of Nouvelle Figuration. As for the methodology, 1) the 'pictures' were used as the bases for the works, expressing the real setting, 2)geometric division was introduced to represent the images of empty and closed spaces, and 3) the works of BenShahn (1898-1963) David Hockney (1937 - ), Francis Bacon (19O9 - ) were studied and comparea with those of mine in terms of the choice of colors and the way intended messages are delivered. In conclusion, with the ideas and studies mentioned above, I tried to express the rather getting-poorer emotional aspects of modern massive-consumption society filled with uniform and standardized products. I fully admit that there is a certain limit in delivering ideas through a medium of paintings, especially when the objects are subjectively interpreted. By the same token, too much emphasis on just delivering ideas can sacrify the value of works as paintings. Even in this dilemma, I simply hope the works submitted can accomplishe certain purposes in both dimensions.
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