色面에 의한 造形空間 硏究

Abstract

繪畵는 再現하려는 의도를 벗어나 순수 造形的 本質에로 귀착되어져야 한다.^(1) 이러한 造形的 本質에의 탐구 경향은 '後期現代(Late modern)'^(*)에 있어서 抽象繪畵에 대한 새로운 이론 정립의 기반이 되었고, 새로운 이즘(ism)과 운동의 교체 속에서 70년대에 이르러서는 미국의 Minimal Art, 유럽적 Support-Surface 등의 繪 的 경향으로 구체화되기에 이르렀다. 즉, 色·形·晝面의 깊이가 감소되어 平面化된 畵面과 함축적이며, 분석적 경향이 그 두드러진 특징이 되었던 것이다. 現 繪書의 本質的 造形問題에로 접근하려는 경향 속에서 본인은 繪書의 平面性이라는 기본과제에 직면하여 순수 造形的 要素인 線·形 특히 色面의 構造化에 의해 이루어내는 造形空間을 탐구하는 과정에서 透明性의 문제를 중점적으로 硏究하였다. 본인은 John Dewey의 藝術論的 입장을 理論的 배경으로 하여 작품을 제작하였으며, 方法的 측면에서 비교 연구한 작가는 다음과 같다. 內的必然性의 法測에 의하여 '線律的 構圖'의 작품을 한 Wassily Kandinsky와 종이패턴을 응용하여 色彩의 리듬을 畵面에 표현한 Joe Downing 그리고 Tattered Plane으로 色面抽象을 전개한 Clyfford still의 3작가이다. 이 작가들과의 方法的 비교와 본인작품의 造形要素와 造形空間의 硏究를 통하여 얻은 결론은 다음과 같다. 透明性의 문제는 바로 平面에서 色面의 '중첩'을 통해서 나타나는 현상이며, 항상 복합된 관계속에서 나타나는 것이기 때문에 그 양상은 다양하게 表現된다. 이리한 각각의 晝面에서 일어나는 透明性의 문제를 탐구하는 과정에서 본인의 造形空間을 구축해나가고자 하였다.;Painting ought to come away from the idea of representation and return to the pure plastic essence. This tendency of research toward plastic essence has become the foundation of establishment of a new theory on the abstract painting in the Late Modern* and among the replacements of new isms and movements. it was concretized as the painting tendency of Minimal Arts in the U.S.A. and Support-Surface in Europe, etc. in the 1970 th. In other words, the flattened painting surface as a result of reducing the depth of color, form, painting surface, and the implicative and analytic tendency became its distinct characteristics. Within the present painting's tendency of approaching the essential plastic problem, the writer was faced with the basic task of the flatness of painting and thus investigated on the problem of transparency in the painting constituted by the structuralization of the pattern of lines, forms, and colors which are the pure plastic elements. The writer has produced her painting based on the stand point of John Dewey's artistic theory, and the painters that were compared/investigated in the methodological view point are as follows: Wassily Kandinsky who has produced painting of 'melodious composition' according to the principles of internal inevitability, Joe Downing who has expressed the rhythm of colors on the painting surface by applying the paper patterns, and Clifford Still who developed color field paninting by tattered plane. The results that the writer has obtained through the research of the methodological comparison with the above-mentioned three painters, plastic elements of her own paintings, and plastic spaces are as follows: The problem of transparency is a phenomenon displayed through the process of overlapping in the level surface and as it is always displayed in a complex relationships, its expressive aspects appear diversely. The writer tried to construct her painting space through the process of investigating the problem of transparency occuring in these respective painting surface.