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삶의 순환적 과정을 은유하는 설치 공간

Title
삶의 순환적 과정을 은유하는 설치 공간
Other Titles
Metaphorical installation spaces of life's circulatory systems
Authors
강수연
Issue Date
1995
Department/Major
대학원 서양화과
Keywords
순환적 과정은유설치 공간
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
The field of art now seems infinitely boundless with it being transcendent to its past historical view of the idea of modernity a s being a form of progression to art and culture. In fact, the idea of something being 'modern' is now being re-questioned in its value because with it also faltered the distinguishable artistic differences within individuals. Art is now more about accepting relativity, diverse variety, and changeability. Moreso, in this present trend of art and culture, I as an artist cannot help myself from being interested in the environmental responses and changes of the world. This range of interest however, is explored and expressed through the process of experiencing my inner emotions rather than trying to find an intellectual end to it all within the understanding of ration and logic. Everything which exists in life is affected in one way or another by its surroundings and its existing time frame. Therefore, it is only correct in saying that I too exist as a living organism within my own space and time, being apart of a large circulatory but consistently changing life pattern created by the cycle of birth and death. Thus, by using the motif of circulation and change, I create my art world. In my opinion, the mass productive system of modern society has flooded the minds of people with the wrong conception that materialistic value is a form of sovereignty of society and development of history. It has even been magnified as a method of freedom and expression. This wrong conception of modern and mass culture however, more than anything else, justifies itself from the creation of the neglected and rejected individuals who visions a different view of existence instead of being hypnotized by thinking that something new is 'better' than the old. People who do not conform to the ideologies of mass culture and modern society can be allegorically compared to be greater in number than mass production itself. They are not acknowledged unless a revolution of somekind takes place. Thus, it is a contradiction that such people would exist just as we demand for the indulgence of newly made mass product and with it exists its media and culture. The age which some people once dared to call "the great birth" of materialism is now of the past. Even in art, art works are not produced simply as an artistic creation, but it can be viewed differently as it being a living organism in itself through the evolutionary stages of rusting, oxidizing, disintegrating, and all other forms of physical changes. Art works can be viewed as an organic form which functions in an integral relationship with its surroundings. My art work certainly then deals with ideas of change and the "process" of change. In order to express this kind of time-related theme of change and so forth, motifs and materials together harmonizes in creating my art pieces all together. To me, change is expressed easiest within shapes of boxes. These simple geometric shapes accentuates the importance of change of the materials placed on top of the boxes, which would have else wise been devoured by the shape itself if it were any more complicating than the simplest form there is which meets the eyes. These boxes then are installed to be represented as a microscopic world of a large changing and evolving universe, where the viewers can actually see the changes made day by day by its own slow degration. My art reflect theories of Era Hess' "process of making'' and is influenced by artists such as Maria Merz who deals with the open possibilies of process art. Their art worlds deals with my similar ideas of change and importance of surroundings instead of a stoic view of creating art for its iconic values and preservation. My thesis however, reflects more directly of my art pieces itself in its theoretical aspect and its expression methods. Through the process of self-analysis of my work, I have acknowledged my position of dealing with change and process by theory, and exploring the outcomes of my art works mostly through the self-evolving effects of visual display. In this manner, I search deeper into my inner-self and explore more possibilities in creating my art and pursuing a certain direction in the field of art.;현대 미술의 영역은 한계가 없는 무한한 것처럼 보인다. 모더니즘적인 역사주의적 가치를 벗어나 진보주의적인 역사관을 차단하였고, 개별 예술의 경계가 흐려지면서 진리와 미를 추구하던 고전적인 가치 대신 상대성을 인정하는 수평주의적인 다양성과 가변성이 수용되었다. 이러한 시대 흐름 속에서 지적인 해결보다는 체험과 감정적 욕망이 우선되며 환경론적인 반응과 변화에 관심을 갖게 되었다. 세상에 존재하는 모든 것은 그것이 처한 환경과 시간에 포함되며 철저히 지배를 받는다. 본인은 이러한 세계의 법칙을 적극적으로 끌어들여 작품도 결국 탄생과 죽음의 일정한 순환적 경로를 겪는 유기체적인 존재로 보았다. 본인은 사상과 물질의 '위대한 탄생'의 이 시대에 작품은 단순히 문화적인 창작자에 의해 만들어지는 것이 아니라 생명을 부여받고 소멸의 과정을 겪으면서 변색되고 상하고, 작품이 세계와 상호 소통하면서 그것에 적응해 가는 과정을 중시하게 되었다. 이러한 시간적인 서술형식을 표현하기에 그것에 소재와 재료의 선택이 중요한 구성 요소로 간주되며 이에 관심을 두고 있다. 이들은 또한, 상자라는 축소된 형태로 환원되어 설치되며 작품을 둘러싼 외부와의 관계를 보다 적극적으로 형성해 간다. 그래서, 온 몸으로 환경과 부딪치고 변하며 완전한 유기적인 실체로 존재함을 보여주게 되는 것이다. 불변의 미술작품 대신 제작 과정을 추구한 에바 헤세(Eva Hesse: 1936∼1970)와 예술은 세계와의 관계를 형성하고 이를 변화시켜 가는 열려진 의미체로서 존재하는 마리오 메르쯔(Marie Merz; ∼)의 프로세스적인 성격과 비교 연구를 하였고, 본인의 작품 세계와의 관련성을 고찰하였다. 본 논문은 작품 제작의 연구로서 내용적 측면과 방법적 측면, 그리고 본인 작품 분석으로 구성되어 있다. 내용적 연구에는 삶의 순환적 과정과 '과정'으로서의 미술에 대해 서술하였고, 방법적 연구에서는 재료의 자발적 효과와 변성, 그리고 상자의 설치 공간에 대하여 연구 해 보고자 한다. 끝으로 본인의 작품을 제시, 분석함으로써 작업에 대한 반성과 함께 앞으로의 방향을 연구해 보는 계기로 삼고자 한다.
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