造形的 平面과 서정적 表現의 繪畵追究

Abstract

Since the end of World War Ⅱ in 1945, the main flow of modern art has been evident in two outstanding aspects: one is the experimental art emphasizing on objects and the other abstract art dedicating to inner expressions. Visual environments and mental attitudes have suffered changes after the World Wars, which consequently have come to provide artists with new manner of expressions to depend upon. dadaism, Expressionalism, and Sur-realism have been followed by such diverse development as Pop Art, Minimal Art, Nouaveau Art, Land Art, Conseptive Artp and Environmental Art. If the contemporary mental attitudes can be represented by the thought of professionalism and functionalism, the discovery that paintings are not something visable but something thought of is only the natural conclusion resulting from the tendency of a potentially geometrical type of art add an expression of experienced inner self. The attempt to paint objects perceptively observed had derived from cubism which tried to understand natural phenomena analytically and collectively. It then has developed into insisting on depicting not only visable objects but imaginative, unconscious, and even accidental elements as creative materials. This flow of abstract paintings through the aftermath of World Wars has developed into confrontation between 'hot' abstraction of intellectual inclination and 'cold' abstraction of susceptive inclination. From among this tendency of formalized abstraction, it is natural that some new way will have to be found toward more liberal plastic (formative) arts. This work has been studied and analized for some possibility to overcome this confrontation between the two types of abstraction. First, the writer P. Mondrian who has tried to understand natural objects as pure plastic elements eliminating all complexities and pursuing objective reality, has been compared with the writer W. Kandinsky whose expressive abstract work has derived from his subjective attitude known as 'out-ward expression of inner inevitability.' Second, this study has been based on 'Richard Diebenkorn's expression techniques' with which he has tried to contain natural objects into solid forum by harmonizing geometrical form structure with lyrical expressions. In a process of acquiring her own individual expression from within the work itself, this writer has explored vertical and horizontal geometrical lines in structure in the hope of pursuing order in the painting and rhythmical quality in the painted work. This writer has conducted theoretical analysis of the work and connected together all the realities arising from working on, there-by exploring reflection of consciousness and plastic ways of painting, Possibilities of expressions have also been explored which may contribute to some possibilities of painting character.;1945年 제 2차 世界大戰이 終戰된 以後, 現代美術은 object 중심의 實驗美術과 內面表現을 중시하는 抽象美術의 두 樣相이 주류를 이루고 있다. 戰後의 달라진 視覺환경과 精神的 상황이 美術家들에게 새로운 經驗을 제공하였으며, dadaism, 表現主義, 超現實主義에 이어 Pop Art, Minimal Art, Nouaveau Art, 大地藝術, 槪念藝術, 環境美術로까지 다양하게 展開되고 있다. 이러한 現代人의 時代精神을 대변하는 하나의 흐름이 專門主義와 機能主義的 恩考라 생각할때 繪畵란 보여지는 것이 아니라, 생각되어 지는 것으로 곧 內在된 幾何的 形心와 經驗된 內面表現의 당연한 歸趣로 여겨진다. 對象을 知覺的으로 받아들이려는 繪畵的 시도는 自然現象을 分析的 綜合的으로 이해하는 Cubism에서 出發하여 눈에 보이는 사물만을 描寫對象으로 하지 않고, 想像力, 無意識, 偶然性까지도 創造要因으로 주장하게 되었다. 이러한 抽象繪畵의 흐름은 제1·2차 世界大戰을 거치면서 理智的 性向의 「차가운 추상」과 感性的 性向의 「뜨거운 추상」으로 對立되었다. 이러한 形式化된 抽象에 대하여 보다 자유로운 造形的 創造活動으로 또 다른 抽象이 요구되는 것은 당연한 결과로 여겨진다. 本 論文에서는 作品 製作 過程에서 보여지는 두 가지 抽象의 對立을 克服해 보고자 硏究 分析하게 되었다. 첫째, 自然의 對相을 복잡한 設明없이 純粹한 造形 要素로 파악하여 客觀的 實在를 追究한 作家, Piet Mondrian(1872∼1944)과, 「內的 必然性의 外的表現」이라는 主觀的 態度에서 비롯된 表現主義的 作家, Wassily Kandinsky(1866∼1944)를 비교 硏究하였다. 둘째, 圖式的인 幾何構成과 抒情的인 表現의 융합으로 自然現象을 견고한 포름(forum)속에 끌어 들이려는 Richard Diebenkorn과 自然의內的 精神的 측면을 표현하는데 自然에 중심을 둔 Franz Marc의 表現技法을 근거로 硏究하였다. 作品 世界속에서 自身의 個性的 表現을 찾으려는 노력으로 本人은 수평·수직의 幾何的인 線을 構造的으로 探究하여 遠近感을 排除시켜, 畵面에서 秩序(靜)와 리듬(動)의 繪畵性을 追究하고자 하였다. 本 作品의 理論的 分析을 通하여 製作 過程에 따르는 現實들을 結付시켜 作家의 意識의 反映과 함께 畵面의 造形的 探究와 表現의 可能性을 탐구하여 繪畵的 可能性을 摸索하고자 하였다.