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역동적 제스트(dynamic geste)에 의한 내적표현에 관한 연구

역동적 제스트(dynamic geste)에 의한 내적표현에 관한 연구
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(A) study on the inner expression by dynamic 'geste'
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대학원 서양화과
역동적제스트내적표현dynamic 'geste'서양화
이화여자대학교 대학원
The current of fine art of the 1980s which have developed in the name of pluralism, post-modernism or off-modernism is very complex and diverse without any leading from. This tendency can be seen as the reaction to modernism it self, and especaially to the past modes of the 1960s and 1970s. Such a tendency is sporadically leads to the movements such as Neue Malerei in Germany, New Image Painting, and Pattern & Decrative Art in the United States, and Free Form in France. In these complex and diversified movements of contemporary art I have tried to produce my works with the consciousness of "expression or revelation of the inner world" - the "inner world" in such a sense as when Ce´nzanne said "Nature is on the inside" or Kendinsky the "secret soul of things." This means I did not try to express my subjective feelings about the world but the world in that instant when my vision takes place in it. However, the world in that instant appears vague and indisitinct before me, and I could not but grasp only certain senses of it - its strength, its movements and its turbulance. During my painting work, I have always tried to be in touch with them, and to project them on my canvases. It is why I used the method of repeatedly rubbing the paint on the canvas with my hand. This method helps me keep preserving my vision of the world. At present, I could not find better way than this. However, I have been told or criticized that my attitude to painting is similar to that of Abstract Expessionists in the sense that I treated the canvas as if it is done automatically or unconsciously. I could not agree with this criticism. In this respect, the main part of this thesis is to ask whether "automatism" or contingency in art is possible. Thus, I tried, first, to analyze the true meaning of contigency or spontaneity in art. As a result, as long as the artist idealizes spontaneity, his creations continue to be governed by an intention : the intention to be free from all intentions. This means that we confront such art as a product of free spirit struggling to be free of itself in order to become spontaneity. In my opinion, the basic intention and way of doing the work in most of the Abstract Expressionists is governed by such a project of liberation, and they invite the spectator to participate in it. In this thesis I tried to support this claim on both the grounds of the examinations of the works by such painters as J. Pollock, H. Hartung, and M. Tobey, and of my experiences. In conclusion, I could argue that absolutely spontaneous art or automatism in art can not be possible. Next, if then, I have to ask what is attempted or aimed at in my painting work, For finding the proper solution of this question I turned to the writings by M. Merlequ-Ponty. According to him, vision is not a certain mode of thought or presence to self as Descartes believes it to be. Rather, it is the means given me for being absent from my self, for being present at the fission of Being from the inside-the fission at whose termination, and not before, I come back to my self. Thus, every visual something, as individual as it is, functions also as a dimension, because it gives itself as the result of a dehiscence of Being. What this ultimately means is that the proper essence of the visible is to have a layer of invisibility. I could get a clue for interpreting my painting work from this MerlequPonty's view. For what I have aimed at is very similar to what MerleauPonty says about the painting. That is, I have also tried to bring into the "oeuvre" the for ms of things "whose seal has not broken". I know that it implies a very difficult philosophical problem - the relation between me and the world in general terms. But I think that it has to be pursued. For we live in the world. As long as we live in the world, we can not escape the problem : to catch a real meaning of the world through our orignial contact, or discourse with it. As a painter, I have tried to participate in that task and I will. I think it is the call from our age to renew the world.;추상미술은 크게 개인의 감정과 직관에 의해 주관성을 강조한 서정적 추상과 이지적·합리적 정신에 의해 최소한의 형태와 색채를 가지고 표현하는 기하 추상으로 구분지을 수 있다. 이러한 추상미술의 두 흐름은 1950년대의 추상표현주의를 거쳐, 1960년대의 팝 아트 (Pop Art), 1970년대의 미니멀 아트 (Minhnal Art),'Support / Surface'등과 같이 다양하고 복잡한 양식을 띄며 전개되어 왔다. 또한 최근 대두되고 있는 80년대의 현대미술의 경향은 다원주의, 포스트 모더니즘 (Post-modernism)이라고 불리우는 그야말로 주도적인 어떤 미술양식을 지니지 못한 채, 급속하고 다양하게 전개되어가고 있는 중이다. 이러한 80년대의 새로운 움직임은 60년대와 70년대의 미술양식을 부정하는데서 부터 출발하였다. 그리하여 독일에서는 노이에 말레라이 (Neue Malerei)로, 미국에서는 뉴 이미지 페인팅 (New Image Painting) 및 패턴과 테코테이티브 아트 (Pattern & Decorative Art)로, 그리고 프랑스에서는 자유형상등으로 불리워지면서 산발적으로 나타나고 있다. 이렇게 복잡하고 다양하게 전개되어 가고 있는 현대미술의 흐름속에서 본인은 추상표현주의적 입장에서 '내면적 세계의 표출'이라는 문제를 가지고 본인의 작업과정을 진행시켜 왔다. 본 논문은 이러한 작업이 어떠한 의미를 지니고, 수행된 것인지를 인식해 보기 위해 구성된 것이다. 따라서 본 논문을 구성함에 있어 본인은 우선 그 내용적인 면으로서 본인의 작품제작 과정에 관련시켜 M. Merleau-Ponty (1908~1961)의 이론을 도입시켜 보고자 하였고, 추상표현주의 작가들의 우연성에 대해서 언급해 보았으며, 그러한 우연성 예술이 과연 가능한 것인지를 설명해 보고자 하였다. 다음으로 본인은 방법적인 면으로서 J. Pollock (1912~1956)의 뿌리기 기법이나 동양의 서체적 표현을 구사한 H. Hartung (1904~ ), P. Soulages (1910~ ), M. Tobey (1890~1976) 등의 작업방식과 관련된 것으로 이해되고 있는 무의식이나 무연성의 요소를 본인 자신의 작품과 체험에 비추어 확인해보는 입장을 취하고자 하였다. 그리고 그러한 확인과정을 통해 문자 그대로의 우연적인 표현이란 사실상 불가능하다는 것을 증명하고자 하였다. 그렇다면 본인의 회화작업은 어떠한 의미를 지니고 있는 것일까? 이 물음에 대해서 본인은 그것을 결론부분에서 다루어 보고자 하였다. 여기서 본인은 본인의 회화작업에 의미해명을 위해 받아들인 M. Merleau-Ponty의 현상학에 근거하여 본인의 입장을 밝히고자 하였다.
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