Pattern의 反復性과 Rhythm硏究

Abstract

The current of modern arts reflect the movement of the age which is diversified, and continue the changes endlessly. The post-war abstract arts are divided into the hot abstract which stresses the expression of the inner world and the abstract composed of geometric structure which was treated with the simple but clear color. The former was continued by the abstract expressionism and the lyric abstract, and the latter was continued by Hard-Eage, Minimal Art, Monochrom and it came so until today. The development of the arts mode came to be expressed implicitibly and analytically by stressing the planeness of the canvas in 1970s, and the drawing came to have the nature of the object gradually. Through Neo DaDa, and Pop Art which call for the return of object, what is called, which introduces the mechanized and non-individual industrial product as the object to the drawing instead of the expression of the inner world of the painter., the group of Support/surface which intends to return the drawing to the materiality without representing a certain message in 1970s is formed. It started with the materiality which was stressed by the Minimal Art of USA the basic conception, the frame and the canvas are fully separated, and the materiality was stressed with the intention of returning the drawing Itself into the material itself. In this current, I am interested in the planeness of the drawing and materiality-materiality which is foreign to the pigment itself, I pursued the order and the harmony of the canvas by means of the moulding unit, and studied the matter of materiality which is sometimes erased by repeatation of the same pattern and sometimes folded and expressed. According1y, as the basis of theory of this thesis, Francois Rouan (1943- ) was centered on who did the abstract work such as the dotted pattern and the weaving work, and the study was made on the works of Alfred Jensen (1903-1981) who affected much to the pattern painting Through such study, the method of my work manufacture was comparatively analysed, and I intend to establish my view of drawing by means of pursuing the new direction through the method of dense expression of the canvas and the matters of technique thereof.;現代美術의 흐름은 다양한 時代의 움직임을 反映하고 끊임없이 變化를 계속하고 있다. 戰後 抽象美術은 內面世界의 表現을 중시하는 뜨거운 추상과 간결하면서도 明瞭한 色彩로서 처리된 기하학적 構成의 추상으로 나뉘어진다. 前者는 추상표현주의, 서정추상으로 이어지고 後者는 Hard-Eage, Minimal Art, Monochrom으로 이어져서 오늘에 이르고 있다. 이러한 美術樣式의 발전은 1970년대에 이르러 畵面의 평면성이 강조되면서 含蓄的이며 分析的인 傾向으로 나타나게 되고 그림은 서서히 objet의 性格을 띠게 되었다. 화가의 內面世界의 表現보다는 기계화되고 비개성적인 공업 생산품을 objet로써 회화에 導入하는 이른바 objet의 복귀를 부르짖는 Neo DaDa, Pop Art를 거쳐 70년대 들어서서 그 어떤 메시지를 提示함이 없이 회화를 물질성으로 還元시키려는 쉬포르/쉬르파스 (Support/surface)그룹이 결성된다. 美國의 미니멀 아트가 강조한 물질성을 基本 槪念으로 하여 출발한 것으로 천과 틀을 분리함으로서 회화를 完全히 물질 그 자체로 還元시키려는 의도에서 물질성을 강조하였다. 이러한 흐름속에서 本인은 회화의 평면성과 물질성에 關心을 가지고-안료 자체가 갖고 있는 생경한 물질성-사각이라는 造形 單位에 의해 畵面의 秩序와 調和를 추구하고 同一한 패턴의 反復으로 때로는 지워지고 겹쳐지면서 드러나는 물질성의 問題를 硏究하였다. 따라서 本 論文의 理論的 기반으로는 직조작업과, 얼룩무늬같은 추상작업을 한 Francois Rouan(1943∼)을 中心으로 Pattern Painting에 적지않게 影響을 미쳤던 Alfred Jensen (1903~1981)의 作品에 대해서 硏究하였다. 이러한 硏究를 통하여 本人의 作品製作 方法과 比較 分析함으로서 畵面의 밀도있는 表現方法과 기법상의 問題를 硏究하여, 새로운 方向으로 摸色해 나감으로서 本人의 회화적 가치관을 構築해 나가고자 한다.