이돈순 展
- 철정회화(鐵釘繪畵) 혹은 붓으로부터의 일탈 -
Iron Nail Painting or Deviation from of the Brush
Speaking Flower_목판에 혼합재료, 스피커, 스테인리스 못, 나사_지름 60㎝_2007
통인옥션갤러리
2009. 1. 21(수) ▶2009. 2. 3(화)
오프닝 : 2009. 1. 21(수) 오후 5:00 통인옥션갤러리
서울특별시 종로구 관훈동 16 통인빌딩│02-733-4867
Flower_목판에 혼합재료, 스테인리스 못, 나사_100×170㎝_2008
철정회화(鐵釘繪畵) 혹은 붓으로부터의 일탈
‘철정회화(鐵釘繪畵)’는 일명 ‘못 그림’이다. 붓으로는 온전하게 ‘못 그린’ 즉, 붓 대신 못을 사용해 완성된 그림을 지칭하는 신조어이다. 이는 동양미술의 전통적 맥락 속에서 출발하여, 못(鐵釘)과 같은 금속재의 표현 가능성을 실험해 봄으로써 현대적 소재와 회화적 표현방식의 결합을 모색하는데 붙여진 이름이다.
작가는 생활주변에서 쉽게 접할 수 있는 꽃과 식물들을 스케치하고 이를 조형의 목적에 따라 가공한다. 때로는 인간의 욕망을 투사하고, 때로는 꽃의 생활사를 관통하는 치열한 생존의 원리를 조형의 법칙에 대입시켜보기도 한다. 또한 일상적 사물(objects)과 식물로서의 꽃(자연), 시각적인 이미지와 촉각적, 청각적인 이미지의 결합 및 상호작용성에 맑은 고딕을 둔 공감각적 조형세계에 대한 가능성을 실험해 왔다.
최근 시도되고 있는 [정원에서] 및 [Flower], [Swimming], [통섭(通涉)] 등의 연작은 일상 오브제와 식물 이미지의 결합이라는 종래의 작업 경향을 유지하면서도 못을 모필 삼아 꽃과 식물, 새와 물고기, 곤충 같은 사물을 묘사하고 있으며 때로는 모필로 그려진 사물들과 서로 대구를 이루며 연출되기도 한다. 이러한 작업방식은 결과적으로 평면회화에 빛과 요철을 부여함으로써 끊임없이 회화 외적인 존재방식과 결합해가려는 욕망의 기제로 작동하며, 나아가 전통과 현대, 회화적인 것과 조각(부조)적인 것, 시각적인 것과 촉각(청각)적인 것 등 익숙하거나 낯선 요소간의 결합과 충돌이라는 새로운 시지각적 체험과 연결된다.
‘통섭(通涉)’ 연작_목판에 혼합재료, 못, 나사_각각 52×52㎝_2007
Iron Nail Painting or Deviation from the Brush
Lee, Don Soon
It was brush, ink, and paper that made highly developed painting techniques possible in the ancient oriental art. Paper, brush and ink represented the spirit before they were aids of painting, and they signified a kind of disciplines more than a culture. They still stand for a certain spirit even in the industrialized society today. That was so true in the oriental paining I majored in. Very delicate sheets of paper that is so easily torn apart, extremely difficult and long process of practicing, and request for the transcendental spirit often hindered many possible choices in art making.
However, considering the highly diversified human life and cultural attitudes, and a variety of mediums available today, I think it is necessary to approach the traditional art and its mediums in more open-minded and freethinking ways. I believe when the form changes, it is followed by the change of the contents, and we can achieve the fundamental change of forms and contents by taking up the different materials.
통섭(通涉) - 지저귀는 산, 백두(白頭)_목판에 흑연, 못, 나사, 전선_74×104㎝_2008
The materials and forms, which had filled the human needs for a long period of time under the necessity of sustaining life, changed human life dramatically as the new materials were developed. We are unable to find ideal landscapes of hills and streams out the apartment window in the city. Imitated nature or miniature gardens have replaced the real nature as lawful dogmas. Now the unnatural nature in the city is no longer a vessel of universe to embrace all living things, but it is a mere agreed sign, functioning as an artificial memorial. Like this, we have expelled the mother nature out of the apartment complex and instead employed practical construction materials such as iron (metal) and concrete in the residential building to maximize the conversion value and the floor space index (profit and convenience). Before judging whether the phenomenon is right or wrong, we are intimidated by such overwhelming concrete buildings that color the modern cities completely in grey.
"Nylon strings make a sound of a guitar, golden strings of a violin and silk threads of a gayageum, a twelve-stringed Korean harp. Different material, different sensation."
통섭(通涉)_목판에 혼합재료, 스테인리스 못, 나사_96×170㎝_2007
Like the advertising I once heard on a radio, the different medium in art can create different contents and sensations. It can define the contemporary spirit in terms that it is related to human life and way of thinking and to the culture and history of an era. Like a journey begins with the first step and a luxuriant forest begins with a tree, a single material can be the initiative to open up our spirit and perception. The artist realizes his artistic world from the beginning to the end of artwork, and his spirit is resolved in the mediums, or the materials he uses.
"Iron Nail Painting (Chul-jeong-hwoi-hwa)" is "painting with Mot, the nail." It is the term that I coined to describe the painting done with the nail instead of the brush. In other words, it is the painting which was "Mot-painted" ("not painted well") only with the brush. (*Mot has a double meaning of "iron nail" and "not well" in Korean.) My painting started in the traditional sense of oriental painting. However, I explored new ways of expression with metal tools like nails (which hardly can meet up with the traditional sense) and searched to combine contemporary subjects, that are closely related to everyday life, and painting expressions. I use the nail mostly for plants or natural images. Although foreign and unfamiliar, the nail creates the distinctive texture and color, and various formative effects with the new arrangement and surface, which enables a new experience of visual illusion, different from the previous painting. At the same time, it is still correspondent with the techniques and expressions of ink and brush in the traditional painting, and so my paining still associates with the tradition and the painting.
통섭(通涉)_목판에 혼합재료, 스테인리스 못, 나사_90×170㎝_2007
In such contradictory expression, sumptuous and yet delicate flowers and plants can be perceived as something unfamiliar in its metal skin. On the other hand, the stainless nail generates the scales of fish, feathers of birds and wings of insects. Now, the spirit of brush that has fully followed the philosophy of universe and painting for centuries can dream of a pleasant deviation. By doing so, the new and deviated experience in accordance with the trace of brush can make possible the surface and the texture and their relationship which have been ignored in the traditional aesthetical judgment.
Therefore, my artistic interest doesn't remain on an individual characteristic of flowers (or plants or nature). Instead, I take up an inverted tool of iron nail to express the linguistic, physical attributes of symbolic flowers, or the fragile images, and so I reconstruct perception and sensibility by combining very different elements and furthermore, question about the painting that was established on the use of brush.
Swimming (游泳)_목판에 스테인리스 못, 나사, 구리 손잡이, 정첩_122×122㎝_2007
The nails that I use in the work epitomize my life in some ways. Long lasting feeling of insecurity and economic incapability that I suffered in my earlier years of career and the emotional nails so deeply and helplessly driven into my life at the time… such lusty bent wounded construction material becomes a new formative tool for me. The plywood I have picked up for canvas substitution like a scavenger now becomes the main ground of my painting. Iron nails, plywood and wires, all these materials have been necessary elements of my life. They are everyday objects and I use them as creative tools. However, the weight of life and memories (history) they carry are inseparable. It is because of what they represent to me, "the unbearable lightness of being,"or the texture and the last spirit.
swimming (游泳)_목판에 혼합재료, 스테인리스 못, 나사_122×122㎝_2007
vol. 20090121-이돈순 展