바닷가 이미지에 관한 造形 硏究

Abstract

자연은 인간에게 있어 생활의 터전인 동시에 경외의 대상으로 모든 예술활동의 근원이 된다. 시간적 혹은 공간적 흐름에 따라 변화하는 자연은 조형세계에 무한한 소재를 제공해왔다. 따라서 자연을 대상으로 접하는 작가의 성장과정이나 개인적인 감성은 삶을 통해 체험되는 수많은 이미지의 형상화로 표현 되어진다. 본 연구는 자연의 일부인 바닷가의 이미지 표현에 있어 동해안에 위치한 강릉 경포대라는 한정된 공간을 설정하여 과거기억 속의 잠재된 감성적 이미지와 현장 답사를 통해 느껴지는 현실적 이미지와의 관계를 조합하여 조형화 하고자 하였다. 따라서 조형의도는 대상의 단순 재현이나 모방이 아니라 바닷가라는 자연현상으로부터 받은 영감을 감수성과 주관에 의해 재창조하는 것으로 주어진 대상을 심미적 대상으로 자유롭게 구체화하여 본인의 정서와 미적 감수성으로 생명력을 갖춘 형태로 새로운 조형미를 부여하고자 하였다. 강릉 경포대를 소재로 하여 바닷가의 이미지를 재창조하는 데 있어서 자연을 서정적 혹은 낭만적 대상으로만 단순하게 표현하는데 그친 것은 아니다. 여기서 바닷가는 생성과 소멸의 과정을 거쳐 끝없이 반복되는 인간의 삶과 또 다른 작은 우주|The purpose of this paper is to explain about the meaning of my works, several mouldings containing seashore image. Thus, the focus of this paper is based on describing the intent and nature of the created works simply. From January to October of 2000, I have been absorbed in creating those works steadily at the seashore of Gyungpodae, Kangrung. Consequently, major works were shown to public last November with the name of 'Where I stand,' 'Left behind my intention,' 'Calm ripple shaking a longing,' 'A lonely star with promise,' etc. Regarding this topic, similar issues have been expressed so far. Those issues can be reduced to the very relationship between Nature and artifact. Historically, many artists have tried to clarify the connection and separation between them. In fact, this paper will add one more viewpoint to them. Although this paper does not provide any kinds of innovative ideas, it will contain obvious uniqueness different from others'. First of all, described images of those works have been crafted from a limited seashore place during certain period. In addition, those images are the sibling of the compromise between my past memories and current environments. In short, those works are driven by a certain artist's past subconsciousness and proactive subjectivism, although they mimic objective shapes of Nature, Gyungpodae beach. Major findings of this paper are as follows: First, Nature is the foundation of human life and gives us ground resources of artistic energy as the object of respect simultaneously. Ever changing Nature in conformity with space-time fluctuation always affords us related materials for moulding art. Therefore, Nature itself can be expressed as changing images through the growth cycle of artist, personal emotions, and live experiences. Second, Nature cannot be expressed as desirable images without a specific intention, spiritual impression, and sensitivity of authors. In fact, the works are incarnated concretely by authors' mind and from their perspectives. If the works do not have unique world in terms of subjective viewpoint, they cannot enjoy the true freedom from the human bondage because those works do not have any sorts of live energy and spiritual power. Finally, seashore in Nature sends us lyric, romantic messages. In the same time, seashore in Nature shows the exact circulation of life and death. Nature encompasses endless return to the prototypes. Seashore must be one of prototypes in Nature. There are uncountable pieces of sand. Each piece of sand has various history and its uniqueness. It faces its Universe directly. In conclusion, seashore image makes artists reflect their past memories about Universe and Nature, futhermore seashore image drives artists create subjectivity-centric mouldings. The way of subjectivity-centric mouldings has, of course, some limitations. Above all, it is difficult that complex seashore should be transferred into a solid figure without the help of plane figuring and diverse coloring. In order to supplement the limitation and publish purity, I tried to adopt somewhat exaggerate fairy-tale metaphor through my works.