¹Ì¼úÀº ³ªÀÇ Èû - ´ÏÄÝ¶ó½º ÆÄƼ - ³ëºí·¹½º´åÄÄ

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    ARTIST&PEOPLE
  • 2022-11-02

¹Ì¼úÀº ³ªÀÇ Èû - ´ÏÄÝ¶ó½º ÆÄƼ

ÆĽºÅÚÀ̶ó´Â ºÎµå·¯¿î Àç·á¸¦ ÀÌ¿ëÇØ ±íÀÌ°¨°ú »ýµ¿°¨À» Ç¥ÇöÇÏ´Â ´ÏÄÝ¶ó½º ÆÄƼ.

Courtesy the Artist and Hauser & Wirth
© Nicolas Party

´ÏÄÝ¶ó½º ÆÄƼ
1980³â ½ºÀ§½º ·ÎÀÜ Ãâ»ý. ·ÎÀÜ ¿¹¼ú ´ëÇб³¿Í ½ºÄÚƲ·£µå ±Û·¡½º°í ¿¹¼ú ´ëÇб³¿¡¼­ °øºÎÇß´Ù. ¹ÐÅÏ ¿¡ºê¸®, Á¶¸£Á¶ ¸ð¶õµð, Æĺí·Î ÇÇÄ«¼Ò, Æ縯½º ¹ß·ÎÅë µîÀÇ ¿µÇâÀ» ¹Þ¾Ò´Ù. ¸óÆ®¸®¿Ã ¹Ì¼ú°ü, ¸¶±×¸®Æ® ¹Ì¼ú°ü, Çã½ÃÈ¥ ¹Ì¼ú°ü µî¿¡¼­ °³ÀÎÀüÀ» °³ÃÖÇß´Ù. ÇöÀç ´º¿å°ú ºê·ò¼¿À» ¿À°¡¸ç È°µ¿ÇÏ°í ÀÖ´Ù.





Portrait with Meteorite, Soft Pastel on Linen, 149.9¡¿127¡¿3.2cm, 2022
Courtesy the Artist and Hauser & Wirth
© Nicolas Party

ÇöÀç ÇÏ¿ìÀú ¾Ø ¿ö½º(Hauser & Wirth) È«Äá¿¡¼­´Â ¾î¸° ½ÃÀýºÎÅÍ ÀÚ¿¬°ú dz°æ¿¡ ±íÀº °ü½ÉÀ» º¸¿©¿Â ´ÏÄÝ¶ó½º ÆÄƼÀÇ °³ÀÎÀü [Red Forest](~9¿ù 24ÀÏ)°¡ ¿­¸®°í ÀÖ´Ù. À̹ø Àü½Ã¿¡¼­ ±×´Â ³¯·Î ½É°¢ÇØÁö´Â ±âÈÄ À§±â¸¦ ÁÖÁ¦·Î dz°æÈ­¶ó´Â Ŭ·¡½ÄÇÑ À帣¸¦ ÀçÇؼ®ÇÑ ¡®Red Forest¡¯(2022), Áß±¹ÀÇ ÀÚ¿¬¼®°ú ¼ö¼®ÀÌ ¶°¿À¸£´Â ¿î¼®À» È°¿ëÇØ ¸öÀ» ±×·Á³½ ÃÊ»óÈ­ ¡®Portrait with Meteorite¡¯(2022), ²÷ÀÓ¾øÀÌ Èê·¯°¡´Â ½Ã°£°ú ¿µ¿øÀ» Ç¥ÇöÇÑ ¡®Water Reflection¡¯ (2022) µîÀ» ¼±º¸ÀδÙ. ƯÈ÷ ÀλóÀûÀÎ ºÎºÐÀº Áß±¹ öÇÐ »ç»óÀÎ ¿ÀÇà(çéú¼)À» Àû±ØÀûÀ¸·Î Ž±¸ÇÏ°í Àû¿ëÇß´Ù´Â °Í. ¿ÀÇà¿¡ µû¸£¸é, ÇöÀç ¿ì¸®°¡ »ç´Â ¼¼»óÀº »ó»ý(¸ñ»ýÈ­¡¤È­»ýÅ䡤 Åä»ý±Ý¡¤ ±Ý»ý¼ö¡¤ ¼ö»ý¸ñ)°ú »ó±Ø(¸ñ±ØÅ䡤 ±Ý±Ø¸ñ¡¤¸ñ±ØÅ䡤 Åä±Ø¼ö¡¤¼ö±ØÈ­)ÀÇ °ü°è¿¡ µû¶ó ¸¸¹°ÀÌ »ý¼ºµÇ°í ¶Ç ²÷ÀÓ¾øÀÌ º¯È­ÇÑ´Ù°í ÇÑ´Ù. ±×·¡¼­ ÀÛ°¡´Â ´ÙÀ½°ú °°Àº Áú¹®À» ´øÁø´Ù. »ç¶÷Àº ÀÚ¿¬ÀÇ ÀϺÎÀϱî, ¾Æ´Ï¸é ȯ°æÀ» ÅëÁ¦ÇÏ°í Æı«ÇÏ´Â ¿ÜºÎ ¼¼·ÂÀϱî?

¿ÀÇà »ç»ó°ú Áß±¹ öÇÐÀ» ÀÛÇ°¿¡ ´ã°Ô µÈ °è±â°¡ ¹«¾ùÀΰ¡¿ä?
±¸¸§À» ±×¸° ÀÛÇ°ÀÌ ½ÃÀÛÀ̾ú½À´Ï´Ù. ¼öÆò¸é À§¿¡ ¶° ÀÖ´Â ¸ð½ÀÀÌ ¸¶Ä¡ »ê °°¾Ò°í, ¿ØÁö ¸ð¸£°Ô Áß±¹ »ê¼öÈ­°¡ ¶°¿Ã¶ú¾î¿ä. »ê, µ¹, ³ª¹«, ¹° µî ¿ä¼Ò°¡ À¯±âÀûÀ¸·Î È­ÇյǴ °ÍÀÌ ÀλóÀûÀ̾ú°Åµç¿ä. ±×´ÙÀ½À¸·Î, ÃÊ»óÈ­ ÀÛ¾÷À» ÇÒ ¶§´Â ÀÚ¿¬¿¡¼­ ¾òÀº ¿µ°¨°ú ¿¡³ÊÁö¸¦ ³ì¿©³»°íÀÚ Çß½À´Ï´Ù. ¿ì¸®ÀÇ ¸öÀÌ ÀÚ¿¬°ú ¾î¶»°Ô ¿¬°áµÇ´ÂÁö¸¦ »ý°¢ÇßÁÒ. Àú´Â ÀÚ¿¬°ú ¸Ö¸® ¶³¾îÁöÁö ¾ÊÀº ¹°Ã¼ÀÎ ¿î¼®¿¡ °ü½ÉÀ» °®±â ½ÃÀÛÇß½À´Ï´Ù. Á¦°¡ ¾Ë±â·Î ¼­¾ç ¹Ì¼ú»ç¿¡´Â Áß±¹ÀÇ ¼ö¼® °°Àº ¿¹¼úÇ°ÀÌ Á¸ÀçÇÏÁö ¾Ê½À´Ï´Ù. ÀÚ¿¬¿¡¼­ ¹Ù·Î °¡Á®¿Í ¡®ÀÌÁ¦ºÎÅÍ ÀÌ°Ç ÇϳªÀÇ ÀÛÇ°ÀÌ´Ù¡¯¶ó°í Á¤Çسõ°í °¨»óÇÏ´Â °Í °°Àº. ¾î¶»°Ô º¸¸é µÚ¼§°ú ºñ½ÁÇÑ ¡®nature-ready-made¡¯ °³³äÀε¥, Àú´Â ÀÌ ºÎºÐ¿¡¼­ Å« ¸Å·ÂÀ» ´À²¼¾î¿ä. »ç½Ç ¿¹¼úÀÇ °¡Ä¡´Â ¹°Áú º»¿¬¿¡ ÀÖÁö ¾Ê½À´Ï´Ù. µ¹ ÀÚü¸¸ ³õ°í º¸¸é º°´Ù¸¥ °¡Ä¡°¡ ¾øÀݾƿä. ±×·±µ¥ ¼ö¼® ¼öÁý°¡µéÀº ÀÚ½ÅÀÇ ¼±Åðú ÆÇ´ÜÀ» ±âÁØÀ¸·Î °ø±â¿Í ¹°¿¡ ÀÇÇØ Á¶°¢µÈ µ¹µ¢À̸¦ ¼±º°ÇÑ µÚ ÀÛÇ°À̶ó ºÎ¸£ÁÒ. ÀÌó·³ ½É¹Ì°üÀ» ±Ù°Å·Î ¿¹¼úÀû °¡Ä¡¸¦ Á¤ÇÑ´Ù´Â °Ç Á¤¸» ¸Å·ÂÀûÀÎ °Í °°¾Æ¿ä.

±×°Ç Áß±¹ÀÎÀÌ µ¹¿¡ ¿¡³ÊÁö°¡ Á¸ÀçÇÑ´Ù°í ¹Ï±â ¶§¹®ÀÌÁÒ. ¿¡³ÊÁö¸¦ ÀúÀåÇÏ´Â ¸Åü󷳿ä. µ¹ÀÇ ÀçÁúÀ̳ª ¸ð¾ç¿¡ µû¶ó °¢°¢ ´Ù¸¥ ¿¡³ÊÁö°¡ ´ã°Ü ÀÖ´Ù°í »ý°¢Çϱ⿡ ¾îµð¿¡ µÖ¾ß ÇÒÁö, ¾î¶»°Ô µÖ¾ß ÇÒÁö, ¾î´À °¢µµ·Î µÖ¾ß ÇÒÁö °í¹ÎÇÏ´Â ºÎºÐÀÌ ¸¹¾Æ¿ä. ¸Â¾Æ¿ä. Á¶°¢Ç°Ã³·³ º¸ÀÌÁö¸¸ »ç¶÷ÀÌ ¾Æ´Ñ ÀÚ¿¬ÀÌ ¸¸µé¾î³½ ÀÛÇ°ÀÌÁÒ. Àú´Â ÀÌ·± ¹ÌÇаú ¿¹¼úÇÐÀû °üÁ¡ÀÌ ¸Å¿ì µ¶Æ¯ÇÏ´Ù°í »ý°¢ÇØ¿ä. ¾î¶² µ¹À» º¸¸é »êÀÌ ¿¬»óµÇ°í, ¾î¶² µ¹À» º¸¸é ±¸¸§ÀÌ ¶°¿À¸¥´Ù´Â °ÍÀÌ Àç¹ÌÀÖ¾î¿ä.

Áß±¹ ÀüÅë ȸȭ Áß ¾î´À ½Ã±âÀÇ ÀÛÇ°À̳ª ÀÛ°¡¸¦ °¡Àå ÁÁ¾ÆÇϳª¿ä?
Áß±¹ »ê¼öÈ­°¡ dz°æÀ» ¾î¶»°Ô ÀÌÇØÇÏ°í ¹¦»çÇÏ´ÂÁö¿¡ °ü½ÉÀÌ ¸¹¾Æ¿ä. ¹®ÀÎÀ̳ª ¿¹¼úÀÎÀÌ Ç³°æÈ­¿¡ ´ëÇØ °í¹ÎÇÑ ÈçÀûÀÌ ¿ª·ÂÇϰŵç¿ä. Áß±¹ÀÇ Ç³°æÈ­°¡ ÀÚ¿¬¿¡ ´ëÇÑ ÀÏÁ¾ÀÇ »ý°¢À̳ª ´À³¦À» ±â·ÏÇÑ °ÍÀ̶ó¸é ¼­¾ç ¹Ì¼ú»ç¿¡¼­, ƯÈ÷ ³¶¸¸ÁÖÀÇ ÀÌÈÄ¿Í ÀλóÁÖÀÇ ÀÌÀüÀÇ Ç³°æÈ­´Â ÀÚ¿¬À» Á÷Á¢ ¹¦»çÇÑ ÀÛÇ°ÀÌ ´ëºÎºÐÀÌ¿¡¿ä. ´ç½Ã ¸ñ°ÝÇÑ ÀÚ¿¬ÀÇ ÇÑ Àå¸éÀ» ±â·ÏÇÏ´Â °ÅÁÒ. Áß±¹ÀÇ »ê¼öÈ­¿¡´Â ä¿öÁöÁö ¾ÊÀº °ø¹éÀÌ ¸¹Àºµ¥, Á¦°Ô´Â °ø±â °°Àº ±× °ø¹éÀÌ ´õ Áß¿äÇÏ°í Àǹ̽ÉÀåÇÏ°Ô ´Ù°¡¿É´Ï´Ù. Àι°ÀÌ µîÀåÇÏ´õ¶óµµ ¾ÆÁÖ ÀÛÀº ¸ð½ÀÀÌÁÒ. °Å´ëÇÑ ÀÚ¿¬ ¾Õ¿¡¼­ Àΰ£Àº ÀÛÀº Á¸ÀçÀÏ »ÓÀ̴ϱî¿ä. »ç½Ç Áß±¹ »ê¼öÈ­ ¼Ó ¸¸¸®À强 °°Àº µ¹À̳ª »êÀº Çö½Ç ¼¼°è¿¡ Á¸ÀçÇÒ ¼ö°¡ ¾ø¾î¿ä. ÇÏÁö¸¸ ±×·¸´Ù°í ¿ÏÀüÈ÷ Ãß»óÀûÀÎ °Íµµ ¾Æ´Ï°í. ¿¹¼ú°¡·Î¼± ±×¸²¿¡ Á¤½ÅÀ» ºÒ¾î³Ö´Â °ÍÀÌ °ü°ÇÀ̾úÀ» °Å¿¹¿ä. Á¦°¡ ±×·Á¿Â dz°æÈ­µµ ÀÚ¿¬ÀÇ ÁøÂ¥ ¸ð½ÀÀ» ´ã¾Æ³½ °Ç ¾Æ´Ï°Åµç¿ä. Çö½ÇÀû dz°æÀÌ ¾Æ´Ï¶ó Çö½Ç°ú ºñÇö½ÇÀÇ °æ°è¿¡ ³õ¿© ÀÖÁÒ. ±×·¡¼­ ÀÌ Ç³°æÈ­¸¦ º¸¸é Àΰ£ÀÌ »ý°Ü³ª±â ÀÌÀüÀÇ ¸ð½ÀÀÎÁö, ¾Æ´Ï¸é Àΰ£ÀÌ »ç¶óÁö°í ³­ ÀÌÈÄÀÇ ¸ð½ÀÀÎÁö ¾Ë ¼ö°¡ ¾ø´Â °Å¿¹¿ä. 100¸¸ ³â ÀÌÀüÀÇ ÀÚ¿¬ÀÏ ¼öµµ, 100¸¸ ³â ÀÌÈÄÀÇ ÀÚ¿¬ÀÏ ¼öµµ ÀÖÁÒ.





Water Reflection, Soft Pastel on Linen, 99¡¿94¡¿3.2cm, 2022 Courtesy the Artist and Hauser & Wirth © Nicolas Party
Water Reflection, Soft Pastel on Linen, 109.2¡¿122¡¿3.2cm, 2022 Courtesy the Artist and Hauser & Wirth © Nicolas Party
Water Reflection, Soft Pastel on Linen, 110¡¿140¡¿3.2cm, 2022 Courtesy the Artist and Hauser & Wirth © Nicolas Party


Á¦°¡ º¸±â¿¡ ÀÛ°¡´ÔÀº ÄÜÅÙÃ÷¸¦ ±¸ºÐÇÏ°í ¸íÈ®È÷ ÇÏ´Â °É Áß¿äÇÏ°Ô »ý°¢ÇÏ´Â °Í °°¾Æ¿ä. »ç½Ç ¹Ì¼ú°¡ ´ëºÎºÐÀº, ƯÈ÷ Çö´ë¹Ì¼ú°¡µéÀº ¹¹µç ±×·Áµµ µÈ´Ù°í »ý°¢ÇÏÀݾƿä. ¾î¶² ½ÃÁ¡À̳ª ´Ü°è, ±×¸®°í ¸Å°³Ã¼¿Í »ó°ü¾øÀÌ ÄÜÅÙÃ÷ »ý»ê¿¡ ÁýÁßÇÏ´Â ¹Ý¸é, ÀÛ°¡´ÔÀº ¸ÕÀú ¡®°áÁ¤¡¯À» ³»¸®´Â µ¥ ½Å°æ ¾²´Â °Í °°¾Æ¿ä. Áö±Ý ´Ü°è¿¡¼­ ¹«¾ùÀ» ¸Å°³Ã¼·Î ÇÒ °ÍÀΰ¡, ¹«¾ùÀ» ÁÖµÈ ¼ÒÀç·Î ³»¼¼¿ï °ÍÀΰ¡, ¹«¾ùÀ» ±×¸± °ÍÀΰ¡ µîÀÌ¿ä.
°¢°¢ÀÇ ´Ü°è¿¡¼­ Á¦°¡ ¼±ÅÃÇÑ ´ë»óÀ̳ª ÁÖÁ¦¿Í ±íÀº ´ëÈ­¸¦ ³ª´©·Á ÇØ¿ä. ±×¸®°í ÀÌ·± ¼±ÅÃÀº ´Ü¼øÇÒ¼ö·Ï ´ëÈ­ÀÇ ½Éµµ°¡ ±í¾îÁöÁÒ. Àú´Â °°Àº ÁÖÁ¦¸¦ °è¼Ó ¹Ýº¹ÇØ¾ß Á¤¸» ÀÌÇØÇß´Ù°í ´À³¢´Â °Í °°½À´Ï´Ù. ±×·¡¼­ µ¶¼­¸¦ ÇÒ ¶§µµ ÇØ´ç ÀÛ°¡ÀÇ Ã¥À» ÃÖ¼Ò ¼¼ ±Ç Á¤µµ´Â Àоî¿ä. ±×·¡¾ß ÀÛ°¡¸¦ Á¶±ÝÀ̳ª¸¶ ÀÌÇØÇÒ ¼ö Àְŵç¿ä. Àú´Â ¾î´À Á¤µµ±îÁö¹Û¿¡ ´Ù¸¥ »ç¶÷ÀÇ »ç»óÀ» ÁøÁ¤À¸·Î ÀÌÇØÇÏ°í °ø°¨ÇÒ ¼ö ¾ø´Ù°í »ý°¢Çϴµ¥, ¹Ì¼úÇ°À» °¨»óÇÒ ¶§µµ ¸¶Âù°¡ÁöÀÔ´Ï´Ù. ¹°·Ð Áö±Ý ¿ì¸®´Â ¸ðµç °ÍÀÌ ºü¸£°Ô ½ºÃÄ Áö³ª°¡´Â ½Ã´ë¿¡ »ì°í ÀÖ¾î¿ä. ÇÏÁö¸¸ Á¦°Ô´Â Çѵ¿¾È ¹º°¡¿¡ Àý´ëÀûÀ¸·Î ¸ôµÎÇغ¸´Â °æÇèÀÌ ¸Å¿ì Áß¿äÇÕ´Ï´Ù.

±×·¸´Ù¸é ´ë»óÀº ¾î¶»°Ô °í¸£³ª¿ä? ¿¹¸¦ µé¸é Ãʱâ Á¤¹°È­¿¡´Â ¹° ÁÖÀüÀÚ¸¦ ±×¸®¼ÌÀݾƿä. ÀÇÀÚ³ª ŹÀÚ¸¦ ¼±ÅÃÇÒ ¼öµµ ÀÖ¾ú´Âµ¥.
»ç½Ç ÀÇÀÚ³ª ŹÀÚ¸¦ ±×·Áº¼±î ÇÏ´Â »ý°¢µµ Çß¾î¿ä. ±×·±µ¥ ´ë»óÀ» °í¸¥´Ù´Â °Ç Àΰ£°ü°è¿Í ºñ½ÁÇÑ °Í °°¾Æ¿ä. »õ·Î¿î »ç¶÷À» ¸¸³ª¸é ¡®ÀÌ »ç¶÷Àº ±¦Âú´Ù¡¯, ¡®ÀÌ »ç¶÷Àº º°·Î´Ù¡¯ ÇÏ´Â ´À³¦ÀÌ ¿ÀÁö¸¸, »ç¶ûÀ̳ª ¿ìÁ¤ °°Àº °¨Á¤Ã³·³ Á¤È®ÇÑ ÀÌÀ¯³ª ±Ù°Å¸¦ ´ë±â´Â ¾î·ÆÀݾƿä. ±×·¡¼­ ½º½º·Î °³¹æÀû ŵµ¸¦ º¸ÀÌ´Â °ÍÀÌ Áß¿äÇÏ´Ù°í »ý°¢ÇÕ´Ï´Ù. ±×·¡¾ß ¾î¶² °¨Á¤ÀÌ Ã£¾Æ¿ÔÀ» ¶§ ±× Á¤º¸¸¦ ¹Ù·Î ¾Ë¾Æç ¼ö ÀÖÀ¸´Ï±î¿ä. ÀÚ¿¬È¯°æ¿¡ ÀÖÀ» ¶§³ª ±ºÁß ¼Ó¿¡ ÀÖÀ» ¶§³ª ÀÌ·± ¿¡³ÊÁö¸¦ ¹Þ¾ÆµéÀÏ ¼ö ÀÖ´Â »óŸ¦ À¯ÁöÇÏ´Â °ÍÀÌ Áß¿äÇÕ´Ï´Ù.

¿µ°¨ÀÌ ¶°¿À¸£Áö ¾Ê¾Æ âÀÛÀÌ Èûµç ÀûÀº ¾ø³ª¿ä?
ÀüÇô¿ä. ½ºÆ©µð¿À¿¡ Ãâ±ÙÇؼ­ ±×¸² ±×¸®´Â °ÍÀÌ ³Ê¹« Áñ°Ì°í, ´Ü ÇÑ ¹øµµ ¾Æħ¿¡ ÀϾ ¹» ±×·Á¾ß Çϳª °í¹ÎÇغ» ÀûÀÌ ¾ø¾î¿ä. ¸ÅÀÏ ¾Æħ ¾î¶² ÇÏ·ç°¡ ÆîÃÄÁúÁö ±â´ë·Î °¡µæÇÏÁÒ. ¹°·Ð ÀÏÀÌ Àß ¾È Ç®¸®°Å³ª ¾î¶»°Ô ±×·ÁºÁµµ ÀÛÇ°ÀÌ ¸¶À½¿¡ µéÁö ¾ÊÀ» ¶§´Â ÀÖ¾î¿ä. ±×·² ¶§¸¶´Ù Àú´Â Å״Ͻº °æ±â¸¦ ¶°¿Ã·Á¿ä. °æ±â¸¦ °ü¶÷ÇÏ´Ù º¸¸é 3¼¼Æ® ¸¸¿¡ ½ÂºÎ°¡ °áÁ¤ ³ª±âº¸´Ù´Â 5¼¼Æ®¸¦ ²Ë ä¿î °æ±â°¡ ´õ Àç¹ÕÀݾƿä. ±×¸²µµ ¸¸Âù°¡Áö¿¹¿ä. ³Ê¹« ¼øÁ¶·Ó´Ù ½ÍÀ¸¸é Àç¹Ì°¡ ¶³¾îÁöÁÒ.

¾î¶² ÀÛ°¡µéÀº ÀÛÇ°À» ¹«Á¶°Ç ¡®±ú²ýÇÑ¡¯ ȤÀº ÇÏ¾á º®¿¡ Àü½ÃÇÒ °ÍÀ» °íÁýÇÏ´Â ¹Ý¸é, ÀÛ°¡´ÔÀº ÀüÇô °³ÀÇÄ¡ ¾Ê´Â °Í °°¾Æ¿ä. ½ÉÁö¾î ±× ¹Ý´ëÀÏ ¶§µµ ¸¹ÁÒ?
¡®ÇÏ¾á º®¡¯¿¡ »öÀÌ ¾ø´Ù°í »ý°¢ÇÏ´Â °Ç ¿ÇÁö ¾Ê¾Æ¿ä. ¸¸¾à ¾î¶² »ç¶÷ÀÌ ¡°³­ Áý¿¡ »öÀÌ ³Ê¹« ¸¹Àº °Ô ½È¾î¼­ ÇϾá»öÀ¸·Î Ä¥ÇÒ °Å¾ß¡±¶ó°í ¸»ÇÑ´Ù¸é »ç½Ç Å©°Ô Âø°¢ÇÑ °ÅÁÒ. ¡°³­ ÇϾá»öÀ» ÁÁ¾ÆÇÑ´Ù¡±¶ó°í ¸»ÇÏ´Â °Ô ¿Ç¾Æ¿ä. ÇϾá»öµµ »öÀ̴ϱî¿ä. »ç¶÷µéÀº ÇϾá»öÀ» ¡®Áß¼ºÀû »ö±ò¡¯À̶ó°í »ý°¢ÇÕ´Ï´Ù. ¼­¾çÀÎÀÌ ÀÚ½ÅÀ» ¡®white¡¯¶ó ±ÔÁ¤ÇÑ Áö´Â ±×¸® ¿À·¡µÇÁö ¾Ê¾ÒÁö¸¸, ÀÌ ¶§¹®¿¡ ÇϾá»öÀ» Á¦¿ÜÇÑ »öÀº ¸ðµÎ ¡®À¯»ö(colors)¡¯À¸·Î ±¸ºÐµÇ±â ½ÃÀÛÇß¾î¿ä. »öÀÌ ¹®È­Àû・Á¤Ä¡Àû Àǹ̸¦ °®°Ô µÈ °ÍÀº ÃÖ±ÙÀÇ ÀÏÀÌ¿¡¿ä. »ç½Ç ÇϾá»öÀº ºûÀ» ¹Ý»çÇϴ Ư¼ºÀÌ ÀÖ½À´Ï´Ù. ±×·¡¼­ ±×¸²À» ±×¸®´Â »ç¶÷¿¡°Ô´Â ÀÌ»óÀûÀÎ ¹è°æ»öÀÌ ¾Æ´Ï¿¡¿ä. ÀÛÇ°À» ÇÏ¾á º®¿¡ °É¸é »öÀÌ Èñ¼®µÇ´Â °æÇâµµ ºÐ¸íÈ÷ ÀÖ°í¿ä. »ý°¢Çغ¸¸é ÀÛÇ°À» ÇÏ¾á º®¿¡ °É±â ½ÃÀÛÇÑ °Íµµ ±×¸® ¿À·¡µÇÁö ¾Ê¾Ò¾î¿ä. ·çºê¸£¹Ú¹°°üÀ̳ª ¸ÞÆ®·ÎÆú¸®Åº¹Ì¼ú°ü¿¡ °¡¼­ ¸£³×»ó½º ½Ã±âÀÇ ÀÛÇ°À» ã¾Æº¸¸é Àý´ë ÇÏ¾á º®¿¡ °É·Á ÀÖÁö ¾ÊÀ» °Å¿¹¿ä.





Water Reflection, Soft Pastel on Linen, 220¡¿160¡¿3.8cm, 2022
Courtesy the Artist and Hauser & Wirth
© Nicolas Party

How did the five elements and the influence of Chinese philosophy in your work begin?
The first works I created were those ¡°clouds¡±, which float on a horizontal surface and look like mountains, especially reminiscent of Chinese landscape paintings. In Chinese landscape painting, where mountains, stones, trees, and water are harmoniously and organically integrated into one plane, this is very inspiring to me. The next thing I create is the portrait work, and I try to incorporate these natural inspirations and energies into the portrait work: how our own body is connected with nature. I started to be interested in objects that are not from our natural world, meteorites. As far as I know, there seems to be not much work as the Chinese scholar stone in the history of Western art, that is, a thing is directly taken from nature, and then it is decided that it is a work of art, and it is admired at home. It seems that Duchamp¡¯s ¡°ready-made¡± later, nature-ready-made, I think this idea is very beautiful. The value of art is not in the material itself, because the stone itself has no financial value, but the scholarly collectors, through their own judgment and choice, turned a part of the stone that was only carved by air and water into a work of art. The concept itself It is very attractive to me that aesthetics gives artistic value.

Because many Chinese people believe that stone has energy, it is a carrier of energy storage, and stones of different materials and shapes store different energy. So for us, where to put this stone/energy, how to put it, what angle, is full of knowledge.
Yes, they are like a sculpture, but this sculpture is not man-made, but the creation of nature. I find this aesthetic and art very unique. Some of the stones are reminiscent of mountains and some are reminiscent of clouds, which is very interesting.

Do you have a period or painter of traditional Chinese painting that you are most familiar with or like? To me, the way Chinese landscape painting understands and depicts is very important, and obviously historically these artists and scholars have done a lot of thinking in depicting the landscape. Chinese landscape painting is an idea and a feeling of natural scenery, while in the history of Western art, especially after Romanticism and before Impressionism, landscape painting is often a direct depiction of nature, recording what is in nature. This picture moment. I feel that for Chinese landscape painting, the blank parts that are not filled, which seem to be empty parts of the air, seem to be more important and more particular. If there are figures, they are often very small. In front of the huge nature, people are very small. In Chinese landscape paintings, there are no real rocks or mountains in the real world, but they are not completely abstract. For Chinese landscape painters, what they want to capture is the spirit in the landscape. My own landscape paintings, which I have always painted, are not real natural landscapes. Not based on real scenery, it seems real but fake. In these landscapes, it can either be that no one has appeared yet, or it can be that humans have disappeared, it can be nature a million years ago, or it can be nature a million years later.





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Courtesy the Artist and Hauser & Wirth
© Nicolas Party

It seems to you that it is very important to differentiate and clarify your content. Because especially for contemporary artists, many artists feel that they can do anything, at any time and stage, with any medium, and whatever content they want, but you will seriously ¡°decide¡± your medium at this stage, the main object, what you want to paint.
At different stages, I hope to have an in-depth dialogue with the object/subject I choose at that time, and I think the simpler the choice, the more in-depth our dialogue can be. As I keep repeating this theme over a period of time, I¡¯ll get to know it better and better. Just like my reading habit, every time I start to read a certain author, I have to read at least 3 of this author¡¯s books to really start to understand this author a little bit. I think only to a certain point, you can really connect or resonate with another person¡¯s mind, and I see an artist¡¯s work too. Of course, we live in an era where we can ¡°swipe¡± everything we see, but for my own practice, absolute investment over a period of time is still very important.

So how do you choose your subjects? Like why did you choose the jar in the still life in the first place, but not the chair, or the table?
I actually thought about drawing chairs and tables many times. I think this may be like the relationship between people, the objects are just like people. You¡¯ll meet different people, you like some of them, some not so much. You can¡¯t exactly tell the reason, like love, or friendship, so I think it¡¯s important to keep yourself open, and when this feeling comes, you can receive this message, whether it¡¯s when you¡¯re in a natural environment, or in a crowd, it is important to maintain a state where these energies can be received.

Have you ever come across a time when nothing seems to spark your creative passion? I really love being in my studio and I rarely wake up and feel like I don¡¯t know what to paint. Every day I look forward to a new day¡¯s work. Of course, sometimes you will encounter a time when your work is not going well, or you don¡¯t feel satisfied with how you draw. Sometimes I compare the creative process to a tennis match. Playing 5 sets is always more attractive than straight sets. The same for painting. I think it¡¯s not that interesting to draw too smoothly.

There are some artists who will insist that their work be presented on a ¡°clean¡± or white wall, but you don¡¯t seem to mind that, or even quite the opposite?
Anyone who thinks ¡°white walls¡± have no color is wrong. If someone says ¡°I want to paint my home white because I don¡¯t like too much color in my home¡±, he¡¯s got one thing wrong. He should say, ¡°I want to paint my home white because I love white¡±. White is also a color. Many people regard white as a ¡°neutral¡± color. Westerners began to define themselves as ¡°white¡± only recently, so other colors became ¡°colors¡± compared to white. It is a very recent thing that color has been divided into cultural and political categories. In fact, white often reflects more light, so for paintings, white is not necessarily the most ideal background color. When a painting is hung on a white wall, its color is often diluted. In fact, hanging works on white walls is a very modern thing. If you go to the Louvre or the Met, you will find that paintings from the Renaissance, for example, are never hung on white walls.

 

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