inter- & in situ
inter- & in situ & o'er
inter- & in situ & o'er
inter- & o'er
inter- & o'er
inter- & axis
inter- & axis
inter- & axis
분해된 회화, 흔적의 사이(inter-vestige)
일본의 번역가들은 모호한 번역어를 만났을 때 야후 이미지 검색을 이용한다고 한다. 구체적인 이미지들은 포괄적이고 굳은 관념에 생기를 돌게 하고 적절한 용례를 제공해준다. 예술적 표현과 관념의 관계도 마찬가지다. 인상주의 미술처럼 한 시대의 사상적 조류를 선취한 예술 사조의 사례는 무수히 많다.
홍정욱은 회화적 논리에 기반한 섬세한 설치 작업으로 잘 알려진 작가다. 회화적 논리라 함은 그가 회화를 전공했을 뿐 아니라 입체 및 설치 작업으로 확장된 작업 세계를 회화 어휘로 설명해왔기 때문이다. 캔버스에 칠해진 물감덩어리에 지나지 않는다거나 물질성과 평면성을 속성으로 갖는 그린버거의 모더니즘적 회화론 등 회화 자체에 대한 질문과 반성적 사유의 전통과 궤를 같이 하지만 홍정욱의 회화적 논리는 화폭을 둘러싼 상황, 즉 전시장의 형태와 조건, 수용자 또는 관람객을 끌어들이는 미디어론의 성격을 띤다. 그리고 이러한 확장된 회화 논리의 탐색은 철저히 수공업적 방식으로 제작된 오브제와 설치 과정에 고스란히 반영된다.
실제로 1층 전시장에 들어서며 만나는 설치물과 오브제는 전시장 전체를 화폭으로 상정한 작가의 회화적 요소로 기능한다. 원과 삼각형으로 구성된 프레임에 캔버스 천을 씌우고 채색한 (<inter- 연작>)은 연분홍과 민트 컬러로 칠한 전시장 벽과 조응한다. 점, 선, 면, 색채 등 회화의 기본 요소를 캔버스의 표면에서 분리한 후 벽과 입체 설치물의 관계로 재구성하는 것이다. 하도, 중도, 상도의 과정을 반복했음에도 의도적으로 매끈히 채색되지 않은 부분을 남겨둔 것은 그러한 구성적 의도를 드러내는 증거다. 따라서 수 겹으로 접착시킨 목질 재료를 자유자재로 구부려 이어 붙인 오브제(<o'er>, 2016)는 캔버스 프레임의 해체와 재구성이자 선과 면이 뒤섞이는 드로잉의 흔적이 된다. 자연광 아래서 생기는 음영과 어울리도록 종단면에 인입된 엘이디 조명은 색채의 역할을 맡는다.
특히 스무 개 삼각 거울 조각으로 입면체를 이룬 (2016) 작업은 벽 드로잉뿐만 아니라 갤러리 바깥 풍경을 끌어들인다. 작품이 자리한 공간의 주변 환경을 작품 자체로 수용하는 점에서 다니엘 뷔렌의 ‘인 시튜’ 개념을 오마주한 것이리라. 하지만 홍정욱의 작업은 캔버스(또는 전시장)을 벗어나 확장을 거듭하는 뷔렌적 인 시튜와 달리 다시 회화적 논리로 귀환한다. 마치 세잔의 고투처럼 점, 선, 면, 색채는 회화의 본질에 대한 작가의 질문과 함께 분해와 재조립을 거친 입면체와 발광체의 모습으로 드러난다. 놀랍게도 그는 이 모든 작업을 모눈종이에 철저히 계산된 수치에 맞춰 한 땀 한 땀 손으로 휘고 구부리며 만들어냈다. 그가 한 해에 만드는 작품이 열 점이 넘지 않는 이유다.
2층 전시장 벽을 꽉 채운 작업(<axis>, 2006)은 자신의 설치 작업을 거대한 유사 캔버스로 환원시키는 작가의 집요함을 확인케 한다. 각각의 조각에서 평면을 탈출한 회화 요소는 말 그대로의 촉각성으로 보는 이를 압도한다. 작가는 보이지 않는 중력과 파동을 드러내는 데 관심을 가져왔다고 말한다. 흰색 캔버스 천을 씌운 이 오브제 조각들은 각각의 틈이 맞물리며 굽이치는 선의 모양을 만들어낸다. 이 구체적이고 생생한 회화 어휘는 작가가 자신의 과제와 팽팽히 맞서고 있음을 증언하고 있다.
글_강상훈_Sanghoon Kang(스페이스 오뉴월)
In fact, the installations and objects you will encounter on the first floor function as painterly elements within the exhibition space that the artist designated as a canvas. Inter- series consists of circle and triangle shaped frames covered with fabric onto which colors are painted, and is complemented by the light pink and mint colored walls of the exhibition space. With this series, the artist detaches the basic elements of a painting such as points, lines, planes, and colors from the surface of a canvas and then reconstructs them into a relationship between the walls and the three-dimensional installations. Despite of the repeating process of adding layers of color, the uneven parts are deliberately left that way and reveal its true compositional intention. Thus, the object o’er (2016) - multiple layers of glued wood bended into different shapes and then attached one to another - represents the deconstruction and reconstruction of a canvas frame as well as the traces of drawings on which lines and planes are mingled together. The shadows under natural light and built-in LED lights from the vertical section of the work serve as colors.
Particularly, in situ (2016), a three-dimensional form comprised of twenty triangular mirror pieces, brings not only the wall drawings but also the view from outside of the gallery into the space. It must be an homage to Daniel Buren’s notion of “in-situ”, in relation to his approach of embracing the surrounding of the space where the artwork is placed and regarding it as integral to the artwork itself. Unlike the “in-situ” of Daniel Buren’s style which departs from a canvas (or an exhibition space) and repeatedly expands, the work of Jung-ouk Hong returns back to the painterly logic. Like Cézanne’s struggles, points, lines, planes and colors emerge as the image of three-dimensional and luminous bodies which have been disassembled and reassembled, along with his questioning of the fundamentality of painting. Surprisingly, all of these works have been made by himself, by twisting and bending materials with his bare hands in accordance with the figures strictly measured on graph paper. This is the reason why the amount of completed works does not exceed 10 per year.
The work axis (2006), which fills up the walls on the second floor of the exhibition, proves the artist’s obstinacy in which he transfers his installation work into a massive pseudo-canvas. Painterly elements that have escaped from the surfaces of each sculpture overwhelm the viewers, literally speaking, by their nature of tactile sense. The artist says that he is interested in revealing the unseen gravity and waves. These sculptural works of white canvas fabric-covered objects form the shape of meandering lines while their respective gaps interlock with each other. These specific and vivid painterly words prove that the artist is in a state of vigorously confronting his own task.
written by Sanghoon Kang (space O'NewWall)
글_강상훈_Sanghoon Kang(스페이스 오뉴월)
Disassembled Painting, INTER:VESTIGE
It is said that Japanese translators use the Yahoo image search
function when they encounter an ambiguous term that needs to be translated.
Specific images bring the inclusive and rigid concept alive and give adequate
examples of the use of the term. The relationship between the artistic
expression and the concept is alike. Just like Impressionism, there are
numerous cases of artistic movements that preceded the ideological flow of a
certain era.
Jung-ouk Hong is an artist known for his delicate installations
that are based on a painterly logic. This painterly logic not only refers to
the fact that he majored in painting, but also the fact that he has been
demonstrating his art practice, which expands into three-dimensional and
installation works, by the use of painterly language. The artist questions the
painting per se as well as Greenberg’s Modernist Painting’s theory which
regards an image on a painting merely as a heap of paint on canvas and is
characterized by materiality and flatness while following the tradition of
reflective thinking. However, his painterly logic incorporates the situations
that surround an artwork, that is to say the format and condition of the
exhibition space and also the characteristic of media that attracts viewers.
His research on this extended painterly logic is precisely reflected in the
thoroughly handmade objects and the installation process. In fact, the installations and objects you will encounter on the first floor function as painterly elements within the exhibition space that the artist designated as a canvas. Inter- series consists of circle and triangle shaped frames covered with fabric onto which colors are painted, and is complemented by the light pink and mint colored walls of the exhibition space. With this series, the artist detaches the basic elements of a painting such as points, lines, planes, and colors from the surface of a canvas and then reconstructs them into a relationship between the walls and the three-dimensional installations. Despite of the repeating process of adding layers of color, the uneven parts are deliberately left that way and reveal its true compositional intention. Thus, the object o’er (2016) - multiple layers of glued wood bended into different shapes and then attached one to another - represents the deconstruction and reconstruction of a canvas frame as well as the traces of drawings on which lines and planes are mingled together. The shadows under natural light and built-in LED lights from the vertical section of the work serve as colors.
Particularly, in situ (2016), a three-dimensional form comprised of twenty triangular mirror pieces, brings not only the wall drawings but also the view from outside of the gallery into the space. It must be an homage to Daniel Buren’s notion of “in-situ”, in relation to his approach of embracing the surrounding of the space where the artwork is placed and regarding it as integral to the artwork itself. Unlike the “in-situ” of Daniel Buren’s style which departs from a canvas (or an exhibition space) and repeatedly expands, the work of Jung-ouk Hong returns back to the painterly logic. Like Cézanne’s struggles, points, lines, planes and colors emerge as the image of three-dimensional and luminous bodies which have been disassembled and reassembled, along with his questioning of the fundamentality of painting. Surprisingly, all of these works have been made by himself, by twisting and bending materials with his bare hands in accordance with the figures strictly measured on graph paper. This is the reason why the amount of completed works does not exceed 10 per year.
The work axis (2006), which fills up the walls on the second floor of the exhibition, proves the artist’s obstinacy in which he transfers his installation work into a massive pseudo-canvas. Painterly elements that have escaped from the surfaces of each sculpture overwhelm the viewers, literally speaking, by their nature of tactile sense. The artist says that he is interested in revealing the unseen gravity and waves. These sculptural works of white canvas fabric-covered objects form the shape of meandering lines while their respective gaps interlock with each other. These specific and vivid painterly words prove that the artist is in a state of vigorously confronting his own task.
written by Sanghoon Kang (space O'NewWall)