한국 현대회화에 있어서 행위와 물성의 상호의존성 - 1970~1980년대의 물성회화를 중심으로 -

Abstract

In this study, firstly, ‘materialhood(Mulseong)’ and action, found in the Korean monochrome paintings of 1970s and 1980s are reviewed, and their interdependency in the context of ‘Mulseong’ paintings are discussed. ‘Mulseong’painting can be traced back to the beginning of monochrome paintings after the Informel, however the materialhood and the action, and their interdependency in the paintings of the Korean artists have expressed the aesthetic sense unique to the Korean painting, different from the Minimalism of the West. Given the premise, ‘Mulseong’ painting is defined in the context of history of art in Korea, and its significance as an experimental efforts and its unique position in the context of contemporary art in Korea are discussed in this study. First of all, to define the term, ‘Mulseong’ painting, the evolution and the genealogy of monochrome painting in the contemporary art of Korea are studied. Monochrome painting, widely accepted in 1970s and 1980s, used to be evaluated as similar to Color-field abstraction of the US, or Minimalism, however it is positioned on a totally different layer in the respect of the principle of creation or the aesthetics. The clear-cut distiction between ‘Mulseong’ painting and the others would be the role of materialhood and action in painting. In this study, based on the disctinction, the sample artists are selected and researched as preceding case of ‘Mulseong’ painting. Among the widely-known artists of Korean monochrome paintings, JEONG, Chang-Seop and HA, Jong-Hyeon were selected for the discussion in this study. While Jeong achieves ‘Unity without Self (沒我合一)’via 'all-over vision', while Ha did zygosis of materialities via 'view from the rear'. Here, it can be understood that the paintings of the author are located at the point where the two are intermediated. The works of the author is based on materialhood of Korean paper and take their forms through the action of pounding. The implication of the action and the process of creation can be argued in 2 aspect: the action, and the materialhood. Ultimately, these 2 aspects interact with each other, and reach to communication between the nature and human beings, in other words, Unity without Self. In the end, the author succeeds the spirit of monochrome painting in the 1970s and 1980s, but that doesn't mean that the author just employ the as a simple way of expression, but he endeavors to transcend it and seeks the modern implication of monochrome. In this respect, the unity of materialhood and action, which the author has pursued throughout his works, focus on emotional aspect of monochrome, based on the naturalism of Korea. The key in the argument of this study in the contemporary arts is that most of researches of arts are focused more on listening to the sound of individual entities in a structure. In this study, he considers that the harmony of individual entities in the era of comeliness, in which existence of small individuals extinct and recreated over and over, is the contemporary issue with material importance. Accordingly, it can be said, that the argument in this study and the works of the author are practical approach, where the nature and an individual are synchronized in a specific occasion of our time.