권오상의 정물 조각에 나타난 구축과 해체의 공존

Abstract

The objective of this thesis is to research the form and subject shown in Osang Gwon’s still-life sculptures by focusing on the coexistence of constructing and disassembling. As the theoretical basis for this study, Erich Fromm’s theory on the existence and possession, human desire, capitalism, and consumer society, and Guy Debord’s concept of spectacle were selected. In relation to spectacle, some of Jean Baudrillard’s discussions of consumer society were also applied. In the research method, this study analyzed the duality that would solidify the identity of sculptures and also deconstruct the boundaries between photographs and sculptures, images and objects, and as well as virtuality and reality in the aspect of form. In the aspect of subject, this study considered human desire for possession and ambivalence of vanité. This study also examined the representation and deconstruction of spectacle that was dominating the society, filled with excessive images where the highly-abstracted commercialization penetrated into daily life. As a result, Osang Gwon’s still-life sculptures produced based on the images selected from photographs of daily objects, magazines, or internet, project today’s consumer culture in which both consumption and possession become the objects of desire, and goods exist as a symbol of self-expression rather than simple physical objects. Also, on top of verifying the solid status of consumer culture and revealing its emptiness, they provide an opportunity not only for the fundamental consideration of human desire and possession, but also for a critical interpretation on the spectacle era. For this, Osang Gwon intuitively shows the overwhelming power of spectacle while also attempting the severance from the spectacle through methods like emphasizing the materiality by adding an actual object or erasing an image. Through this study, the researcher was able to verify the characteristics of contemporary sculptures that could create the coexistence of diversity and difference by responding to the time, and also to consider the formation of meanings brought by the artistic introspection on consumer culture.