한국 극사실 회화의 이중구조에 대한 연구: 1970-80년대 극사실 회화를 중심으로

Abstract

To gain a better understanding of recent Korean contemporary art, I studied the Korea hyperrealism paintings, a style which started in the period of the 1970s-1980s. This article aims at putting in the position of Korea hyperrealism painting in Korean art history, define its critical terms, and uncover its identity. Most discussions of Korea hyperrealism painting have focused on figures and their subject matter. However, these discussions are limited in that they did not clearly identify Korea hyperrealism painting and extend the meaning of them. From this point, It is significant that the double structure is defined by the interaction between ‘figures’ expressed by a hyperelastic technique and ‘grounds’ which strengthen the surfaces of the canvases. The figures in these artworks are painted in great detail and derive from the artists’ personal experiences. Therefore the double structure between the figures and the grounds in Korea hyperrealism paintings has the two roles of creating illusionistic reality in the frames of the canvas and thus emphasizing the objectivity of the actual canvas. Therefore, the viewer gains a sense of reality in the figures on the frames of the canvas while also observing the real object in the form of the canvas. This ironic double structure consisting of virtual reality figures and the planar grounds of the canvas mixes the figures and grounds exquisitely and creates interaction between the surfaces and viewers, thus uncovering the identity of Korean hyperrealism paintings.