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황남대총 말안장 22. 5 x 30 cm ( x 165 pieces of paper), 색종이에 먹, 2017
황남대총은 하나의 왕국 같습니다. 쏟아져 나온 유물들은 새로운 역사서를 써야할 만큼 특이하고 광범위합니다. 말들을 타고 이동했던 문화의 수준이 미처 생각지도 못한 감탄을 불러일으킵니다. 활달하고 율동적인 선들이 폐곡선 안에서 풍부하고도 입체적인 공간감을 만들어내고 있기 때문입니다. 곡선과 직선이 반복되는데 얼핏 비슷한 연결고리처럼 보이지만 자세히 모사하다보면 일률적인 반복 규칙이 없음을 발견하게 됩니다. 문양이라고 하기 에는 매번 조금씩 달라져 즉흥적인 변주가 일어나며 새로운 공간 구성 때에 기존의 방식을 뛰어넘는 창의적인 선의 결정이 투입됩니다. 곡선과 곡선을 적절히 묶어 공간 구성을 튼튼하게 만들지만 때때로 곡선과 곡선 사이가 많이 떨어져 있으면 짧은 직선을 다리처럼 중간에 연결해서 전체적으로 구성을 안정적으로 만듭니다. 금속투조라는 재료의 특성상 빈 면적이 한 쪽에 지나치게 많으면 견고함도 위험하거니와 전체적 조형미도 추락됩니다. 자유롭게 달리는 힘찬 곡선들이 서로 만나 안정적인 구성을 이루면서도 곡선과 직선이 적절히 분배되어 전체적으로 개방적인 공간성을 만들어 내는 특이한 작품입니다. 드넓은 공간을 이동한 경험이 있는 사람들, 돌격과 멈춤에 능수능란한 운동감각, 지표 없는 땅에 별자리 같은 기억을 새기는 능력, 급회전과 순간이동을 적절히 구사한 경험, 멀리 있는 사람과도 심리적 공감능력을 갖추었던 그런 시대에 살았던 사람들의 암호를 이들 문양에서 발견합니다.
- 2018 국립중앙박물관 협업전시 예술과 암호 황남대총 리플렛의 작가노트에서
The Saddle of Hwangnamdaechong
22. 5 x 30 cm ( x 165 pieces of paper), tusche on color paper, 2017
Hwangnamdaechong, the Great Tomb of Hwangnam, is like a kingdom on its own. Countless artifacts excavated from the great tomb are so unique and extensive that scholars may need to rewrite the history of ancient Korea. The high cultural level of the horse-riding people evokes a feeling of surprise and admiration, since the vigorous and rhythmic lines in closed curves create a rich, three-dimensional sense of space. At first glance, the repeated curves and straight lines seem to have a common pattern, but if you continue to copy them closely, you will find out that there is no fixed rule in this pattern. Far from forming an identical pattern, the lines spontaneously vary little by little each time, and more creative lines are added for a new spatial composition that surpasses the previous one. Many curves are properly combined in order to strengthen the structure, but occasionally, when there is a noticeable distance between two curves, short straight lines are added to bridge them in order to make the overall structure more stable. Considering the characteristics of metal openwork, a lopsided composition may endanger the solidity and overall aesthetic value of the work. The saddle of Hwangnamdaechong is genuinely unique in that a series of curved lines, running wild and free, cross one another and create a solid composition, while both curved and rectilinear lines are properly allocated to create an open spatiality on the whole. In the pattern on the saddle, you will find the codes of those ancient people who were experienced adventurers moving across vast distances. They were excellent athletes who could run at full speed or make a sudden stop, capable of finding their way in a land without landmarks by following the constellations in the sky, experienced in making a sharp turn or an instant movement at the right moment, and ultimately, psychologically able to empathize with people afar.
- from the leaflet of the collaborative exhibition at the National Museum of Korea in 2018.
2020 by Dr. Seunghyun Lee
2021 artist note on Drawing
2021 by Mr. Kho, Chung-Hwan
2019 artist note on <Roof Tile Patterns in Goguryeo>
2018 artist note on <Hwangnamdaechong>
2021 artist note on <Paintings on Dolmen>
2019 Neolithic Studies by Heryun Kim
2013 Heryun Kims Landscapes
2009 Volcano by Heryun Kim
2008 Moon Garden by Heryun Kim
2007 My Paintings by Heryun Kim
2002 Emil Nolde by Heryun Kim
2001 Emil Nolde by Heryun Kim
2019 by Dr. Gerhard Charels Rump
2018 by Dr. Britta Schmitz
2017 by Christian Kneisel
2016 by Dr. Kim Mi-jung
2014 by Dr. Kim Mi-iung
2014 by Prof. Young-Paik Chun
2014 by Odile Crespy
2011 by Prof. Kai Hong
2009 by Prof Woohak Yun
2008 by Katrin Dillkofer
2007 by Prof. Youngmok Chung
2005 by Dr. Gerhard Charels Rump
2001 by Dr. Gerhard Charels Rump
2001 by Dr. Friedrich Rothe
2000 by Dr. Gerhard Charles Rump
1994 by Prof. Klaus Fussmann
2020 artist note on <Gojoseon and Hangeul>
2017 artist note on <Amnokgang>
2015 artist note on <Lighter Than the Wind>
2014 artist note on <Golden Tears>
20014 artist note on <The Complete Vessel>
2009 artist note on <DMZ 2009>
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