권의철(權義鐵)의 단색화(Dansaekhwa)-ｅxpression of historic thought...박명인 美術평론가

권의철(權義鐵)의 

단색화(Dansaekhwa)  

ｅxpression of historic thought(意象)

 by modern paintings ...Park, Myeong-in 朴 明 仁: ( Art critic )

 ▲ history-1510, 

91.0㎝/91.0cm  mixed media on canvas  2015 

​

                                                                                  박명인 (朴明仁)美術평론가

      

 . . .중략 . . .권의철(權義鐵)의 《History》라는 명제로 추구하고 있는

작금의 작품들은 흰색을 기조로 하는 단색화 (Monochrome - Dansa

ekhwa)형식의 평면에서 부조적 음양각으로 표출하고 있는 문자체(역사

성)을 기라고 할 수 있고, 암각화 등에서 도입된 형상에 담긴 고대인의

의상(意想)을 추정하여 형상화하고 있는 이미지(현대성)가 세라고 할 수

있을 것이다. 앞서 말한 바와 같이, 역사성 이미지의 내재적 의미를 외상,

 수상, 내상, 언상, 의상, 상상 등의 감성으로 파악하면서 기와 세를 판단

하는 것이 History의 정체성인 것이다.

여기에서 단색화 (Monochrome - Dansaekhwa)형식의 평면구도는 생

리적으로 원근감의 부정이라고 말하기 쉽지만 권의철의 화의(畵意)는 다

르다. 공간을 매우는 부조적 평면화에서 문자체나 암각화같은 내재적인 이

미지가 표출되고 있는 것이다. 특히 외적 세계를 표면화하지 않고 색면의

관계구조를 표현영역으로 확충한다. 그런가 하면 역사성을 회화적으로 사

실화하고 있어서 현대성과의 조화에 의해 작가의 화의가 충만한 총체적

회화라고 말할 수 있는 것이다. . . . 중략 . . .

​

▲ Traces of time-1715, 

91.0㎝/91.0cm  mixed media on canvas  2017 

​

ｅxpression of historic thought(意象)

 by modern paintings

- Understanding of trace shape by conscious

emotion called imagination(像象) -

 

Park, Myeong-in(朴 明 仁: (Art critic and representative

of the Korea Aesthetics Institute)

 

Painters lack a sense of their individuality when they try to express objects’ necessity. They should understand objects’ circumstances(情狀) sensorially and express the internal and external characteristics by their thought(意想). Especially, ink stick’s characteristics are absolutely emphasized in Korean paintings(Oriental paintings). However, Kwon, Eui-chul uses the very small quantity of ink stick as a different point. And he uses acrylic with special materials like wood or woodrock foam boards. These malerisch act is thought to be intended to expand the malerisch field in a broad sense beyond genres of Korean paintings and Oriental paintings.

Kwon, Eui-chul modernizes his paintings escaping from limited materials and drawing culture and artistry from ancient civilization. And he understands objects by numerical shape(數象) which symbolizes time, inner shape that symbolizes ways, quality, or bases(根本) of things, and appearance(外象) as their results and creates his own symbols. For instance, When he watches a piece of wood, he understands it thinking of many things like what kind of wood this is(appearance:外象), how old it is(numerical shape:數象), whether he can define this as a piece of wood(linguistic shape:言象), and what it means(ideaistic shape:意象).

In addition, according to oriental painting theory, there are spirit(氣) and shapes(勢) in objects if they have forms(象). Of course, there are spirit(氣) and shapes(勢) even in Western art. It’s because they are vitality. Applying this theory to Kwon, Eui-chul’s paintings, Spirit can be the fronts(historicity) which express intaglio and relief on planes of monochromes based on white and shapes can be the images(modernity) that estimate and embody ancients’ thought(意想) included in the forms introduced from petroglyphs in his present works which seek 《History》 as a thesis. As mentioned above, History’s identity is to judge spirit and shapes understanding immanent meanings of the historic images by emotion including appearance, numerical shape, internal shape, linguistic shape, thought, and imagination. 

        ▲ Traces of time-1715,  91.0㎝/91.0cm  mixed media on canvas  2017 

 . . .중략 . . .권의철(權義鐵)의 《History》라는 명제로 추구하고 있는 작금의

 작품들은 흰색을 기조로 하는 단색화 (Monochrome - Dansaekhwa)형식

의 평면에서 부조적 음양각으로 표출하고 있는 문자체(역사성)을 기라고 할 수

 있고, 암각화 등에서 도입된 형상에 담긴 고대인의 의상(意想)을 추정하여 형

상화하고 있는 이미지(현대성)가 세라고 할 수 있을 것이다. 앞서 말한 바와 같

이, 역사성 이미지의 내재적 의미를 외상, 수상, 내상, 언상, 의상, 상상 등의 감

성으로 파악하면서 기와 세를 판단하는 것이 History의 정체성인 것이다.

여기에서 단색화 (Monochrome - Dansaekhwa) 형식의 평면구도는 생리적

으로 원근감의 부정이라고 말하기 쉽지만 권의철의 화의(畵意)는 다르다. 공간

을 매우는 부조적 평면화에서 문자체나 암각화같은 내재적인 이미지가 표출되

고 있는 것이다. 특히 외적 세계를 표면화하지 않고 색면의 관계구조를 표현영

역으로 확충한다. 그런가 하면 역사성을 회화적으로 사실화하고 있어서 현대성

과의 조화에 의해 작가의 화의가 충만한 총체적 회화라고 말할 수 있는 것이다. . . . 중략 . . .

평론을 보시려면...

  아래의 작은 그림을 클릭하십시요

[전문가 칼럼] 한국화가 권의철 단색화작품세계｜역사성 의상(意象)을 현대적 회화로 표출-① 화가는 대상의 상에 대해 필연성만을 표현하려고 하면 작가적 개성이 결여된다. 사물의 정상(情狀)을 감각으로 파악하고 내외적인 특성을 화가의 의상(意想)에 의해 표출해 내야  한다. 특히 한국화(동양화)에서는 먹의 특성을 절대적으로 강조하지만 권의철은 극 권동철 문화전문기자   2016-01-02

ｅxpression of historic thought(意象) by modern paintings

- Understanding of trace shape by conscious emotion called imagination(像象) -

 

Park, Myeong-in(朴 明 仁: (Art critic and representative of the Korea Aesthetics Institute)

 

Painters lack a sense of their individuality when they try to express objects’ necessity. They should understand objects’ circumstances(情狀) sensorially and express the internal and external characteristics by their thought(意想). Especially, ink stick’s characteristics are absolutely emphasized in Korean paintings(Oriental paintings). However, Kwon, Eui-chul uses the very small quantity of ink stick as a different point. And he uses acrylic with special materials like wood or woodrock foam boards. These malerisch act is thought to be intended to expand the malerisch field in a broad sense beyond genres of Korean paintings and Oriental paintings.

Kwon, Eui-chul modernizes his paintings escaping from limited materials and drawing culture and artistry from ancient civilization. And he understands objects by numerical shape(數象) which symbolizes time, inner shape that symbolizes ways, quality, or bases(根本) of things, and appearance(外象) as their results and creates his own symbols. For instance, When he watches a piece of wood, he understands it thinking of many things like what kind of wood this is(appearance:外象), how old it is(numerical shape:數象), whether he can define this as a piece of wood(linguistic shape:言象), and what it means(ideaistic shape:意象).

In addition, according to oriental painting theory, there are spirit(氣) and shapes(勢) in objects if they have forms(象). Of course, there are spirit(氣) and shapes(勢) even in Western art. It’s because they are vitality. Applying this theory to Kwon, Eui-chul’s paintings, Spirit can be the fronts(historicity) which express intaglio and relief on planes of monochromes based on white and shapes can be the images(modernity) that estimate and embody ancients’ thought(意想) included in the forms introduced from petroglyphs in his present works which seek 《History》 as a thesis. As mentioned above, History’s identity is to judge spirit and shapes understanding immanent meanings of the historic images by emotion including appearance, numerical shape, internal shape, linguistic shape, thought, and imagination.

Plane composition of the monochrome form is easy to say perspective’s negation physiologically. However, Kwon, Eui-chul’s meanings of paintings(畵意) are different from it. Immanent images like fonts or petroglyphs are expressed from relief complanation. Especially, external worlds are not disclosed and the relational structure of color plane is expanded to the ｅxpression area. And they can be general paintings which are filled with the painters’ meanings by harmony of modernity and them as historicity is pictorially actualized.

Especially, white is very much used. Someone says that white is colorlessness. However, white is a source of the colors with infinite mystery. Because of it, the fact that there are all colors in white should not be ignored. According to chromatology, the combination of optical colors is colorlessness and the combination of physical colors is black. Therefore, the state that the combination of colors is not is white in paintings. In conclusion, white and black are colors’ totality. Kwon, Eui-chul who applied this chooses how to add ink stick(black) in white, not adding white in ink stick.

This expressive tendency proved that the intention of Kwon, Eui-chul who majored in Korean paintings already escaped from Eastern and Western walls and reached malerisch stability. It’s because it is done with a chromatic characteristics and oriental ancient historical images motif and paintings make perfect by embodying it with modern techniques.

Emphases of historicity which is metaphorically expressed in visual space include infinite areas, not limited image of yesterday and today as shown in the shapes. Change by time continuity is historic objects. All the objects which exist in nature go through the creation and destruction as their shapes are changed and physically damaged by weathering. However, because change of natural objects takes so long, time can be measured according to shapes. Therefore, the historic objects which can be observed from Kwon, Eui-chul’s work images make you feel the infinity of time. Temporality that forms of characters or objects of petroglyphs are metaphorically expressed is enough to analogize history of thousands of years. and when the historic images are compared with people in the past and modern men today, we find that they have basic ideal in common.

This thought as an artist is in collusion with the viewpoint of art history that ‘the 20th century’s culture and art burn with reversionary passion.’ The 20th century is the age that reversionary passion trace its several whereabouts throughout the entire fine art, art and though fields. Return means going back to the origin through characters. Theoretically, the way to return is like looking back on your youth and childhood after living half of your life. He tries to express reversionary thought by characters and cast new light on them by drawing the past circumstances by their record.

For Kwon, Eui-chul’s character shapes, the letters which are summarized by the past stories through the reversionary concept like burning passion in the theory of culture and art in the 20th century. And he builds aesthetic experience in spirit and shapes of those forms to be his own pictorial field and mental thought(事象) causes several meanings by topicalizing sensual objects from historic on es as the meanings of the ｅxpression systems. In other words, it includes a wealth of polysemous meanings as creative symbolism and the polysemous characteristics get to emphasize powerful images as abstract paintings which harmonize with languages as they are drawn(現出) from symbolic thought.

Various set patterns analyzed from Kwon, Eui-chul’s works until now have found that the painter’s intention are integrated with the works’ shapes. Mostly, they are formed by understanding environmental ages or cultural properties based on aesthetic experience sensuously perceived by five senses(五感) and creativity is shown as intuition, enjoyment, and contemplation create special aspects(樣態). This can be defined as aesthetic categories in fine art. Kwon, Eui-chul’s pictoriality which seeks 《History》 constantly making it his works’ thesis forms aesthetic categories from historic trace including epitaphs or petroglyphs. So we can feel that the first observation(觀想) from the objects is change of nature and historic temporality through the epitaphs or petroglyphs. You can find Kwon, Eui-chul’s painting patterns which express temporality, culture, historicity, artistry beyond the concept of the past and present by drawing aesthetic icons with a creative motif.

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