봄 갤러리( GALLERY BOM)
이혜인 초대전 '색을 빚어 길을 찾다'
5월 7일(화) ~ 5월 13일(월)
대구시 중구 서성로 21(매일신문사 건너편) 053 622 8456
길2018-10, 24.0x48.0cm
길2018-11, 24.0x48.0cm
길2018-45, 53.3x45.5cm
길2018-48, 33.3x48.4cm
길2018-50, 33.3x48.4cm
길2018-61, 60.6x123.0cm
길2018-63, 60.6x123.0cm
길2018-64, 33.3x72.6cm
길2018-66,41.0x95.4cm
색을 빚어 길을 찾다
이혜인의 <길> 그리고 공감의 예술
신 원정(미술사가)
바람이 분다. 화면 곳곳에 작은 물결이 일렁이는 듯하다. 이혜인의 <길> 연작은 캔버스를 조밀하게 채운 수많은 직선으로 구성된다. 수평 또는 수직의 평행선들은 비교적 규칙적으로 반복되지만, 유연한 굴곡과 작은 색점은 기계가 아닌 인간의 손이 그림을 제작했음을 암시한다. 간결한 화면 구성을 보면 이혜인의 작품이 얼마만큼의 육체노동과 노고를 통해 탄생하는지 상상하기 쉽지 않다. 작가는 캔버스에 균일하게 덧칠한 물감이 마르기 전에 날카로운 도구를 사용해 선을 그어나간다. 색을 선택하고, 물감이 적당히 굳을 때까지 기다렸다가, 한 숨에 캔버스를 가로지르는 선을 긋기까지 그가 작품의 완성을 위해 거쳐야 하는 힘겨운 단계는 한둘이 아니다. 마치 수행하듯 작업에 임하는 작가의 자세는 창작의 영감을 얻었던 개인적 경험과 닿아있다. 2016년 티벳 여행길에서 바람에 나부끼는 오색 타르초에 푹 빠졌던 그는 이듬해 네팔과 인도를 방문하고 돌아온 후 자신을 매료시킨 색채를 본격적으로 캔버스 위에 쏟아내기 시작했다.
길2019-01, 53.0x119.8cm
길2019-03, 33.3x19.0cm
길2019-04, 33.3x19.0cm
이혜인의 <길>이 흥미로운 것은 그의 작업이 회화 매체의 본질과 관련된 여러 담론들과 다각도로 접점을 갖기 때문이기도 하다. 아무것도 재현하지 않음에도 불구하고 다양한 시각적 연상 작용을 일으키는 색면들은 추상과 구상의 경계를 넘나들며, 20세기를 뜨겁게 달구었던 회화의 패러다임적 전환을 가시화한다. 작가는 자신이 주위 환경, 특히 자연에서 영감을 얻는다고 말한다. 현실에서 유래한 구상적 모티브는 캔버스 위에서 추상 형태로 재탄생하고, 그것을 보는 감상자는 제각기 상상력을 발휘해 새로운 구체적 이미지를 머릿속에서 창조한다.
길2019-05, 33.3x19.0cm
길2019-06, 33.3x19.0cm
길2019-07, 33.3x19.0cm
구상에서(작가) 추상을 거쳐(작품) 선택적 구상으로 회귀하는(관객) 과정의 변증법적 진행은 사실 창작 단계에서 이미 발생한다. 선을 긋는 과정에서, 선 하나가 더해질 때마다 등가의 여백이 생겨난다. 채워지고 비워지기를 반복하는 캔버스는 최종적으로 감상자의 시각적 참여를 통해 완성된다. 이혜인의 회화를 도판으로 접하면 보는 이의 시 감각을 자극하는 데 특히 초점을 맞춘 1960년대 옵아트와 일견 유사해 보이기도 한다. 하지만 실제 작품은 마치 유약 바른 도자기의 표면을 섬세하게 긁어낸듯하여 불규칙한 요철로 뒤덮인 표면을 만져보고 싶은 욕구를 불러일으킨다. 가상의 촉각 경험을 가능하게 하는 이혜인의 회화는 얕은 부조에 근접한 지점에 위치하며 회화와 조각 사이의 매체적 실험도 수행한다.
길2019-08, 53.0x72.7cm
길2019-09, 45.5x98.6cm
길2019-10, 41.0x63.6cm
길2019-11, 41.0x63.6cm
아프니까 청춘’이라고 누가 그랬던가. 작가 이혜인의 작업은 아플수록 행복하다고 외치는 것만 같다. 지난한 삶의 여정에서 크고 작은 어려움에 부닥뜨려 주저앉거나 지치도록 흐느끼고 싶은 순간, 그를 구해준 것은 바로 그리는 행위였다. 시간의 두께가 늘어나고 경험의 겹이 쌓이면서 작업 방식에도 큰 변화가 일어났다. 작가가 2016년 하반기부터 지금까지 꾸준히 선보여 온 <길> 연작은, 동서양의 고색창연한 미술 전통이 교차하는 지점에서 독자적인 행로를 설정하는데 성공한 중견작가의 예술관과 가치관이 함축적으로 응집된 결과물이다.
길2019-12, 33.3x66.0cm
길2019-13, 33.3x66.0cm
길2019-15, 27.3x44.0cm
길2019-16, 27.3x44.0cm
우리는 모두 복수의 선택지로 이루어진 하루하루를 살아간다. 그 과정에서 이미 지나간 혹은 앞으로 다가올 수많은 길들을 떠올리거나 마주한다. 작가 이혜인의 길은 다양한 색과 빛으로 가시화되었다. 그가 빚어낸 색채의 나지막한 구릉 사이로 굽이진 상상의 길들은 감상자에게 자신의 길을 사유하길 권하며 작가가 지향하는 공감의 예술을 실천한다.
길2019-17, 33.3x60.0cm
길2019-19, 53.0x91.0cm
길2019-20, 53.0x91.0cm
길2019-21, 33.3x45.5cm
길2019-22, 33.3x45.5cm
길2019-23, 33.3x45.5cm
On the Road in Color
Lee Hei In’s The Road and the Art of Empathy
Lee Hei In’s The Road and the Art of Empathy
The wind is blowing. Small waves seem to waver all over the screen. Lee Hei In’s series, The Road, consists of numerous straight lines that tightly fill the canvas. Horizontal or vertical parallel lines repeat relatively regularly; however, slight curves and tiny colored dots suggest that a human hand, not a machine, produced the picture. It is not easy to imagine how much physical labor and hard work has gone into Lee’s paintings, which appear simple at first glance. Lee draws lines using a sharp tool, before the paint that has been evenly applied to the canvas, is dry. There are some difficult steps she has to go through to complete the work, including choosing a color, waiting until the layer becomes somewhat firm yet is still flexible, and drawing a line across the canvas in one movement. Her attitude to painting is like doing spiritual exercises, and is linked to the personal experiences that inspire her work. In 2016, she was deeply affected by the five-color Darchor blowing in the wind on her Tibetan journey, and after returning from a visit to Nepal and India the following year, she began in earnest to pour the colors that fascinated her onto the canvas.
What is interesting about Lee’s The Road is that her work has multiple contacts with various discourses related to the nature of the painting. The color fields create diverse visual associations, even though nothing is represented and described in the pictures. The pictures themselves cross the boundary between the abstract and the figurative, and therefore visualize the paradigm shift in painting that enlivened the 20th century. Lee says she is inspired by her surroundings, especially nature. Figurative motifs derived from reality are reborn as abstract forms on canvas, and viewers who see them use their own imagination to create new images.
The dialectical progression of reverting from figurative (artist) through abstract (painting) to conditional figurative forms (spectator) actually already takes place at the production stage. In the process of drawing a line – in fact, in the process of scratching the paint – every time a line is created, an equivalent linear void is added. The canvas that repeats filling and emptying is finally completed through visual participation by the viewer. As printed images, Lee's paintings sometimes look similar to the Op art of the 1960s, focused especially on stimulating the viewer’s perception of vision. But the real work evokes the desire to touch a surface covered with irregular bumps, as if the surface of glazed pottery had been delicately scratched. Lee’s paintings, which enable virtual tactile experiences, are close to low relief and carry out media experiments between painting and sculpture.
Who said, “Because you are young it hurts?” Lee’s work seems to appeal to us, “The more you get sick, the happier you are.” It was the act of painting that saved the artist when she fell down or sobbed facing difficulties in her life. The increased density of time and the accumulation of experience have caused a great change in her painting style. The actual series The Road, which Lee has been presenting continuously since the second half of 2016, is the result of a condensed aesthetic attitude and values of a mature artist who has succeeded in setting her own way on the intersection of the fine art traditions of the East and West.
We all live day-by-day with multiple options. In the process, one recalls or faces a number of roads that have already passed or are to come. Lee Hei In’s road is visible in varied colors and light. The imaginary journey that bends through the low hills of the colors that Lee has formed commends viewers to create their own path, practicing the art of empathy that the artist pursues.
What is interesting about Lee’s The Road is that her work has multiple contacts with various discourses related to the nature of the painting. The color fields create diverse visual associations, even though nothing is represented and described in the pictures. The pictures themselves cross the boundary between the abstract and the figurative, and therefore visualize the paradigm shift in painting that enlivened the 20th century. Lee says she is inspired by her surroundings, especially nature. Figurative motifs derived from reality are reborn as abstract forms on canvas, and viewers who see them use their own imagination to create new images.
The dialectical progression of reverting from figurative (artist) through abstract (painting) to conditional figurative forms (spectator) actually already takes place at the production stage. In the process of drawing a line – in fact, in the process of scratching the paint – every time a line is created, an equivalent linear void is added. The canvas that repeats filling and emptying is finally completed through visual participation by the viewer. As printed images, Lee's paintings sometimes look similar to the Op art of the 1960s, focused especially on stimulating the viewer’s perception of vision. But the real work evokes the desire to touch a surface covered with irregular bumps, as if the surface of glazed pottery had been delicately scratched. Lee’s paintings, which enable virtual tactile experiences, are close to low relief and carry out media experiments between painting and sculpture.
Who said, “Because you are young it hurts?” Lee’s work seems to appeal to us, “The more you get sick, the happier you are.” It was the act of painting that saved the artist when she fell down or sobbed facing difficulties in her life. The increased density of time and the accumulation of experience have caused a great change in her painting style. The actual series The Road, which Lee has been presenting continuously since the second half of 2016, is the result of a condensed aesthetic attitude and values of a mature artist who has succeeded in setting her own way on the intersection of the fine art traditions of the East and West.
We all live day-by-day with multiple options. In the process, one recalls or faces a number of roads that have already passed or are to come. Lee Hei In’s road is visible in varied colors and light. The imaginary journey that bends through the low hills of the colors that Lee has formed commends viewers to create their own path, practicing the art of empathy that the artist pursues.
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감사드립니다!
고맙습니다**^
한땀 한땀 혼신의 기를 쏟아부어 마치, 각고의
혼을 불어넣어 절제된 고뇌 같은 심오한 작품의
세계에서, 무상 무념의 심정으로 감상에 빠져
노닐다가 부끄러워 도망치듯 돌아왔습니다.
날로, 일취월장을 지켜보며 감히 유구무언입니다...!!
이렇게나마 축하드립니다.
내 전시에 오셨는데... 결례가 되었군요.
어찌면 이렇게 보고 글도보니 깊히있는 감상을 하게 되네요. 심 축
이번 전시도 기대합니다~~♥
멋진 전시 응원합니다