1965-1972년까지 문신 추상 조각의 전개와 구조 분석 (An analysis on the Development and Structure of Moon Shin abstract sculpture from 1965 to 1972)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 37호 / 225 ~ 248페이지
· 저자명 : 박효진

초록

Since the early 1970s, Moon Shin has been attracted attention of Parisian art groups for his unique sculptures of symmetric structure, and he performed his artistic activities vigorously in France and Korea. Although the study on the art world of Moon Shin has been conducted by many researches at home and abroad, there are few research on the changes of the world of his works in the formative period of his abstract sculpture from 1961 to the early 1970s. However, this period is very important to understand his works. In this time, getting out of figurative painting he started abstract works, and these contained the formation process of his art world. Therefore, this research paper is an attempt to fill the gaps in the art history record of Moon Shin and looks at the development process of the early abstract sculpture of Moon Shin focusing on the structural analysis of the works. Sculptures from 1965 to 1972 are analyzed in three stages : sculpture of architectural concept, construction of sphere and hemispheres, transformation of symmetric structure. And by considering his architectural experience and environment having been the source of artwork formation as well as artwork, the formation source of Moon Shin art can be understanded.


After his first stay in Paris, the artistic interest of Moon Shin shifted from painting to sculpture, and the architectural experience played a major role in the background. Since 1961, the Moon Shin has created a three-dimensional works called <Sculpture that Humans Can Live In> by applying the architecture and production methods that resulted from the experience of restoration of ancient castle. "Plastic Art" pieces of his first abstract sculpture remaining only in pictures were displayed at the Shinsegae Gallery in 1967. These were created by similar method with the architecture process from 1965 to 1967 and experimentally transitional pieces shaped with steel wires inside, made out of plaster and polyester. These were the free-form abstract sculptures with architectural structures having empty spaces inside and smooth ridges. Moon Shin aimed at functional environmental sculpture and sought conceptual expansion of the sculpture by adding colored light bulbs inside. Between 1967 and 1970, Moon Shin intensively created wooden sculptures with repeated construction of the sphere and hemispheres as the minimum formative unit. Moon Shin tried to approach the essence of the work which he were seeking with geometric simplification, repetition, and compressed (restrained) archetypes. Since 1968, Moon shin has moved on to his own artistic world with the strict style of the symmetric structure and consistently pursued this form until the mid 1990s. The symmetric structure of Moon Shin has a distinctive originality from others and reflects his extensive experience and knowledge of architecture pursuing structural stability and the soft and gentle natural scenery of his hometown Masan. His early symmetric sculptures were emphasized by vertical and horizontal structure, and pursued tension and sleekness, and later the sculptures gradually moved on to a work with a rich volume.

영어초록

Since the early 1970s, Moon Shin has been attracted attention of Parisian art groups for his unique sculptures of symmetric structure, and he performed his artistic activities vigorously in France and Korea. Although the study on the art world of Moon Shin has been conducted by many researches at home and abroad, there are few research on the changes of the world of his works in the formative period of his abstract sculpture from 1961 to the early 1970s. However, this period is very important to understand his works. In this time, getting out of figurative painting he started abstract works, and these contained the formation process of his art world. Therefore, this research paper is an attempt to fill the gaps in the art history record of Moon Shin and looks at the development process of the early abstract sculpture of Moon Shin focusing on the structural analysis of the works. Sculptures from 1965 to 1972 are analyzed in three stages : sculpture of architectural concept, construction of sphere and hemispheres, transformation of symmetric structure. And by considering his architectural experience and environment having been the source of artwork formation as well as artwork, the formation source of Moon Shin art can be understanded.


After his first stay in Paris, the artistic interest of Moon Shin shifted from painting to sculpture, and the architectural experience played a major role in the background. Since 1961, the Moon Shin has created a three-dimensional works called <Sculpture that Humans Can Live In> by applying the architecture and production methods that resulted from the experience of restoration of ancient castle. "Plastic Art" pieces of his first abstract sculpture remaining only in pictures were displayed at the Shinsegae Gallery in 1967. These were created by similar method with the architecture process from 1965 to 1967 and experimentally transitional pieces shaped with steel wires inside, made out of plaster and polyester. These were the free-form abstract sculptures with architectural structures having empty spaces inside and smooth ridges. Moon Shin aimed at functional environmental sculpture and sought conceptual expansion of the sculpture by adding colored light bulbs inside. Between 1967 and 1970, Moon Shin intensively created wooden sculptures with repeated construction of the sphere and hemispheres as the minimum formative unit. Moon Shin tried to approach the essence of the work which he were seeking with geometric simplification, repetition, and compressed (restrained) archetypes. Since 1968, Moon shin has moved on to his own artistic world with the strict style of the symmetric structure and consistently pursued this form until the mid 1990s. The symmetric structure of Moon Shin has a distinctive originality from others and reflects his extensive experience and knowledge of architecture pursuing structural stability and the soft and gentle natural scenery of his hometown Masan. His early symmetric sculptures were emphasized by vertical and horizontal structure, and pursued tension and sleekness, and later the sculptures gradually moved on to a work with a rich volume.

참고자료

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