문신의 조각과 프랙탈 시메트리 - ‘형(形)’에서 생명 모티프로 (Moon Shin’s Sculpture and Fractal Symmetry : ‘Form’ to Life Motif)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 37호 / 249 ~ 276페이지
· 저자명 : 이재걸

초록

Moon Shin’s sculptures that their attitude originates from discovering the archetype and fundamentals of space from the minutest forms are widely known as the essence of a symmetrical structure. The symmetry of Moon Shin can be defined as a naturally repeated pattern where both symmetry and asymmetry coexist along with the acceptable differences that appear within the pattern, and instead of being biased to complete order or complete disorder, it is closer to the complex system that exists somewhere in between. Also, fractal geometry, which is based on the self-similarity of the motif and recursiveness, appears in such a complex system; in other words, the form where the repeated minute parts become similar to the whole. Within the organic and embryological shape of the fractal, although it seems that Moon Shin visualizes mathematical construction that presents clear results, it actually displays a nondeterministic attitude of the nonmathematical transformation and process. Fractal geometry that connotes complexity within simplicity and simplicity within complexity is something that can be easily found in nature, and it is the representative formative reasoning of the art of Moon Shin that attempts to realize the original reality of the world. Of course, his art may look like it pursues the joy generated from bilateral symmetry that conveys visual or psychological stabilization. It is also possible that people may consider his art merely to be of a decorative level to the extent of ‘the formalized beauty of symmetry’ or ‘crafted decalcomania’ without having any sort of philosophical awakening about the world and existence. However, since nature has a multi-fractal structure that includes both symmetry and asymmetry, there is no law that states that the ‘natural rhythm of nature’ should not resemble bilateral symmetry.In the same way that the lateral and upward symmetry can be found from almost all organisms including the human body, the symmetry of Moon Shin’s sculptures is not designed for symmetrical completeness. Such a result has accomplished its own ‘balance’ within the incompleteness of the life form, while at the same time it is the unique formative rhetoric regarding the phenomenon of life created from the ‘endless repetition of self-similarity and difference.’

영어초록

Moon Shin’s sculptures that their attitude originates from discovering the archetype and fundamentals of space from the minutest forms are widely known as the essence of a symmetrical structure. The symmetry of Moon Shin can be defined as a naturally repeated pattern where both symmetry and asymmetry coexist along with the acceptable differences that appear within the pattern, and instead of being biased to complete order or complete disorder, it is closer to the complex system that exists somewhere in between. Also, fractal geometry, which is based on the self-similarity of the motif and recursiveness, appears in such a complex system; in other words, the form where the repeated minute parts become similar to the whole. Within the organic and embryological shape of the fractal, although it seems that Moon Shin visualizes mathematical construction that presents clear results, it actually displays a nondeterministic attitude of the nonmathematical transformation and process. Fractal geometry that connotes complexity within simplicity and simplicity within complexity is something that can be easily found in nature, and it is the representative formative reasoning of the art of Moon Shin that attempts to realize the original reality of the world. Of course, his art may look like it pursues the joy generated from bilateral symmetry that conveys visual or psychological stabilization. It is also possible that people may consider his art merely to be of a decorative level to the extent of ‘the formalized beauty of symmetry’ or ‘crafted decalcomania’ without having any sort of philosophical awakening about the world and existence. However, since nature has a multi-fractal structure that includes both symmetry and asymmetry, there is no law that states that the ‘natural rhythm of nature’ should not resemble bilateral symmetry.In the same way that the lateral and upward symmetry can be found from almost all organisms including the human body, the symmetry of Moon Shin’s sculptures is not designed for symmetrical completeness. Such a result has accomplished its own ‘balance’ within the incompleteness of the life form, while at the same time it is the unique formative rhetoric regarding the phenomenon of life created from the ‘endless repetition of self-similarity and difference.’

참고자료

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