재불작가 김창열 회화 속의 고향이미지 (Hometown Images in the Paintings of Korean-French Artist Kim Tchang-yeul)

서지정보

· 발행기관 : 유럽문화예술학회
· 수록지 정보 : 유럽문화예술학논집 / 6권 / 1호 / 123 ~ 140페이지
· 저자명 : 홍윤리

초록

Kim Tschang-Yeul, best-known as the painter of water drops, is one of the contemporary Korean artists who has put down roots in the Westem art scene and built up his own 따t-world. Kim grew up through tumultuous Korean history such as the era of ]apanese colonial rule and the Korean War. He was a founding member of the Modem Artist Association that showed a collective appearance of the Art Informel movement in the Korean art scene. One of the primary artists in modem and contemporary Korean art history, Kim has developed his art-world anchored to this tendency.
Bom in Maengsan, Pyeongannam-do in 1929, Kim Tschang-Yeul leamed painting at sculptor Lee Guk-jeon’s art institute and Lee Que-dae’s Seongbuk Painting Institute. He attended the College of Fine Arts at Seoul National University, but could not graduate from the school due to the outbreak of the Korean War. He exploited books of paintings and art magazines for studying intemational art, working as a member of the Modem Artist Association. He exhibited his works in the 2nd Paris Biennale in 1961 and the Sao Paulo Biennale in 1965, which served as momentum to tum his attention to the intemational stage. In 1966 he was invited by the Rockefeller Foundation and stayed in the United States until he moved to Paris, France in 1969.
The drop of water is a language to describe his identity. The water drop was raised from the traces of the war he underwent and the subject matter of purifying the minds of the 따tist himself and viewers seeing his work. A water drop is also a fragmentary memory of his home, enabling him to leave a free journey crossing borders and flying through time. Like real water drops changing fluidly, his water drops V따y in contrasting scenes. 돼:3 water drops are a requiem for war victims and a representation of purification for another birth. Also represented in one same scene are abstraction and figuration; rough surface and tendemess that are likely to disappear at the moment of touching; illusion and reality, past and present craving for primal purity, tension and freshness.
His art-world formed with exquisitely shining crystalline water drops is a presentation of his previous childlike innocence. His home was, for the artist, the reason for being; the st따ting point and center of his work. As one’s existence can be more reinforced when in a divorce from the past than when in an immediate extension with the past, especially for the artist who had unusually potent nosta1gia water drops, Chinese characters, sand, and others were symbols displaying his mental imagery as a retum to his untrammeled childhood transcending space and time. Kim found his own identity and homogeneity, resurrecting his home and his childlike innocence through his existence and awareness of his existence.

영어초록

Kim Tschang-Yeul, best-known as the painter of water drops, is one of the contemporary Korean artists who has put down roots in the Westem art scene and built up his own 따t-world. Kim grew up through tumultuous Korean history such as the era of ]apanese colonial rule and the Korean War. He was a founding member of the Modem Artist Association that showed a collective appearance of the Art Informel movement in the Korean art scene. One of the primary artists in modem and contemporary Korean art history, Kim has developed his art-world anchored to this tendency.
Bom in Maengsan, Pyeongannam-do in 1929, Kim Tschang-Yeul leamed painting at sculptor Lee Guk-jeon’s art institute and Lee Que-dae’s Seongbuk Painting Institute. He attended the College of Fine Arts at Seoul National University, but could not graduate from the school due to the outbreak of the Korean War. He exploited books of paintings and art magazines for studying intemational art, working as a member of the Modem Artist Association. He exhibited his works in the 2nd Paris Biennale in 1961 and the Sao Paulo Biennale in 1965, which served as momentum to tum his attention to the intemational stage. In 1966 he was invited by the Rockefeller Foundation and stayed in the United States until he moved to Paris, France in 1969.
The drop of water is a language to describe his identity. The water drop was raised from the traces of the war he underwent and the subject matter of purifying the minds of the 따tist himself and viewers seeing his work. A water drop is also a fragmentary memory of his home, enabling him to leave a free journey crossing borders and flying through time. Like real water drops changing fluidly, his water drops V따y in contrasting scenes. 돼:3 water drops are a requiem for war victims and a representation of purification for another birth. Also represented in one same scene are abstraction and figuration; rough surface and tendemess that are likely to disappear at the moment of touching; illusion and reality, past and present craving for primal purity, tension and freshness.
His art-world formed with exquisitely shining crystalline water drops is a presentation of his previous childlike innocence. His home was, for the artist, the reason for being; the st따ting point and center of his work. As one’s existence can be more reinforced when in a divorce from the past than when in an immediate extension with the past, especially for the artist who had unusually potent nosta1gia water drops, Chinese characters, sand, and others were symbols displaying his mental imagery as a retum to his untrammeled childhood transcending space and time. Kim found his own identity and homogeneity, resurrecting his home and his childlike innocence through his existence and awareness of his existence.

참고자료

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