Time

이수정展 / LEESOOJUNG / 李守正 / painting   2014_0917 ▶ 2014_0922

이수정_In 10minutes_캔버스에 유채_162×260cm_2014

● 위 이미지를 클릭하면 이수정 홈페이지로 갑니다.

초대일시 / 2014_0917_수요일_05:00pm

관람시간 / 10:00am~07:00pm

가나아트 스페이스 GANA ART SPACE 서울 종로구 인사동길 56(관훈동 119번지) 1층 Tel. +82.2.734.1333 www.ganaartspace.com

지금 이 시간이 가장 중요한 순간이다. ● 나는 '삶과 죽음, 시간의 흐름'에 관한 내용을 '아이스크림'이라는 매개체를 통하여 감성적, 추상적 구상(構想)과정을 거쳐 회화적으로 표현하는 작업을 한다. 사람들은 왜 지나간 추억들과 앞으로의 삶에 관한 이야기를 계속하는 것일까? 사람들은 저마다의 삶과 누구에게나 찾아오는 죽음의 틈에서 표류한다. 끊임없이 흐르고 있는 '현재'를 살아가며 때때로 길을 잃고 헤매기도 하고, 사랑을 하거나 꿈을 꾸기도 한다. 나는 슬프도록 아름다운 삶의 순간들을 타고 떠다니며 추상적 관점으로 재해석하고 이를 시각화한다. 평면캔버스에 유채를 사용하여 구상적인 형태를 전통적 방식으로 하나하나 그려 나간다. 내 그림의 '흐르는' 마치 '마블링'과 같은 형상의 특징은 물감의 물성이 이루어낸 우연의 효과가 아닌 사실적 관찰과 붓 터치로 만들어낸 노동집약적 결과이다. 각각의 그림들에는 숨은 그림 찾기처럼 작가의 의도뿐만 아니라 감상자가 사적 경험과 감성으로 수많은 해석을 할 수 있는 요소들이 곳곳에 숨겨져 있다. 다시 말해 전시장에서 감상자들이 내 그림을 보며 저마다 자유롭게 생각하는 재해석이 내 작업을 완성시킨다. ■ 이수정

이수정_In 9minutes_캔버스에 유채_96×162cm_2014
이수정_In 12minutes_캔버스에 유채_45×53cm_2014

아름다운 순간이다, 그러나 모든 것은 밝혀질 수 없다. ● (전략) 지금 우리는 회화적 재현으로 구축된 아이스크림의 리얼리티를 보고 있다. 그 리얼리티는 해체되고 부서진 경계 뒤에 떠 있는 아이스크림의 또 다른 실체라 할 수 있다. 그리고 더 이상 아이스크림으로 소급되지 않는다. 바로 그 지점에서 예술적 상상은 한없이 풍요로워진다. 우리는 마음만 먹으면 얼마든지 다른 상상의 영역으로, 공간으로 탈주 할 수 있다. 이수정은 녹아서 일그러진 아이스크림에서 바로 그 '탈주'의 첫 포인트를 발견했으리라! 두 번째 실마리는 그러니까 녹기 전의 아이스크림과 녹아버린 아이스크림 사이의 '시간'에 관한 것이다. 이수정은 정물적 대상이 된 아이스크림을 재현한 것이지만, 그가 실제로 의도했던 것은 정물로서의 아이스크림이 아니다. 그는 누군가에 의해 해체될 수밖에 없었던 한 아이스크림에 관한 오마주를 새기고 싶었던 것이다. 녹기 전과 녹은 후의 간극에는 '상실의 시간'이 존재한다.

이수정_In 15minutes_캔버스에 유채_38×91cm_2014
이수정_In 14minutes_캔버스에 유채_130×162cm_2014
이수정_In 13minutes_캔버스에 유채_60×120cm_2014

(중략) 그의 세계는 아이스크림이 녹고 있는 그 시간, 그 순간에 있는 것이기에 무엇보다 매우 현실적이며 구체적이다. 그는 말한다. "그건 더 이상 차갑지 않았고 / 그 달콤한 모양이 아니었으며 / 내 손을 타고 줄줄 흘러 바닥으로 뚝뚝 떨어져 버렸다 / 내가 놓쳐버린 것들이 있었다. / 적절한 타이밍을 찾지 못했고 다른 것에 한눈이 팔려 있었다. / 만족하지 못했었던 때가 있었다. / 인생에 있어 가장 아름다운 순간이란 언제일까?" 그는 빠르게 흘러가는 시간과 시간의 틈에 존재한다. 이수정의 아이스크림 회화는 그런 틈이 만들어낸 '상실'과 '탈주'의 미학이다. 실상 이 회화의 근거리에는 그가 없다. 그의 부재로 인해 발생한 것이 바로 이 틈이며, '녹음'이며 섞음이기 때문이다. 그는 분명히 아이스크림을 잊고 어디론가 홀연히 사라졌거나 문득 잊었을 것이다. 회화는 그 모든 알레고리의 시작에 불과하다. 아니 마지막 남은 증거이자 클로즈업의 시퀀스일지 모른다. ■ 김종길

이수정_In 7minutes_캔버스에 유채_97×162cm_2013
이수정_In 8minutes_캔버스에 유채_50×72cm_2013

My work is pictorially expressed in terms of 'life and death, the flow of time' through a process of emotional and abstract conception using 'ice cream' in medium. Why seriously do people continue to talk about memories of the past as well as upcoming future? We are floating in the crevice between our individual life and inevitable death. Living in the 'present' that flows continuously, we sometimes get lost and wander, fall in love or dream of. Drifting on the sorrowfully beautiful moments of life, I reinterpret and visualize them in abstract perspective. Using oil painting, I draw tangible shapes one by one in a traditional method on a flat canvas. The characteristically 'flowing' and 'marbled' shapes in my paintings are fruits of intensive labor achieved with meticulous observation and brush strokes rather than an accidental effect created by the color features in accordance with the natural shaping itself. As if a pictorial puzzle, each painting hides elements open to numerous interpretations based on the viewers' private experiences and emotions in addition to the artist's intention. Differently put, my works are completed when they are reinterpreted by viewers through their memories and imagination in the exhibition hall. ■ LEESOOJUNG

It is a beautiful moment. But, not everything can be unfolded. ● Lee Soo-Jung's 'ice cream' painting reminds us of memories about an object or an incident that is familiar to us. In this instance, the object portrayed is ice cream. But, for some, it is reminiscent of a grotesque landscape where cold and warm currents converge and scatter in different directions. For others, it reminds them of a discarded piece of meat or the scene of an oil spill. The amplitude of the association is very broad. It ranges from the abstraction of a beautiful scene created by unfamiliar wilderness existing only in dreams and imagination to something familiar, filthy, and ugly, like a rotten piece of meat. However, before the association is further explored, this painting becomes rapidly retroacted into the bald and naked truth of melted ice cream. The feeling is that of 'common sense' after a long kept mystery is solved or of 'universality' without any uniqueness. But why conjure up such an image that has absolutely no relevance? It may sound paradoxical, but we, I believe, can extract the meaning of Lee Soo-Jung's painting from the clues to this question. ● The first thought that comes to mind is the recognition – association of the physical properties of ice cream. Ice cream is soft, cool, and sweet. Ice cream is often the first image that comes to mind when we want relief from heat and thirst. Above all else, the image of soft ice cream melting in our mouth makes our mouths water. The point Lee Soo-Jung captures, however, is not a certain sense conjured up by the process of recognition and association as such. It is the visual fantasy of ice cream. The image of soft, cold, and sweet ice cream melting in the heat is a brilliance of disparate, yet vibrant colors that are not of the intrinsic physical properties of ice cream. As solid turns to liquid, the properties of ice cream combine and mingle with one another. A scene from this process is of a completely different imagination resembling a river of chromatic substances. Therefore, the first clue to this painting as expressed by Lee Soo-jung is not the reproduction of a substance called "ice cream," but the colors expressed by physical properties of ice cream melting and completely breaking down. In other words, Lee Soo-Jung's intention is to speak of the chemical sweetness of ice cream in which the visual fantasy is reenacted, and, interestingly, her painting as such, intends to reproduce the reality of ice cream through the image of sweetness. And the reality is not simply in the sweetness. Many people would be reminded of familiar objects from the abstractedness of a substance and color, from the size, and realistic expression of an image in a picture. After noticing that it is a melted down ice cream, they would be engulfed in the feelings of oddness and peculiarity. Completely different from "I want to eat it," the sentiment on viewing the image is often more like, "It is very unique and beautiful," "I have never seen colors so beautiful," "Why was it left to melt?" Or "The swarm of ants and flies... is it really ice cream? No, it is like the cosmos." ● Our recognition of a substance is not irrelevant with the substance's intrinsic shape, color, size, and smell. However, if asked about the meaning of 'intrinsic' and what is 'intrinsic,' we will soon realize that we cannot answer these questions or reach a conclusion readily. It is the same with the 'intrinsic' quality of ice cream. Unlike ice cream kept inside a refrigerator at a supermarket, ice cream that was taken out from the refrigerator, kept at room temperature and not eaten loses its intrinsic characteristic as the original shape is lost. Its intrinsic characteristic is broken down into fragments, like hard truths broken down by gossip and rumor. Intrinsic characteristic scattered and deconstructed as such then becomes a new language, a new imagination, and a new medium. We are now looking at the reality of ice cream that has been reproduced as a painting. The reality is yet another substance of ice cream floating at the back of the dismantled and broken down boundaries. And it is no longer retroacted as ice cream. Right at this point, the artistic imagination becomes ever so enriched. We can most certainly escape to another area or space of imagination once we put our minds to it. Lee Soo-Jung must have discovered the first point for this 'escape' from melted and broken down ice cream! ● The second clue is about the 'time' before ice cream melts and after it is melted. Lee Soo-Jung reproduced ice cream, a still-life object. However, what she really intended is not ice cream as a still-life. She wanted to pay homage to ice cream that had to be broken down by someone. In between the time before it melts and after it is melted, there exists the 'time of loss.' Someone must have bought the ice cream from a supermarket to enjoy its cold and sweet taste. But, just what happened? Has the person forgotten about it while chatting, waiting for someone, looking at something, thinking, running or even eating it slowly? The expression of ice cream melted and dripped down to the floor is mingled with the image of lost time. So, Lee Soo-Jung's painting enters upon the time and space of a different dimension surpassing the proposition of ice cream. In other words, her painting is an expression of loss itself and a landscape of a space where the loss took place. If so, what is the metaphoric substance of ice cream that holds the expression and spatiality of loss as such? Why does she all of a sudden decide to escape? ● I intend to talk about the owner of this ice cream. In the expression of ice cream or the naked figure of ice cream depicted without any falsifications, we can find metaphors about the owner. Maybe this person is someone who enjoys talking and taking her time. Maybe she's someone who doesn't mind waiting for company to arrive, someone who is accustomed to 'waiting.' So, she would often forget things and spend hours staring blankly at the world. She must often be occupied with thoughts and, when she remembers what she has forgotten, would all of a sudden run and panic. She must have a habit of dashing out abruptly in the middle of eating, drinking, or simply gazing about. As the blank of the moments are prolonged, the ice cream would become more brutally melted, mixed up and beautiful. The cold ice cream would melt down and pigments, chocolate and different syrups, would combine to reach the height of brilliance. Ants would queue up, bees would fly in, and flies would swarm after sensing the sweet smell. But, it has not yet reached this state. When it is melted down just right, everything had to stop at that moment. A scene reproduced with a painting is indeed the most beautiful moment. ● So, what is she? She may be a member of the Korean hyperrealist school from the late 1970s or a direct descendent of the Korean pop art that was prevalent in the latter part of the 20th century. Nevertheless, I don't like to simply lay things out in a paratactic way. It is not that there is no point at all to which things can be bound. But, what is more important is that her world did not go beyond the frontier to a hyper-realistic or an unrealistic space. Her world is right at the time and moment in which ice cream is melting. So, it is extremely realistic and concrete. She said: ● "It was no longer cold / was not sweet / melted down from my hand and dripped to the floor. / There were things I had missed. / I missed the timing and was looking elsewhere. / There were moments when I was not satisfied. / When would be the most beautiful moment in life?" She exists in the crevice between the fast flowing times. Lee Soo-Jung's ice cream painting is an esthetics of 'loss' and 'escape' created from such a crevice. In fact, she is nowhere to be found in a close distance from this painting. Her absence led to the formation of the crevice, which was 'melting' and 'mixing'. She must have forgotten about the ice cream and vanished. The painting is merely a beginning of the entire allegory. No, it may be the last remaining evidence or the sequence of a close-up. ■ KIMJONGGIL

Vol.20140917b | 이수정展 / LEESOOJUNG / 李守正 / painting