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데이빗 호크니의 ‘눈에 진실한’ 회화: 1980년대 이후 반원근법, 비사진적풍경화를 중심으로
전영백 서양미술사학회 2018 서양미술사학회논문집 Vol.48 No.-
The profound changes that Hockney’s art underwent since the 1980s have been resulted from his opposition to perspective and the camera obscura. Since then, he has sought a way out of restrictions of the conventional representation. As he realized that one-point perspective led to the portrayal of space from which the viewer being outside the picture, Hockney attempted to get the viewer involved in his painting. By breaking free of perspective, his aim was to use of observation to create an image close to the sensations of a felt experience of looking. This essay tries to follow his way of representing such looking in his landscape, that is quite revolutionary for the western history of art. Hockney has explored the cubist vision for long to get out of the ‘anti-real’ vision. This also has much to do with his experimental polaroid collages from the end of 1970s to the early 1980s. In addition, his encountering with Chinese scroll painting allowed him to see an utterly different look in representing natural environment. Focusing on his landscapes in which he absorbed himself since the 1980s, this research highlights his relentless investigation into the nature of looking, from human eyes true to life. 2017년 2월, 런던 테이트 미술관을 시작으로, 파리 퐁피두센터와 뉴욕 메트로폴리탄 미술관으로순회, 국제적으로 개최되는 데이빗 호크니의 특별전은 지난 60년 동안 회화, 드로잉, 판화, 사진, 그리고 비디오 등 다양한 매체를 통해 80대로 접어든 노장의 오랜 성취를 회고한다. 호크니의 미적 성과는그가 본격적으로 미술사 담론에 개입한 1960년대부터 지금까지 이어진다. 그는 런던 스쿨에 속하면서특유의 팝 미학과 영국 리얼리즘에 기반한 포스트모던 시각언어로, 당시 미국 추상표현주의 중심의 미술사 주류담론을 비판하며 자신의 미적 존재감을 확연히 드러냈다. 이후 그는 인간의 손이 지닌 아날로그적 표현에 사진 및 디지털 테크놀로지를 활용하여 스펙트럼을 넓혀왔다. 특히 1980년대부터 본격적으로 도입한 폴라로이드 사진을 포함한 다양한 사진기재와 디지털 매체의 실험은 ‘회화’라는 고전적 미술언어를 시대에 부응해 다뤄온 그의 면모를 드러낸다. 본 논문은 오늘날 호크니 회화가 갖는 시의성에 주목하여, 그가 이전부터 일관성 있게 가져온 ‘보는 방식’의 문제를 다룬다. 즉, 그가 서구 시각구조의 근간인 원근법에 왜 반대하며, 사진이 왜 실제적이지 않다고 공격하며, 또 동양화에서 이동하는 시점을 어떻게 수용하는지를 고려한다. 동서고금을 망라하여 회화의 근본 화두인 시각의 문제는 호크니 작업을 꿰뚫는 핵심이다. 특히, 1980년대부터 본격집중하여 최근까지도 진행형인 그의 풍경화는 파격적 행보를 계속 하는 바, 포토콜라주, 파노라마적그림, 멀티캔버스 등을 통한 연속적 시점, 다시점의 시각, 그리고 경계 없는 공간지각을 보여준다. 이러한 작업을 통해, 호크니가 평생 모색한 ‘인간의 눈에 진실한 회화’가 어떻게 구현되는지를 이론적으로 탐색한다.
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충격가치를 너머선 내면의 소통: 곰리(Antony Gormley)와 화이트리드(Rachel Whiteread)
전영백 서양미술사학회 2009 서양미술사학회논문집 Vol.30 No.-
Although shock might be effect of avant-gardist’s works constituting art history, the ‘shock value’ is the new concept put forward to by ‘yBa’ in the 1990s mainly for the exhibition “Sensation” at RA in London in 1997. ‘Sensationalism’ in Gombrich’s term by which he criticizes the current artworks, especially referring to some of yBa, he turns to Antony Gormley’s work as significant and valuable for today’s art. Gormley’s work pursues to materialize the space within the body, to be more precise, endowing volume to the sensation of that inner space of the body. He is said to be the first to use his own body from which he casts. In the process of casting, he experiences temporary ‘death’ by wrapping his own body and get it cast in plaster mould in the claustrophobic situation. Difficult to communicate as it seem to be, it is to do with meditation which has been quite crucial to his work on the whole. The meditational method, called ‘vipassana,’ is the name given to the Buddhist meditation practice in which the artist was trained for two years in India. Such spiritual training on the making of his sculpture is influenced on his development of awareness of the body. In the process of his work, he told that he experiences temporal death. Death can also be said to his particular concern of death mask, of which insight strongly influenced on his casting process. In his work, one can count on feeling the presence of being through the skin. In fact, his whole project is to make the work from the inside, for which he attempts to use of his own body. So his work traces and marks of his body is equated to photography. In Gormley’s words, it is a “three-dimensional photograph.” Casting process is also important to Rachel Whiteread’s work which is well described as solidifying space or embodying nothingness. Her casts in plaster, rubber and resin have a strong material presence. Postminimal sculpture as it is categorized, Whiteread’s work emphasizes materiality and gravity coming from minimal forms. And what she concentrates on is the surfaces of casts. It is because she thinks of casting in terms of removing a surface from one thing and putting it on to another, or taking an image. She has compared the process to the making of a death mask. So her work has quite similar to Gormley’s in its fundamental concern and process. ‘Photographic sculpture’ is also descriptive of Whiteread’s work. It shows almost scientific interest in the trace left by a body and obsession with the specifics of place and community. That makes her sculpture similar to photography in its fundamental structure. ‘Indexicality,’ as is characteristic of the medium of photography, is what is common between Whiteread’s cast work and photography. Photography, like casting, combines that which is present with which is other, that is the residue of original which advances and retreats in the mind of viewer. In Whiteread’s work, the surface of the sculpture is the point of contact between cast and original. The mass of plaster, as we see in her <Ghost> and <House>, taken out of its real matrix, reconstructs in negative, all the elements of the interior surface of the domestic spaces. It is <House>, a cast of Victorian terraced house situated in a typical East End neighbourhood that Whiteread’s work brought social debate on the meaning of an artwork in the community into a flame. Both Whiteread and Gormley show fundamental reversion of conventional ways of both making and perceiving. In Gormley’s case, it is, above all, intimacy and privacy that his ‘body case’ reveals in contrast to monumentality a sculpture generally pursues in conventional terms. It is why so much of his work attempts to lay the verticality of the body down, thereby he tries to reverse and denigrate the sense of dominance and male confrontationality signified in verticality. Horizontality conjured up by his work implies vulner... Although shock might be effect of avant-gardist’s works constituting art history, the ‘shock value’ is the new concept put forward to by ‘yBa’ in the 1990s mainly for the exhibition “Sensation” at RA in London in 1997. ‘Sensationalism’ in Gombrich’s term by which he criticizes the current artworks, especially referring to some of yBa, he turns to Antony Gormley’s work as significant and valuable for today’s art. Gormley’s work pursues to materialize the space within the body, to be more precise, endowing volume to the sensation of that inner space of the body. He is said to be the first to use his own body from which he casts. In the process of casting, he experiences temporary ‘death’ by wrapping his own body and get it cast in plaster mould in the claustrophobic situation. Difficult to communicate as it seem to be, it is to do with meditation which has been quite crucial to his work on the whole. The meditational method, called ‘vipassana,’ is the name given to the Buddhist meditation practice in which the artist was trained for two years in India. Such spiritual training on the making of his sculpture is influenced on his development of awareness of the body. In the process of his work, he told that he experiences temporal death. Death can also be said to his particular concern of death mask, of which insight strongly influenced on his casting process. In his work, one can count on feeling the presence of being through the skin. In fact, his whole project is to make the work from the inside, for which he attempts to use of his own body. So his work traces and marks of his body is equated to photography. In Gormley’s words, it is a “three-dimensional photograph.” Casting process is also important to Rachel Whiteread’s work which is well described as solidifying space or embodying nothingness. Her casts in plaster, rubber and resin have a strong material presence. Postminimal sculpture as it is categorized, Whiteread’s work emphasizes materiality and gravity coming from minimal forms. And what she concentrates on is the surfaces of casts. It is because she thinks of casting in terms of removing a surface from one thing and putting it on to another, or taking an image. She has compared the process to the making of a death mask. So her work has quite similar to Gormley’s in its fundamental concern and process. ‘Photographic sculpture’ is also descriptive of Whiteread’s work. It shows almost scientific interest in the trace left by a body and obsession with the specifics of place and community. That makes her sculpture similar to photography in its fundamental structure. ‘Indexicality,’ as is characteristic of the medium of photography, is what is common between Whiteread’s cast work and photography. Photography, like casting, combines that which is present with which is other, that is the residue of original which advances and retreats in the mind of viewer. In Whiteread’s work, the surface of the sculpture is the point of contact between cast and original. The mass of plaster, as we see in her <Ghost> and <House>, taken out of its real matrix, reconstructs in negative, all the elements of the interior surface of the domestic spaces. It is <House>, a cast of Victorian terraced house situated in a typical East End neighbourhood that Whiteread’s work brought social debate on the meaning of an artwork in the community into a flame. Both Whiteread and Gormley show fundamental reversion of conventional ways of both making and perceiving. In Gormley’s case, it is, above all, intimacy and privacy that his ‘body case’ reveals in contrast to monumentality a sculpture generally pursues in conventional terms. It is why so much of his work attempts to lay the verticality of the body down, thereby he tries to reverse and denigrate the sense of dominance and male confrontationality signified in verticality. Horizontality conjured up by his work implies vulnerability...
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