방혜자 작품연구: 매체와 재료의 실험을 통한 ‘빛’의 탐구

다국어 초록 (Multilingual Abstract)

Bang Hai-ja(The English name was written by her), known internationally as a painter of ‘light,’ is an artist who is building a unique world that cannot be categorized within the tangible context of Korean contemporary art. In this paper, we will examine the process of how the characteristics of ‘materiality through various materials’ that Bang Hai-ja continuously explored were connected to the spiritual concept of ‘light’ and were implemented in her works, and the analysis of the works from an art historical perspective. In order to express non-material light, she has continued to “continue to study matiér” using materials such as strong material paper (Korean paper or Dakji), leather, sandpaper, sawdust, cloth, cotton, sand, and soil.
The purpose of this study is to analyze works that mainly use materiality, such as the use of various materials, experiments, and use of Korean paper, among Bang Hai-ja’s long painting industry, and to examine the formative process of changing this into the work of immaterial “light.” Bang Hai-ja’s obsession with light appears in earnest in works since the 1990s, and because “light” was not only a spiritual, cosmic, and abstract concept, but also “experiments on various materials,” the analysis and consideration of formative works from the 1960s and 70s in her work in the 1960s and 70s.
It is no exaggeration to say that there is little systematic and professional academic research on the artist compared to the 60 years of painting and history until Bang Hai-ja passed away in 2022. Therefore, the art theory of Bang Hai-ja needs to be studied from various angles, including the educational environment, the art environment, the historical background and meaning of the times, and the historical significance of art. The scope of this study will focus on the 1960s to 1970s, when he went to Paris to study and experimented with various materials and materials in earnest under a Western background. As a method of research, among Bang Hai-ja’s vast painting industry, to analyze and study the exploration of “light” through experiments with media and materials, we examine Matiér’s exploration and experimental works, and examine the influx and influence of Art Informel and Korean flowerbeds centered on France at the time.
The significance and expected effect of art history is that she has continued to study and work variously in Paris, the center of world art, and as her personal history of more than 100 times and her team exhibition history of 190 times, research and analysis of Bang Hai-ja’s painting industry with exhibition experience around the world is expected to provide incomplete but basic data for subsequent studies of art history. However, since this paper has a paper limitation in not being able to comprehensively analyze the vast work activities and analysis of works for more than 60 years, I will focus on the period that forms the basis of the Bang Hai-ja painting industry in the 1960s and 1970s, and study works that clearly reveal the concept of “light” in subsequent studies and the stained glass work of Chartres Cathedral completed just before death.