회화 : 설명의 불가능성에 대하여

다국어 초록 (Multilingual Abstract)

Abstract


Paintings: Nothing to Explain



By Cristina Núñez Chávez
Department of Fine Art
Graduate School. Kookmin University,
Seoul, Korea

This thesis is an effort to understand painting from itself. Analyze a painting is to disrespect it in a certain way, to take it to limit that does not belong to it by nature. An analysis implies a dissection of the object and doing that with the painting is to fracture it into a bunch of pieces of puzzle that always respond more to the puzzle of the individual who does the analysis than to the unity of the work itself. So I will not say that this work is the analysis of my painting (or any painting) but the effort to understand the pulse that gives painting place in the world of all things created by humanity.
To approach the phenomenon of painting, I sought to identify what distinguishes art from the rest of all cultural productions, arriving at the conclusion that Art is the only cultural production that does not need to hide that is an invention. That is to say, all cultural production is an aesthetic invention of humanity, but only art is openly manifested as a creation, an invention, and this defines its specificity.
On the other hand, notions that are unquestionably associated with painting are a source of contradiction that end up undermining the first meaning of painting, which is nothing more than being an IMAGE.
The research done for this work showed that painting is far from being the illustration of a previously given concept, nor is it a representation of a reality external to it, then painting is a cultural production that is manifested after the meeting of three essential elements: freedom (free will of the artist), action and materials; and it does not end up being a means to transmit a message but a message in itself. Art, and painting as part of it, offers an encounter with the stark reality that humanity has in its hands the creation of the world and the knowledge that artificially unites us to that world.
After understanding that the painting is the final result of the association of the artist, the action and the material, I made a revision of my painting based on the material as the main thread of the series that I have made. More than any subject or interest, obsession or curiosity that has moved me to paint, it was the choice of material that has defined the course of my work as a painter.
Starting with the oil painting and continuing with the investigation of other materials such as plastic, inks and acrylic panels, this thesis is a record of how materials, more than any idea or concept, have shown me ways to connect with the painting, and in the action of the workshop understand that I am not the only author of everything I paint but a subordinate to the possibilities that the material offers.

Key Word: Painting, Action, Material, Culture, Invention.

목차 (Table of Contents)

• ABSTRACT ⅳ
• I. Introduction 1
• II Part I. About Painting 3
• 1. Art as a cultural product 4
• 2. What is art for? 9
• 3. So, What is the meaning of this painting? 19
• III . Part II. About my painting 30
• 1. Influences. 31
• 1.1 Freedom: Pablo Picasso 31
• 1.2 Action: Jackson Pollock 34
• 1.3 Materials: Armando Reveron 35
• 2. Oil colors 37
• 3. Plastic, color mesh and acrylic panels ( Korea ) 44
• 4. Ink and vinyl 49
• I.V Conclusion 58
• References 59