The purpose of this thesis is to contemplate the meaning of expressions and symbols in surrealism paintings based on analysis on the author's Psychological Relations Painting, in order to seek and study apprehension, empathy, existential self-esteem, ...
The purpose of this thesis is to contemplate the meaning of expressions and symbols in surrealism paintings based on analysis on the author's Psychological Relations Painting, in order to seek and study apprehension, empathy, existential self-esteem, and possibilities of healing.
Modern painting has dynamically unfolded into many directions surpassing the standards of replication of modern times and has enabled painting medium itself to independently mark a place of its own. Surrealism painting takes place in this process and has different pursuit and highly complex traits compared to the simple methodologies of imitation.
The author paints symbolized images of the conatus in his works to create a transcendental scene with dual symbols that are based on psychological autonomy. This is an attempt to reflect author's conscious and psychological aspects involved in the semantic structure of the images. This is so that self-reflection does not stay at level with biological unconsciousness and neurotic consideration, but act as a conatus being that conveys diachronic, synchronic, unconscious, psychological, and furthermore, spiritual existence.
The author pursuits an existence of which the author's characteristics are collectively projected upon. To actualize this, the author pursued surrealistic paintings through borrowing of existential images, rumination, and psychological application of himself, and spiritual existence and pursuit of synchronic relationship. Moving from Narcissism to originality, the author attempted diachrony and ruminative introspection.
Recurring images of rumination and transcendence are symbolic in that they resemble the author's inner self, form narratives in artworks, and reflect multiple aspects as if it were a double mirror. These images are independent scenes and are interrelated at the same time. They escape being confined in a single vanishing point and create unrestrained choices and shapes and are liberated from proportions or fixed shadows. I strive to transcend from all familiar, traditional methods.
Formative realization of transcendence has been exemplified by explorations done by Romantic and Symbolism artists and accelerated by Surrealists. There are various experiments of crossing boundaries in painting involving visual perception, unconscious, and optical intentions. Experiments and pursuits of Surrealism in painting expanded dual-symbolism expressions and room for interpretation and appreciation. In addition, through autonomy, it has participated in the identity and possibilities of painting by expanding the realm of consciousness as well as unconsciousness.
In the author's work, images of horns are inserted by various methods with ambiguity. This is an expression of the author's memory of rumination and trauma through Narcissism and persona.
Sacred forests and fields are psychological conatus places where one strives to transcend from memory's grasps. The unicorn is presented as a ruminative figure with the sacred forest as a background. It is the author himself and a companion, as well as a spiritual emblem; it carries multiple meanings. The summon of the horn is a confession, an activity of self-rumination and provides catharsis and self-esteem upon itself. The display of the horns installed as wood objects combines with characteristics of a plant and animates through autonomy in order to convey the author's wish to present meaning and energy of interrelationship.
In the process of psychology being formed into a surreal space and scene through complex symbolization, the author is introduced through rumination and variations of sensitivity and consciousness and forms chronotope as a complex symbolism. During continuation of life, being is ruminated as a scene within memories, whereas in the author's psychologic surreal chronotope display, it forms relationships as existence of conatus and strikes up conversations.
The author emphasizes the co-existence of interrelation as psychological surrealism painting through diachronic rumination, painting considerations, and self-synchronic existential relationship.
As there is no meaninglessness in one being oneself, in the author's paintings, not only aspects of symbols of painting but also the undecided blank spaces in-between layers and cracks cooperates and creates an ecology inside the painting.