생태미술의 작품세계에 대한 연구 = A study on the world of ecological artwork

국문 초록 (Abstract)

인간의 존엄성에 대한 강조와 이성에 대한 신뢰를 전제하는 인간중심적 세계관은 인간과 자연을 철저히 분리 시켰고 인간 스스로를 자연 우위에 올려놓았다. 그리고 인간의 이성으로 자연을 정복할 수 있으며 인간의 자연에 대한 지배논리를 정당화 해주었다. 근대에 이르러 인류는 이러한 인간중심적 세계관을 바탕으로 과학의 발전과 산업사회를 이룩하였지만, 동시에 자연의 무분별한 이용으로 자연환경의 오염과 파괴를 초래했다. 현재에도 여전히 인류문명은 끊임없이 진보하고 있지만, 자연환경의 문제는 또한 더욱 심각해지고 있다. 그리고 인간의 자연에 대한 비윤리적 태도는 인간 스스로에게도 확대되고 있다. 20세기에 들어서면서 인간사회의 일부는 자연환경의 심각한 문제가 곧 인류의 생존위기로 직결됨을 깨닫기 시작했다. 그리고 문제의 근본적인 원인은 인간중심적 세계관, 즉 인간중심의 자연에 대한 태도로 일관하는 자연과 인간의 관계에 있음을 인식하게 되었다. 동시에 과학, 정치, 철학, 예술 등 여러 학문분야에서는 이러한 비판적인 시각으로 인간중심적 세계관에 반대하고 그 극복과 대안으로써 생태학적 세계관으로의 전환을 요구하기 시작했다.
생태학적 세계관은 관점이나 접근 방법에 따라 심층생태학(Deep Ecology), 사회생태학(Socal Ecology), 영성생태학(Spiritual Ecology) 등 다양한 유형의 담론으로 논의 된다. 심층(또는 근본)생태학은 자연중심의 동양의 자연관에 영향을 받았다. 생물권 평등주의를 바탕으로 자연과 나의 통합을 중시하며 전체론적 윤리관을 주창한다. 반면 사회생태학은 인간의 지배하려는 성향과 같이 인간과 사회의 특성을 자연의 맥락에 포함시켜 자연사적인 탐구를 통해 자연과 사회의 연속성을 회복시키기고 자연과 인간은 공생하는 상호관계 회복시키고자 한다. 그리고 영성생태학은 자연 전체에 대한 연민이나 교감을 바탕으로 자연의 모든 생명체의 영성을 인정하고 이를 토대로 동반자적 윤리 실천을 끌어내고자 한다.
심층생태학을 물리학이론에서 발전시킨 프리초프 카프라(Fritjof Capra)는 그의 저서 「생명의 그물」을 통해 생태학의 핵심 개념은 ‘시스템적 사고’에 있다고 밝히며 그 구성하는 부분들은 연결되어 상호 의존하는 관계로 세계를 분리된 집합체가 아닌 통합된 전체로 보고 전체적인 맥락으로 구성하는 부분들과 그 관계들을 이해해야 한다고 설명한다. 즉 인간과 사회는 모두 자연의 순환과정 안에 있다는 것이다. 이러한 생태담론들은 공통적으로 자연과 인간은 분리되어 있는 것이 아니라 자연 안에 인간이 포함되어 있으며, 인간뿐만 아니라 자연을 구성하는 부분들이 통합되어 하나의 전체를 이룬다는 사고를 갖는다. 또한 그 부분들은 평등한 관계로 연결되어 서로 복잡한 상호작용을 하는 관계라 설명한다. 즉 생태학적 세계관은 반 인간중심주의로 자연과 인간, 그리고 사회를 포함해 지속가능한 공존의 관계를 추구하고 하며 그 근거로 ‘전체성’, ‘다양성’, ‘관계성’을 제시한다.
시스템적 사고의 관점에 따라 미술은 다른 학문들과 마찬가지로 세계를 이해하고 비판하며 인류문명을 이끌어 왔다. 그렇기 때문에 미술 역시 윤리적 측면에서 자연환경의 문제에 무관하지 않다. 또한 미학적 측면에서도 인간의 미적 실현은 독자적인 영역에서 고립되어 이루어질 수 없다. 20세기 중반 이후, 미술계에서도 모더니즘에 대한 회의적인 시각과 함께 자연을 소재로 하는 작업들이 나타났다. 생태미술은 다른 생태학문과 마찬가지로 생태학적 세계관과 닿아 있으며 그 원리나 지향, 특성, 의미는 같은 맥락에 있다. 생태미술은 미술이기 때문에 미술작품으로써 미적 실현을 통해 생태학적 세계관을 표상하는 것이다.
생태미술은 작가가 자연을 대하는 태도에 따라 다양한 작업 방식과 형태로 이루어진다. 이 연구에서는 대표적으로 4명의 작가를 중심으로 생태미술의 의미를 고찰한다.
리차드 롱(Richard Long)은 자연에 대해 관조적인 자세로 걷는 행위와 같은 흔적 수준의 작업을 한다. 그리고 앤디 골드워시(Andy Goldworthy)나 닐스 우도(Nils Udo)는 자연물을 재료로 인위적인 형상을 만드는 작업을 한다. 이들은 대부분 자연공간에서 자연물들을 재료로 작업이 이루어지기 때문에 장소성, 시간성, 자연현상 등이 작업에서 중요하다. 그리고 이들은 작업을 문화공간으로 가져와 전시를 하기도 한다. 마크 디온(Mark Dion)은 자연물뿐만 아니라 문화적 산물과 결합하는 방식의 설치작업부터 개념미술로써 교육의 방식, 다른 학문분야와 연계하는 퍼포먼스형식 등 다양한 방식으로 작업을 하는 작가다.
생태미술의 작가들은 공통적으로 자연을 소재로 작업을 하며 궁극적으로는 자연에 대한 존중과 자연과 인간의 공존의 관계를 추구하는 내용을 갖는다. 이들의 작품세계는 자연을 대하는 태도에서부터 작업을 하는 방식, 작업의 내용, 의미, 특성은 모두 생태학적 세계관의 맥락과 닿아 있다. 생태미술은 작품을 통해 인간이 자연에게 가한 폭력에 대해 반성하고 있고 자연에게 존중하는 자세를 보여주는 것이며, 나아가 인간과 자연은 지속가능한 공존의 관계, 조화로운 관계가 가능하다는 것을 작품으로 제시하고 있는 것이다. 또한 생태미술 작품을 통해 이를 인간과 사회에 권유하고 있는 것이다.

다국어 초록 (Multilingual Abstract)

Human-centric worldview which emphasizes human dignity and founded on the trust of human reason has completely separated man from nature. Mankind has put himself above nature. Man, with his reason, has treated nature as something to be conquered and such thinking legitimized our domineering approach over nature. In the modern era, humans, based on such man-centered worldview, have achieved scientific developments and accomplished an industrialized society. But at the same time, reckless exploitation of nature polluted and destroyed the natural environment. Today, the human civilization is still on its ceaseless progress and improvement but the issues relating to the natural environment are also becoming more serious. Further, mankind's unethical treatment of nature is replicated in our treatment of fellow human beings.
In the 20th century, some members of the human society came to the realization that this serious problem faced by the natural environment directly leads to mankind's own survival being threatened. Also, they realized that the root of the problem lies in the man-centered worldview - in other words, the thoroughly human-centered approach in mankind's relationship with nature. Science, politics, philosophy, arts and other fields of academia started to take critical perspective and resisted such human-centered worldview. As a means of overcoming the problem and to provide an alternative, they began to demand a shift to ecological worldview.
The discourse of ecological worldview may be categorized by its perspective or method of approach which include various different categories such as deep ecology, social ecology, spiritual ecology and others. Deep (basic) ecology is influenced by the Eastern nature-centered perspective. It emphasizes equality of all creatures and focuses on harmonization between the self and the nature as well as advocating a holistic ethics system. On the other hand, social ecology seeks to understand human's dominant tendencies and seeks to encompass human and societal characteristics within the context and bound of nature. Through study of natural history, it seeks to restore the continuity between the nature and society as well as restoring a co-existing and reciprocal relationship between man and nature. Spiritual ecology focuses on enculturation of empathy and communication with the nature as a whole. It esteems all creatures and through this acceptance, it seeks to encourage practicing of ethics which is centered around the notion of companionship.
Fritjof Capra, who established deep ecology from a physics theorem, stated that the essence of ecology lies in a "systematic thinking." He encourages us to see the interdependent relationship existing between the constituent parts and not see the world as an aggregate of parts. Through this perspective, we would be able to see the parts and not lose sight of the relationship which exists between them. In other words, man and society are both within the nature's cyclical process.
These discourses in ecology have a common idea which is that man and nature are not separate but man exists within nature and that man and other constituent parts of the nature integrate and come together to form a single body. Furthermore, these constituent parts are in equal relationship and are in a complex interaction with each other. Hence, the ecological worldview opposes human-centered worldview and it seeks to create a coexisting relationship between nature, man, society, culture and others. To make it possible it proposes holism, diversity, and relationship.
Like other fields of academia, art understood and criticized the world through systematic thinking process and has influenced the human civilization. In this light, art is also ethically connected with the problems in the natural environment. Also, in aesthetical point of view, man's realization of aesthetics cannot come to being in man's isolated sphere.
After mid-20th century, skepticism toward modernism also spread in the world of art and works began to appear with the nature as the subject matter. Ecological art, forms of ecological studies, is coherent with the ecological worldview sharing coherent principles, aims, characteristics, and meanings. Since ecological art is a form of art, is uses aesthetical expression and works of art to embody the ecological worldview.
Ecological art has various methodologies and forms depending on how the artist relates and works with the nature. Richard Long takes an observational approach toward nature by walking through nature and leaving his traces. Andy Goldworthy and Nils Udo use materials found in nature and create artificial shapes. Since these artists create works in nature using natural materials, elements of place, time, and natural conditions are important to their artwork. Also, they bring their artwork into cultural spaces and exhibit them. Mark Dion uses natural materials but combines them with cultural products. He uses various different methods including installation artworks, using conceptual art as means of education, and putting on performances in conjunction with other fields of academia. Ecological artists share the common identity of using the nature as the subject matter and their work is based on their esteem for nature. Their work also proposes a coexisting relationship between man and nature. Their artwork is coherent with the ecological worldview in their approach toward the nature, methodology used, message being conveyed, and their meanings and characteristics.
Ecological art, through works of art, expresses regret about the violence man has shown toward the nature and it expresses an approach toward the nature which is respectful and appreciative. Further, they convey the message that man and nature can sustainably coexist and be in harmony with each other. Through works of art, ecological art challenges and proposes to the mankind and society to embrace ecological worldview.

목차 (Table of Contents)

• 국문초록
• Ⅰ. 서 론 ························································································1
• Ⅱ. 생태학적 세계 이해 ····································································4
• 1. 생태학적 세계관 ········································································4
• 2. 생태학의 유형 ·········································································7
• Ⅲ. 생태미술의 대두 ········································································11
• 1. 생태미술의 정의 ·······································································11
• 2. 생태미술의 전개 ·······································································14
• Ⅳ. 생태미술의 대표작가 분석 ······························································19
• 1. 앤디 골드워시(Andy Goldworthy) ··················································19
• 2. 닐스 우드(Nils Udo) ··································································28
• 3. 리차드 롱(Richard Long) ·····························································35
• 4. 마크 디온(Mark Dion) ································································43
• Ⅴ. 결론 ························································································50
• 참고문헌 ····················································································53
• 도판목록 ····················································································55
• Abstract ····················································································57