*๊ฒฐ(Ice Chaosmos), 2014

์ž‘์—…๋…ธํŠธ


ํ•œ๋™์•ˆ, ๋ˆˆ์ด ๋งŒ๋“  ๋ฐฑ์ƒ‰์˜ ๋ฌด๋”๊ธฐ๋ฅผ ์ข‡์•„ ๊ฒจ์šธ ์‚ฐ์„ ์˜๋‹ค๋…”๋‹ค. ๊ทธ๊ฒƒ์€ ์„ธ์ƒ์„ ์˜จํ†ต ํ•˜์–—๊ฒŒ ๋’ค๋ฎ์–ด๋ฒ„๋ฆฐ ๋ˆˆ์˜ ์„ธ๊ณ„๊ฐ€ ๋ณด์—ฌ์ฃผ๋Š” ๊ทน๋„์˜ ์ถ”์ƒ์  ์ด๋ฏธ์ง€, ์ฆ‰ ํ˜•ํƒœ์— ๊ด€ํ•œ ํƒ๊ตฌ์˜€๋‹ค. ๊ทธ๋Ÿฌ๋‹ค๊ฐ€ ๋ฌธ๋“ ๋ˆˆ์˜ ํ˜•ํƒœ๊ฐ€ ์•„๋‹Œ ๋ฌผ์„ฑ์ด ๊ถ๊ธˆํ•ด์ง„ ๋•Œ๊ฐ€ ์žˆ์—ˆ๋‹ค. ๋ณ•์„ ์ชผ์ธ ๋ˆˆ ๋‘”๋•์˜ ํ‘œ๋ฉด์ด ๋…น์•„์„œ ๋ฐ˜์ง๋ฐ˜์ง ๋ฌผ์˜ ๋น›์œผ๋กœ ๋น›๋‚˜๋˜ ์ˆœ๊ฐ„, ๋‹ค์‹œ ์ฐพ์•„์˜จ ๋ฐค๊ณผ ์ถ”์œ„์— ์–ผ์Œ๋ถ™์ด๊ฐ€ ๋˜์–ด ์˜ˆ์˜ ํ’๋งŒํ•˜๊ณ  ๋ถ€๋“œ๋Ÿฝ๊ฒŒ ๋ฐœํ™”ํ•˜๋Š” ๋ˆˆ์€ ์‚ฌ๋ผ์ง€๊ณ  ์ฐจ๊ฐ‘๊ฒŒ ์ฃฝ์€ ๋ชจ์–‘์œผ๋กœ ๋”์šฑ ๋‹จ๋‹จํ•ด์ง€๋˜ ์žฅ๋ฉด์—์„œ. ๊ทธ ๋ชจ๋“  ๊ฒƒ์ด ๋ฌผ์ด์—ˆ์œผ๋‚˜ ์ง€๊ทนํžˆ ๋‹ค๋ฅธ ๋ชจ์Šต์ด์ž ์ƒํƒœ์ž„์„ ๊นจ๋‹ฌ์•˜๋‹ค.

๋ฌผ์€ ์œคํšŒ์˜ ์‚ถ์„ ์‚ฐ๋‹ค. ๊ฐ€์žฅ ์ฐจ๊ฐ€์›Œ ๊ฒฌ๋”œ ์ˆ˜ ์—†๋Š” ์ˆœ๊ฐ„ ์–ผ์Œ์œผ๋กœ ๋ณ€๋ชจํ•ด ์‚ด๊ณ  ์–ผ์Œ์ด ๊ฐ€์žฅ ๋œจ๊ฑฐ์›Œ์ง„ ์ˆœ๊ฐ„ ๋๋‚ด ๋ฌผ๋กœ ๋Œ์•„๊ฐ„๋‹ค. ์–ธ๋‹ค๋Š” ๊ฒƒ์€ ์ผ๊ฒฌ ์ฃฝ์Œ์ฒ˜๋Ÿผ ๋ณด์ด๊ธฐ๋„ ํ•œ๋‹ค. ํ•˜์ง€๋งŒ ์˜์˜ ์ฃฝ์–ด์žˆ์ง€ ์•Š๊ณ  ๋น› ํ•œ์ค„๊ธฐ์— ๋…น๊ธฐ ์‹œ์ž‘ํ•  ๋•Œ ๋‹ค์‹œ ์‚ด์•„๋‚˜๋Š” ์ผ์‹œ์  ์ •์ง€ ์ƒํƒœ์ด๊ธฐ๋„ ํ•˜๋‹ค. ์ฒ˜์Œ์—๋Š” ์‘์ง‘๋œ ํ•œ ๋ฉ์–ด๋ฆฌ์ง€๋งŒ ๋ฌผ์ด ํ˜๋ €๋˜ ํ”์ ์„ ๋”ฐ๋ผ ๊ฒฐ์ด ์ƒ๊ฒจ๋‚˜๊ณ  ๊ทธ ํ‹ˆ์ƒˆ๋กœ ๊ณต๊ธฐ๊ฐ€ ๋“ค์–ด๊ฐ€ ๊ณต๊ฐ„์„ ๋งŒ๋“ ๋‹ค. ๊ณต๊ธฐ๊ฐ€ ๋“ค์ˆจ ๋‚ ์ˆจ ์‰ฌ๋“ฏ ๊ณต๊ฐ„ ์•ˆ์—์„œ ์›€์ง์ด๊ธฐ ์‹œ์ž‘ํ•˜๋ฉด ์–ผ์Œ์˜ ๊ฒฐ์€ ์กฐ์‹ฌ์Šค๋ ˆ ๋ฌผ์ด ๋˜์–ด๊ฐ„๋‹ค. ์ƒˆ๋กœ์šด ์ƒ์ด ํƒœ๋™ํ•˜๋Š” ๊ฒƒ์ด๋‹ค.

๋‚˜๋Š” ๊ทธ ์ง€์ , ์‚ฌ(ๆญป)์—์„œ ์ƒ(็”Ÿ)์œผ๋กœ ํšŒ๊ท€ํ•˜๋Š” ๋•Œ์ด์ž ๊ทน๋„๋กœ ์••์ถ•๋œ, ๊ทธ๋Ÿฌ๋‚˜ ์—„์ฒญ๋‚œ ์—๋„ˆ์ง€๊ฐ€ ๋ฐœ์ƒํ•˜๋Š” ๋•Œ์— ๋งคํ˜น๋˜์—ˆ๋‹ค. ๋…น์•„๊ฐ€๋Š” ์–ผ์Œ ์†์˜ ๋Š์Šจํ•ด์ง„ ๊ฒฐ์ •๊ณผ ๋˜์‚ด์•„๋‚œ ๊ฒฐ๋“ค์€ ์šฐ์ฃผ๋ฅผ ์ƒ์ง•ํ•˜๋Š” ์—ฌ๋Ÿฌ ๊ธฐํ˜ธ๋กœ ๋ณด์˜€๋‹ค. ๋ฌด์—‡์ด ์ฃฝ์Œ์ด๊ณ  ์‚ถ์ธ์ง€ ๋ชจ๋ฅธ ์ฑ„ ์–ฝํ˜€ ์žˆ๋Š” ํ˜ผ๋ˆ์˜ ์„ธ๊ณ„. ๋ฌผ์˜ ๊ฐ€์žฅ ์ฐจ๊ฐ€์šด ์ˆœ๊ฐ„๊ณผ ๊ฐ€์žฅ ๋œจ๊ฑฐ์šด ์ˆœ๊ฐ„์ด ํ˜ผ์žฌํ•˜๋Š” ์„ธ๊ณ„. ๋ฌผ์ด์ž ์–ผ์Œ์ธ ๋ชฐ์•„์˜ ์ƒํƒœ. ๊ทธ๋ ‡๊ธฐ์— ๋ชจ๋“  ๊ฐ€๋Šฅ์„ฑ์ด ์—ด๋ ค์žˆ๊ณ  ๋ฌด์—‡์ด๋“  ๋ณผ ์ˆ˜ ์žˆ์œผ๋ฉฐ ๊ฐ€์žฅ ์•„๋ฆ„๋‹ค์šด ๋ฌดํ•œ์˜ ์„ธ๊ณ„.

์ž‘์—…์€ ํ•œ ์ค„๊ธฐ ์—ฐ์•ฝํ•œ ์ด›๋ถˆ์— ์˜์ง€ํ•ด ์ง„ํ–‰ํ–ˆ๋‹ค. ์ด›๋ถˆ์€ ๋ชจ๋‘๋ฅผ ๋ฐํžˆ๊ธฐ๋ณด๋‹ค ์„ ํƒ์ ์ด๊ณ  ๊ฒธ์†ํ•˜๊ฒŒ, ๊ณจ๋ชฐํžˆ ๋น„์ถ˜๋‹ค. ์“ธ๋ฐ์—†๋Š” ๊ฒƒ์— ๋Œ€ํ•œ ๋ฏธํ˜น์ด๋‚˜ ์ง‘์ฐฉ์„ ๋ฒ„๋ฆฌ๊ฒŒ ํ•˜๋Š” ์ˆ˜ํ–‰์˜ ๋น›์ด ๋œ๋‹ค. ๋‚ด๊ฐ€ ๋ฐ”๋ผ๋ด์•ผ ํ•  ๊ฒƒ, ๊ฐ€์•ผ ํ•  ๊ณณ์— ์ง‘์ค‘์‹œํ‚ค๋Š” ๊ตฌ๋„์˜ ๋น›์ด ๋œ๋‹ค. ์—ฐ์•ฝํ•˜๋‚˜ ์ง‘์š”ํ•œ ๋น›์˜ ๊ตด์ ˆ๊ณผ ๋ถˆ๊ท ์งˆํ•œ ์–ผ์Œ์„ ํˆฌ๊ณผํ•˜๋ฉฐ ์ƒ๊ธด ์™œ๊ณก ํ˜„์ƒ์€ ์ƒˆ๋กœ์šด ํ˜•ํƒœ์˜ ์‹œ๊ฐ์  ํ‹€์„ ๋งŒ๋“ค์–ด๋ƒˆ๋‹ค. ์นด๋ฉ”๋ผ๋Š” ๊ทธ๊ฒƒ์„ ๊ณ ์Šค๋ž€ํžˆ ๋ชฉ๊ฒฉํ•˜๋ฉฐ, ์–ผ์Œ ์†์˜ ๋ฌผ์„, ์ฃฝ์Œ์„, ์ƒ๋ช…์„, ์šฐ์ฃผ๋ฅผ, ์ƒ๊ฐ์„, ๊ธฐ์–ต์„, ๊ทธ ๋ชจ๋“  ์ƒ์˜ โ€˜๊ฒฐโ€™์„ ํ™”์„์œผ๋กœ ๋‚จ๊ฒผ๋‹ค.


Artist Statement


I have roamed winter mountains in search of mounds of white snow. This is an exploration of the abstract forms created by snow covering the landscape. During this exploration, I at times wonder what the material property of snow is, not its form. After a mound of snow begins to thaw and glitter with the light of water, it turns to ice again in the cold of night. I realize that itโ€™s all water but it looks quite different as its radiation of rich, gentle light disappears and turns hard and dead in the cold.

Water is in a cycle of transmigration. At the moment when water cannot endure the cold atmosphere, it turns into ice. When the ice becomes warm, it at last returns to water. Freezing seems like a state of death. When water begins to melting in rays of light, it revives in a state of pause. Ice was initially a condensed mass, textures arise following the traces of water, and space is engendered when air enters the cracks. It is like inhaling and exhaling, and air moves in the space. Ice turns gradually to water, and a new life comes into being.

I am enchanted when ice reduces to life from death, and the time when extremely condensed yet tremendous energy arises. Loosened crystals and revived textures in thawing ice seem like signs symbolic of the universe. The world of chaos where life and death are entangled and thus indistinguishable; the world where the coldest moment of water mixes with the hottest moment of water; the state of self-effacement that is water and ice simultaneously; and the most exquisite infinite world where there are all possibilities to see everything.

Work depends on a ray of candlelight in its progress. The candlelight selectively and humbly shines rather than illuminating all. This becomes the light of asceticism that has us shed our infatuation and obsession with useless things, and the light of truth that highlights what we have to see and head for. The visual frame in a new form is engendered by distortion arising from the refraction of tender yet persistent light and its penetration into heterogeneous ice. The camera has left all textures of life -
water, death, life, the universe, thought, and memory in ice as a fossil, witnessing this.


์‚ฌ๋ฌผ์˜ ํ”์ ๋“ค์— ๋‹ด๊ธด ์‚ฌ์œ ํ•˜๋Š” ์‹œ์„ 
(์‚ฌ์ด๋ฏธ์ˆ ์—ฐ๊ตฌ์†Œ ์ด์Šนํ›ˆ)



์ •์ •ํ˜ธ ์ž‘๊ฐ€์˜ ์ž‘์—…์€ ์‚ฌ์ง„์ด๋ผ๋Š” ๋งค์ฒด๋ฅผ ํ†ตํ•œ ํ˜•ํƒœ์  ํƒ๊ตฌ์—์„œ ์‹œ์ž‘ํ–ˆ๋‹ค๊ณ  ํ•œ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ์˜ ์ž‘์—…์€ ํ˜•์ƒ์  ์ด๋ฏธ์ง€์— ๋Œ€ํ•œ ๋ฏธ์  ์‹คํ—˜์ด๋‚˜ ๋งค์ฒด์  ๋ณ€์šฉ ๊ฐ™์€ ์กฐํ˜•์  ๋‚ด์šฉ๋งŒ ์žˆ๋Š” ๊ฒƒ์€ ์•„๋‹ˆ๋‹ค. ์˜คํžˆ๋ ค ๊ทธ์˜ ์ž‘์—…์—์„œ๋Š” ๊ฒฐ๊ณผ๋ฌผ ์ž์ฒด๋ณด๋‹ค๋Š” ์ž‘์—…์„ ํ†ตํ•œ ์‚ฌ์ง„์  ์‚ฌ์œ ์— ๊ด€์‹ฌ ๋‘” ๋“ฏํ•œ ํ‘œํ˜„ ๋ฐฉ์‹์„ ์ž์ฃผ ์ ‘ํ•  ์ˆ˜ ์žˆ๋‹ค. ์ž‘๊ฐ€๊ฐ€ ์–ธ๊ธ‰ํ•œ ๋ฐ”๋กœ๋Š” ์‚ฌ์ง„์€ ๊ทธ์—๊ฒŒ ์žˆ์–ด์„œ ์‚ฌ๊ฑด์ด๋‚˜ ์ƒ๊ฐ์„ ๋ˆˆ์œผ๋กœ ๋ณด๋“ฏ ๋ชฉ๊ฒฉํ•˜๋Š” ์ˆ˜๋‹จ์ด์ž ํ™”์„์ฒ˜๋Ÿผ ํŠน์ •ํ•œ ์‹œ๊ฐ„ ํ”์ ์ด ๋‹ด๊ธด ์ฆ๊ฑฐ๋ฌผ์ด๋ผ๊ณ  ํ•œ๋‹ค. ๊ทธ๋Ÿฌํ•œ ์ ์—์„œ ์ž‘๊ฐ€์˜ ๋ณด๋Š” ํ–‰์œ„ ํ˜น์€ ์‚ฌ์ง„ ๋งค์ฒด์— ๋Œ€ํ•œ ํƒ๊ตฌ๋Š” ํ˜•์ƒ์  ์„ธ๊ณ„์™€ ๊ทธ์™€ ๋ฐ˜์‘ํ•˜๋Š” ์ž์‹ ์˜ ์‹œ๊ฐ, ์ฆ‰ ์ธ์‹ ํ–‰์œ„ ์ „๋ฐ˜์— ๋Œ€ํ•œ ๊ด€์‹ฌ์ฒ˜๋Ÿผ ๋ณด์ธ๋‹ค.
๊ทธ๋Ÿฌ๋ฏ€๋กœ ์ •์ •ํ˜ธ ์ž‘๊ฐ€์˜ ์ž‘์—…์€ ์ž‘๊ฐ€์  ์ƒ์ƒ๋ ฅ๊ณผ ํŠน์ •ํ•œ ์ƒ์ง•์  ์ง€ํ‘œ์ธ ์ œ์Šค์ฒ˜๋“ค์ด ๊ทธ๊ฐ€ ํฌ์ฐฉํ•œ ์ด๋ฏธ์ง€์— ์ผ์ •ํ•˜๊ฒŒ ๊ฒน์ณ์ ธ ์žˆ๋‹ค. ๋‹ค์‹œ ๋งํ•ด ์ž‘๊ฐ€๊ฐ€ ์‚ฌ์ง„์œผ๋กœ ํฌ์ฐฉํ•œ ์ด๋ฏธ์ง€๋“ค์€ ์ž์—ฐ์˜ ํ•œ ๊ตญ๋ฉด์ด์ž ์ž‘๊ฐ€๊ฐ€ ์ƒ์ƒํ•˜๊ณ  ์‚ฌ์œ ํ•˜๋Š” ์„ธ๊ณ„์— ๋Œ€ํ•œ ์ผ์ข…์˜ ์ง€ํ‘œ๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค.

์ด๋ฒˆ ์ž‘์—…์€ ์†Œ์šฐ์ฃผ์ฒ˜๋Ÿผ ๋ณด์ด๋Š” ์–ผ์Œ์˜ ์„ธ๋ฐ€ํ•œ ํ˜•์ƒ๋“ค์„ ์ ‘์‚ฌ๋ Œ์ฆˆ๋กœ ๋‹ด์€ ๊ฒƒ์ด๋‹ค. ํ˜„๋ฏธ๊ฒฝ์œผ๋กœ ํ™•๋Œ€ํ•œ ์ƒ๋ฌผ์˜ ๋ฏธ์„ธ๊ตฌ์กฐ ๊ฐ™๊ธฐ๋„ ํ•˜๊ณ  ์ฒœ์ฒด๋ง์›๊ฒฝ ์•ˆ์œผ๋กœ ๋“ค์–ด์˜จ ์šฐ์ฃผ ๊ณต๊ฐ„์˜ ๊ฑฐ์‹œ ์„ธ๊ณ„๋ฅผ ํฌ์ฐฉํ•œ ๊ฒƒ ๊ฐ™๊ธฐ๋„ ํ•˜๋‹ค. ์ด›๋ถˆ์˜ ๋น›์ด ํˆฌ์˜๋˜๊ณ  ๋‚œ๋ฐ˜์‚ฌ๋œ ์–ผ์Œ์˜ ํ‘œ๋ฉด, ์–ผ์Œ ์† ๊ธฐํฌ ๊ตฌ์กฐ๋Š” ์ด๋ฏธ ์–ผ์Œ์ด๋ผ๋Š” ๋ฌผ์งˆ์„ ๋„˜์–ด ๊ฐ€์‹œ๊ถŒ์„ ๋ฒ—์–ด๋‚œ ๋‹ค๋ฅธ ์„ธ๊ณ„๋ฅผ ์ง€์‹œํ•˜๊ณ  ์žˆ๋Š” ๋“ฏํ•˜๋‹ค. ์ผ์ƒ์˜ ๊ตฌ์ฒด์ ์ธ ํ˜•์ƒ๊ณผ๋Š” ์ƒ๊ด€์—†๋Š” ์ถ”์ƒ์ ์ด๊ณ  ์ดˆํ˜„์‹ค์ ์ธ ๋Š๋‚Œ์„ ์ „๋‹ฌํ•˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค.

๋ˆˆ ๋‚ด๋ฆฐ ์‚ฐ๋“ฑ์„ฑ์ด ๊ฒฝ๊ณ„๋งŒ์„ ๋ฐฑ์ƒ‰ ๊ณต๊ฐ„์— ์ƒˆ๊ฒจ๋‚ธ ์ด์ „ ์ž‘์—…์—์„œ๋„ ๊ทธ๋Ÿฌํ–ˆ๋“ฏ ์ •์ •ํ˜ธ ์ž‘๊ฐ€๋Š” ์ž์—ฐ์˜ ์‚ฌ๋ฌผ๋“ค์„ ์‚ฌ์ง„์œผ๋กœ ๋‹ด์•˜๋‹ค. ๊ทธ๋ ‡์ง€๋งŒ ์ž์—ฐ ์ด๋ฏธ์ง€ ๊ทธ ์ž์ฒด๊ฐ€ ์ง€์‹œํ•˜๋Š” ์‚ฌ๋ฌผ๋ณด๋‹ค ์‚ฌ๋ฌผ์˜ ํ˜•์ƒ์ด ํ•จ์ถ•ํ•˜๋Š” ๋‹ค๋ฅธ ์„ธ๊ณ„๋ฅผ ๋ณด์—ฌ์ฃผ๋ฉฐ ๊ทธ ์ด๋ฉด์˜ ์„ธ๊ณ„๋กœ ์ ˆ๋ฌ˜ํ•˜๊ฒŒ ์‹œ์„ ์„ ์ด๋Œ์–ด๋‚ธ๋‹ค. ๋ˆˆ ๋ฎ์ธ ์ž์—ฐ์˜ ์••์ถ•๋œ ํ™”๋ฉด์„ ๋ณด์•˜์„ ๋•Œ์—๋Š” ์†Œ์Œ์ด ์‚ฌ๋ผ์ง„ ๊ฒƒ ๊ฐ™์€ ์ ๋ง‰ํ•˜๊ณ  ๋น„์›Œ์ง„ ๊ณต๊ฐ„๊ฐ์„ ๊ฒฝํ—˜ํ–ˆ๊ณ , ์–ผ์Œ์— ํˆฌ์˜๋œ ์„ธ๊ณ„๋ฅผ ๋ณด๊ฒŒ ๋œ ์ง€๊ธˆ์€ ๋งˆ์น˜ ์‹œ๊ฐ„์ด ์ •์ง€ํ•œ ์šฐ์ฃผ ํ•œ๊ฐ€์šด๋ฐ์—์„œ ์Šค์Šค๋กœ ์ฐฐ๋‚˜์  ์กด์žฌ์ž„์„ ๋ฐœ๊ฒฌํ•˜๊ฒŒ ๋œ ๋Š๋‚Œ์ด๋‹ค.

์ •์ •ํ˜ธ ์ž‘๊ฐ€์˜ ์‚ฌ์ง„์—์„œ๋Š” ๋ฌผ, ๋ˆˆ, ์–ผ์Œ์ฒ˜๋Ÿผ ๊ฐ™์€ ๋ฌผ์งˆ์˜ ๋‹ค๋ฅธ ์–‘ํƒœ๋‚˜ ๋‹ค๋ฅธ ์กฐ๊ฑด๋“ค์ด ๋งŒ๋‚œ๋‹ค. ์ด ์‹œ๊ฐ์  ์ธ์ƒ์— ๊ด€ํ•œ ์ธ๊ฐ„ ๊ฐ๊ฐ์˜ ๋ฏธ์„ธํ•œ ๋ณ€ํ™”๋ฅผ ๊ฐ€์žฅ ๊ทน์ ์ธ ์ƒํ™ฉ์œผ๋กœ ์ด๋Œ์–ด๋‚ด๊ณ  ๋ชฐ์ž…ํ•˜๊ฒŒ ํ•˜๋Š” ๋…ํŠนํ•จ์ด ์žˆ๋‹ค. ๊ด€๊ฐ๋“ค์€ ๋ฐฑ์ƒ‰์œผ๋กœ ํ…… ๋น„์›Œ์ง„ ์—ฌ๋ฐฑ ๊ณต๊ฐ„์—์„œ ํ˜น์€ ์ง™์€ ์–ด๋‘  ์†์— ์–ด๋ฅธ๊ฑฐ๋ฆฌ๋Š” ํฌ๋ฏธํ•œ ๋ถˆ๋น›์ด ๋งŒ๋“ค์–ด๋‚ด๋Š” ๋ฉˆ์ถฐ์ง„ ๊ณต๊ฐ„์—์„œ ์‹œ์„ ์ด ์–ด๋Š ์ง€์ ์— ๊ณ ์ •๋˜๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ ๋ฌผ์งˆ์˜ ๊ฒฐ์„ ๋”ฐ๋ผ ํ๋ฅธ๋‹ค๋Š” ๊ฒƒ์„ ์ž๊ฐํ•˜๊ฒŒ ๋œ๋‹ค. ์ด๋‚ด ์‚ฌ๋ฌผ ๊ทธ ์ž์ฒด๋ณด๋‹ค ์‚ฌ๋ฌผ์— ๊ฐ์ถฐ์ง„ ์–ด๋– ํ•œ ํž˜๊ณผ ํ˜ธ์‘ํ•˜๊ณ  ์žˆ๋Š” ์ž์‹ ์„ ๋ณด๋Š” ์—ญ์„ค์ ์ธ ์ƒํ™ฉ์„ ๊ฒฝํ—˜ํ•  ๊ฒƒ์ด๋‹ค. ์ž‘๊ฐ€๊ฐ€ ํฌ์ฐฉํ•ด๋‚ธ ๊ฒฐ๋“ค์€ ์ž์—ฐ์˜ ํ๋ฆ„์ด์ง€๋งŒ ๊ทธ ์†์—๋Š” ์ž์—ฐ ์ด๋ฉด์—์„œ ๋‹ค๊ฐ€์˜ค๋Š” ๋ฏธ๋ฌ˜ํ•œ ๊ฐ๊ฐ๋“ค์ด ์กด์žฌํ•˜๋Š” ๊ฒƒ์ด๋‹ค.

์ •์ •ํ˜ธ ์ž‘๊ฐ€๊ฐ€ ๋ฌผ์งˆ์˜ ์ฐฐ๋‚˜์ ์ธ ์ˆœ๊ฐ„์„ ์‹œ๊ฐ์ ์œผ๋กœ ํฌ์ฐฉํ•ด๋‚ด๋Š” ์‚ฌ์ง„์ด๋ผ๋Š” ๋งค์ฒด์— ์‹ฌ์ทจํ•˜๊ฒŒ ๋œ ๊ฒƒ์€ ์‚ฌ์ง„์ด ๋ฌผ์งˆ๊ณผ ๋ฌผ์งˆ์  ์กฐ๊ฑด์ด ๋งŒ๋‚  ๋•Œ๋งˆ๋‹ค์˜ ๋ฏธ์„ธํ•œ ๋ณ€ํ™”์™€ ๊ทธ๋กœ๋ถ€ํ„ฐ ๋ฐœํ˜„๋˜๋Š” ๊ฐ๊ฐ์  ์š”์†Œ๋“ค์„ ๊ฐ€์žฅ ์ž˜ ๊ณ ์ •์‹œํ‚ค๋Š” ๋„๊ตฌ์ด๊ธฐ ๋•Œ๋ฌธ์ผ ๊ฒƒ์ด๋‹ค. ํ•˜์ง€๋งŒ ์ตœ๊ทผ ๊ทธ์˜ ์ƒ๊ฐ์€ ํ•œ ์ฐจ์› ๋” ์ง„๋ณดํ•˜๊ณ  ์žˆ๋‹ค. ์ด์ „์˜ ๊ด€์กฐ์ ์ธ ์‹œ์„ ์„ ๋„˜์–ด์„œ ๋” ๋ฐ€์ ‘ํ•˜๊ฒŒ ๋Œ€์ƒ์— ๋‹ค๊ฐ€๊ฐ€๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์ž‘๊ฐ€๋Š” ๋ฌผ์งˆ๊ณผ ์ž‘๊ฐ€์˜ ๊ฑฐ๋ฆฌ๋ฅผ ์†Œ๊ฑฐ์‹œ์ผœ ๋ฌผ์งˆ์ด๋ผ๋Š” ๋Œ€์ƒ๊ณผ ์ž์‹ ์˜ ์ •์‹ ์ด ํ•œ ํ๋ฆ„ ์†์—์„œ ๋งŒ๋‚˜๋Š” ๊ทธ ์ง€์ ์˜ ์‚ฌ์ง„์˜ ์—ญํ• ์— ๋Œ€ํ•ด ์ฃผ๋ชฉํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ์ฆ‰ ์‚ฌ์ง„์€ ํ•˜๋‚˜์˜ ๋งค์ฒด๊ฐ€ ์•„๋‹ˆ๋ผ ์ž‘๊ฐ€์˜ ๋ˆˆ์ด ๋˜๊ณ  ์žˆ์œผ๋ฉฐ, ์ด์ œ ์‚ฌ์ง„์€ ์ž‘๊ฐ€ ์ž์‹ ์ผ ์ˆ˜๋„ ์žˆ๋Š” ๊ฒƒ์ด๋‹ค.

๊ฒฐ๊ตญ ์ž‘๊ฐ€๋Š” ์‚ฌ์ง„์ด๋ผ๋Š” ๋งค์ฒด๋ฅผ ํ†ตํ•œ โ€˜๋ณด๊ธฐโ€™ ํ˜น์€ โ€˜์‚ฌ์œ ํ•˜๊ธฐโ€™๋ฅผ ํ†ตํ•˜์—ฌ ์ž์‹ ์ด ์‚ฌ์ง„๊ณผ ๊ฐ™์€ ๋ฐฉ์‹์œผ๋กœ ์‚ฌ๋ฌผ์„ ๋ณด๊ณ  ์‚ฌ์œ ํ•˜๊ณ  ์žˆ์œผ๋ฉฐ ๋™์‹œ์— ์‚ฌ์ง„์ฒ˜๋Ÿผ ์„ธ๊ณ„๋ฅผ ๋ณด๋Š” ์‹œ์„ ์ด ์ž‘๊ฐ€ ์ž์‹ ์ด์—ˆ์Œ์„ ๋ฐœ๊ฒฌํ•˜๋ฉด์„œ ๋‹ค์‹œ๊ธˆ ๋ฌผ์งˆ์˜ ํ‘œํ”ผ์— ํ๋ฅด๋Š” ๊ฒฐ์— ๋Œ€ํ•ด ์ง‘์ค‘ํ•˜๊ฒŒ ๋œ๋‹ค. ๊ฒฐ์˜ ํ๋ฆ„์ด ์ž์‹ ์˜ ์ •์‹  ํ๋ฆ„๊ณผ ๋‹ค๋ฅด์ง€ ์•Š์œผ๋ฉฐ ๊ทธ๊ณณ์— ์„ธ๊ณ„๊ฐ€ ์žˆ๊ณ  ์ž์‹ ์ด ์žˆ์—ˆ์Œ์„, ์‚ฌ์ง„์  ๋ฐฉ์‹์˜ ๊ณต๊ฐ„ ํ”์ ์„ ํ†ตํ•˜์—ฌ ๋ณด์—ฌ์ฃผ๊ณ ์ž ํ•˜๋Š” ๊ฒƒ ๊ฐ™๋‹ค.
๊ทธ๋ž˜์„œ ์ด์ œ ๊ทธ์˜ ์ž‘ํ’ˆ์—์„œ๋Š” ํ…… ๋น„์›Œ์ ธ ์†Œ์Œ๋„ ์‚ฌ๋ผ์ง„ ์ ๋ง‰ํ•œ ๊ณต๊ฐ„, ๊ทธ๋ฆฌ๊ณ  ์‹œ๊ฐ„์กฐ์ฐจ ๋ฉˆ์ถฐ๋ฒ„๋ฆฐ ์ฃฝ์Œ ๊ฐ™์€ ๊ณต๊ฐ„ ์•ˆ์—์„œ ํŠน์ •ํ•œ ๋ฌผ์งˆ์ด๋‚˜ ํ˜•์ƒ์ด ์•„๋‹ˆ๋ผ, ์ฒ ์ €ํ•˜๊ฒŒ ํ™€๋กœ ๋ˆˆ๋–  ์ž์‹ ์ด ๋ฐœ๊ฒฌํ•œ ์‚ฌ๋ฌผ์— ์ดˆ์ ์„ ๋งž์ถ”๊ณ  ์žˆ๋Š” ์ž‘๊ฐ€์˜ ๋ˆˆ ๊ทธ ์ž์ฒด๋ฅผ ๋งŒ๋‚˜๊ฒŒ ๋  ๊ฒƒ์ด๋‹ค.

The Contemplative Eyes Encapsulated in the Traces of Things
(by Lee Seung- Hoon, Cyart Research Institute)



It is said artist Jung Jung-hoโ€™s work begins with his exploration of form through the medium of photography. And yet, aesthetic experiments with figurative images and formative content is not all of his work. What we often find in his work is a method seemingly focusing attention on photographic thinking rather than results. He said photography is a means by which he witnesses events and thoughts, seeing the evidence left by the traces of time like fossils. In this sense, his exploration of photography seems to be motivated by his concern for the figurative world, his perspective toward this world, and all of his perceptions. His work thus displays an overlap of his artistic imagination and gestures as specific symbolic indicators with the images he captures. That is, the images he captures in photographs are an aspect of nature and indicators of the world he envisages and contemplates.

His works on display at this exhibition showcase details of ice that look like microcosms captured with a close-up lens. The images are like the fine structures of an organism magnified with a microscope or a universe captured with an astronomical telescope. The surface of ice irregularly reflecting candle light seems like another world beyond the visible.

As in his previous work, featuring mountain ridges capped with snow, Jung encapsulated natural objects in photographs. Nevertheless, he wants to show another world implied by the form of things rather than the natural things he chooses to photograph. He wants to reveal a hidden world. He created a sense of dreary, noiseless space in his condensed scenes of nature covered with snow, and now in his ice images we might feel like momentarily existing beings in the middle of a universe where time stands still.

The different aspects and conditions of a material ? water, snow, ice ? are represented in Jungโ€™s photographs. His photographic pieces have the distinctiveness of drawing out minute changes in visual impression. The viewers realize that their eyes are not fixed to a certain point but flow along the grains of matter in the empty blank spaces of white or the halted space engendered by a glimmering light in the deep gloom. They undergo a paradoxical situation in which they respond to some force hidden behind a thing rather than the thing itself. Jung captures the subtle flow of nature.

Jung has been infatuated with the medium of photography because it visually captures every moment of a material. This is also why photography is best to capture minute changes and sensuous elements deriving from every encounter with a material and its condition. Recently however, he carried his ideas a step further, coming more closely to objects and moving beyond his previous contemplative eyes. The artist seems to pay attention to the role of photography at the place where the object of matter meets his spirit in a stream, removing the distance between the material and the artist. Photography is not a medium but his eyes, and now the artist himself.

Through โ€œseeingโ€ and โ€œthinkingโ€ through the medium of photography, Jung has discovered he sees and thinks as in a photograph and views the world as a photograph, highlighting the minute details or grains on the surface of matter. He seems to show the flow of the grains is not different from the stream of his spirit and the artist himself and the world are there in a photographic manner. Through his works, we discover the artist himself, or his eyes, focusing on the things he found rather than specific matter and form in the space where noises disappear and the space like death where even time stands still.

Ice Chaosmos I, 73x100cm, Pigment Print, 2014,

Ice Chaosmos II, 73x100cm, Pigment Print, 2014

Ice Chaosmos III, 73x100cm, Pigment Print, 2014

Ice Chaosmos IV, 100x73cm, Pigment Print, 2014

Ice Chaosmos VII, 73x100cm, Pigment Print, 2014

Ice Chaosmos VIII, 73x100cm, Pigment Print, 2014

Ice Chaosmos IX, 73x100cm, Pigment Print, 2014

Ice Chaosmos X, 73x100cm, Pigment Print, 2014

Ice Chaosmos XI, 73x100cm, Pigment Print, 2014

Ice Chaosmos XII, 73x100cm, Pigment Print, 2014

Ice Chaosmos XIII, 73x100cm, Pigment Print, 2014

Ice Chaosmos XIV, 73x100cm, Pigment Print, 2014

Ice Chaosmos XV, 110x265cm, Pigment Print, 2014

Ice Chaosmos XVII, 50x150cm, Pigment Print, 2014

Ice Chaosmos XVI, 85x320cm, Pigment Print, 2014