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 ¿¬»ó·Ïî÷
 Àü½Ã±â°£ : 2013-06-06 ¢º 2013-06-12
 Âü¿©ÀÛ°¡ : ¿¬»ó·Ï(Yeon Sangrok)
 ¿À ÇÁ ´×   : 
 

¡º ¿¬»ó·Ïî÷ ¡»

Yeon Sangrok Solo Exhibition :: Painting







¡ã ¿¬»ó·Ï, <½£, ºû, ¹Ù¶÷À» ±×¸®´Ù-¹Ù¶÷¼Ò¸®>, 130x97cm, ¾ÆÅ©¸± ¹× È¥ÇÕÀç·á, 2013






Àü½ÃÀÛ°¡ ¢º ¿¬»ó·Ï(Yeon Sangrok)
Àü½ÃÀÏÁ¤ ¢º 2013. 06. 06 ~ 2013. 06. 12
°ü¶÷½Ã°£ ¢º Open 10:00 ~ Close 18:30(ÁÖ¸» ~18:00)
¡ï ¡« ¡ï

¸ð¸®½º°¶·¯¸®(Morris Gallery)
´ëÀü½Ã À¯¼º±¸ µµ·æµ¿ 397-1
T. 042-867-7009
www.morrisgallery.co.kr







¡Ü ºû°ú ¾îµÒÀÌ À×ÅÂÇÑ À̹ÌÁö, ÀçÇö¿¡¼­ ÀνÄÀ¸·Î
- ÀÛ°¡ ¿¬»ó·Ï ±ÙÀÛ¿¡ °üÇÑ ¼Ò·Ð

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ÀÌ °¡¿îµ¥ ±â¾ïÀÇ ´Ü¸éÀÌ Åõ¿µµÈ ºûÀº ±×ÀÇ ÀÛ¾÷ ±Ù°£À» ÀÌ·ç´Â Áß¿ä ¿ø¼ÒÀÌ´Ù. ¾î½º¸§À» ¶Õ°í ÀϾ ºûÀÌ ¾îµÎ¿ò°ú ¼­·Î ÀÚ¸± ¹Ù²Ù´Â »õº®³è, ¿©¸í ¾Æ·¡ ¿µ·ÕÇÑ °ø±â¸¦ ¿¹¹ÎÇÑ ½Ã¼±À¸·Î Èí¼öÇÏ°í ÀÖ´Â ÀÏ·ÃÀÇ ÀÛÇ°Àº ´Ü¸í(Ó©Ù¥) ¼Ó ¹øÁö´Â ÀϽÃÀû ÀÚ¿¬ Çö»óÀ» ¸í¾ÏÀ̶ó´Â ´Ü¼øÇÑ ¹æ½Ä ¾Æ·¡ ÇÇ¿ö³»´Â ¾ç»óÀ» ¶í´Ù. ±×°ÍÀº ºÐ¸í ±¸»óÀ̳ª, ±¼Àý½ÃÄÑ °¨Ãß¾îÁø ½Ã°£ÀÇ È帧°ú ÀÀÃàµÈ ±â¾ïÀÇ ÀϺθ¦ µå·¯³½´Ù´Â Á¡¿¡¼­ Ã߻󼺿¡ °¡±õ´Ù. ƯÈ÷ ¿ì¸® ´«¾Õ¿¡ ºñÃçÁø(¶Ç´Â ºñÃçÁö´Â) ¿Ü»óÀ» Æ÷ÇÔÇØ ´ÙºÐÈ÷ ¼­»çÀûÀÎ À̹ÌÁöÀÇ ÀúÆíÀ» ¸í¡ÇÏ°Ô º¸¿©Áֱ⿡ ½ÇÁ¦ÀÇ ¹Ý¿µÀ̳ª ±ØµµÀÇ ÀçÇö¿¡ ¸Ó¹°±âº¸´Ü ÀÛ°¡ ÀÚ½ÅÀÇ Á¤½Å¼¼°è¸¦ µ¡ÀÔÈù °ÍÀÓÀ» °íÁöÇÑ´Ù.

µû¶ó¼­ ¿¬»ó·ÏÀÇ ÀÛÇ°Àº ÀϹÝÀû ÀÎÁö·Î½á »ç½ÇÁÖÀÇ¿¡ °¡±õÁö¸¸ ±â·ÏÀÇ ¿ì¿ù¼ºÀ̳ª ÀçÇö¼º¿¡ ÃÊÁ¡À» ¸ÂÃßÁö´Â ¾Ê´Â´Ù´Â °Ô ¸Â´Ù. ±× º¸´Ù´Â ÀÛ°¡ ÀÚ½ÅÀÇ ³»¸éÀû Èñ±¸(ýñÏ´)ÀÇ Åõ¿µ, ¿ª±¤À» ÅëÇØ ´Ù½Ã ÇÑ ¹ø ½Çü¸¦ ÀÌÇØÇÏ·Á´Â ¹ß»óÀÇ Àüȯ°ú ÀÎÁöµÈ »ç¹°ÀÇ Ç¥ÇǼºÀ» ´ÙÂ÷¿øÀû °¨ÈïÀÇ ¼¼°è·Î ÀüÀ̽ÃÅ°´Â °Í¿¡ ¹«°Ô°¡ ÀÖÀ¸¸ç, ÀǽÄÀ¸·Î ¹Þ¾Æµé¿© °¨°¢À¸·Î Å»¹Ù²Þ½ÃŲ »óÈ£ Á¶ÀÀÀ» ÅëÇØ ¹ÌÀû ¿Ï¼ºµµ¸¦ ÀÌ·ç·Á´Â °Í¿¡ ¹æÁ¡ÀÌ ÀÖ´Ù. °á±¹ ±×ÀÇ ÀÛÇ°µéÀº ºû°ú ¸í¾Ï¹ý¿¡ ÀÇÁ¸ÇÑ Ã¤ ¸¶Ä¡ ½Ç»çó·³ Á¤±³ÇÑ ¸ð½ÀÀ» ÇÏ°í ÀÖÀ½¿¡µµ °ÑÀ¸·Î´Â Àß µå·¯³ªÁö ¾Ê´Â ´ë¸³Àû Ç¥»ó, ±×·ÎºÎÅÍ ºú¾îÁö´Â ´ÙÃþÀû Á¾½É(ðýä¢)¿¡ °çÁ¡À» µÐ ȸȭ·Î Çؼ®Çصµ ¹«¸®´Â ¾ø¾î º¸ÀδÙ.



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2. ¿¬»ó·ÏÀÇ ±×¸²µéÀÌ Áö´Ñ Ư¡µéÀ» »ìÆ캸¸é, ¿ì¼± °ËÀº»ö°ú Ǫ¸¥»öÀÌ Áö¹èÇÏ´Â ÀÛÇ° <½£, ºû, ¹Ù¶÷À» ±×¸®´Ù(2012)>´Â ºñ·Ï ÈÖȲÇÑ Ä÷¯ÀÇ Ç⿬Àº ¾øÀ¸³ª ÀüÀ̵Ǵ °¨ÀÀÀº ±× ¾î¶² È­»çÇÑ »öä ¸øÁö¾ÊÀº ¿µÇâ·ÂÀ» Èð»Ñ¸°´Ù. µ¢¾î¸®Áø ¾îµÒÀ» Á¶°¢ÇÏ´Â ºûÀÇ »ê¹ßÀÌ È­¸éÀ» °ø±â¸¶³É ½Å¼±ÇÑ ÇâÃë·Î ¹°µéÀÏ »Ó¸¸ ¾Æ´Ï¶ó, ºÐÆ÷µÇ¾î ³ªÅ¸³ª´Â ºûÀ» Ÿ°í ½ñ¾ÆÁö´Â ½£ÀÇ Á¶¿ëÇÑ ¿ï¸²Àº ³·°Ô µå¸®¿öÁø ½Ã°£ÀÇ Âû³ª¸¦ ³ªÁö¸·ÇÏ°Ô ³ì¿©³½´Ù.

<½£, ºû, ¹Ù¶÷À» ±×¸®´Ù(2012)> º¸´Ù ¾Õ¼­ ¸¸µé¾îÁø <½£-³× °³ÀÇ ½Ã¼±(2011)>À̳ª <½£°ú ±×¸®°í ºû(2011)> ¿¬ÀÛÀº º¯¸ðÇϴ źÁö°æ(÷¥ò¦Ìñ) °°Àº ½Ã°£À» ³¬¾Ææ´Ù. ÀÌ ÀÛÇ°µéÀº ºûÀ̶ó´Â ¹«ÇüÀÇ ½Çü¸¦ ¿ªÀ¸·Î °¡½ÃÈ­ÇÏ°í ÀÖ´Ù´Â »ç½Ç¿¡¼­ Àǹ̺ο©°¡ °¡´ÉÇÏÁö¸¸, ¹«¾ùº¸´Ù ¸ùȯÀûÀÎ À̹ÌÁöµéÀÌ ¾ñÈûÀ¸·Î½á ¿øÇüÀ» °®Ãá °íÀ¯ÀÇ ÀÚ¿¬¹°¿¡ È¥µ·°ú Áú¼­, °³¸·°ú Á¾¸· µîÀÇ ¾ç¸³µÈ ±¸Á¶¸¦ °³¹æÇÑ´Ù´Â µ¥ ±× Ư¡ÀÌ ÀÖ´Ù.(¿ì¸®°¡ Åë»ó ÀÎÁöÇÏ´Â °Ç ÀÌ ºÎºÐÀ¸·Î, ÀÛ°¡´Â ¿ì¸® ÁÖº¯ÀÇ ¿©·¯ dz°æ Áß Çϳª¿¡¸¶Àú ƯÀ¯ÀÇ °¨°¢À¸·Î Á¤¹ÐÇÏ°Ô °íÂûÇÑ ÈÄ Áú¼­¸¦ ºÎ¿©ÇÑ´Ù. ±×·¸°Ô Çؼ­ µå·¯³ª´Â °ÍÀº ¸®¾ó¸®Æ¼¸¦ ÀÚ¶ûÇÒ ¸¸Å­ ½Ã°¢ÀûÀÌ°í °¨¼ºÀûÀÌ¸ç °³¹æÀûÀÌ´Ù.)

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3. ºûÀº µå·¯³¿À» °¡¸®Å°Áö¸¸ ºûÀÇ ¼Ò¸êÀº ¾îµÒÀÇ µîÀåÀ» ¿¹°íÇÑ´Ù. ±× ¹Ý´ëµµ ¸¶Âù°¡Áö´Ù. ÀÛ°¡´Â À̸¦ È­¸é ¼Ó¿¡¼­ °øÁ¸-±³Â÷½ÃÅ°¸ç ÀڽŸ¸ÀÇ ¿¹¼úÀû Á¶Å¸¸¦ °ÇÃàÇØ °£´Ù. ±×°¡ ´Ù·ç´Â ¼ÒÀç°¡ ºñ·Ï Àϻ󿡼­ °¨ÁöµÇ´Â °ÍµéÀ̱⿡ Æí¾ÈÇÑ ¿©¿îÀ» Àü´ÞÇØ ÁÖ°í, ÀÛ°¡µµ °ü¶÷ÀÚµµ µ¿ÀÏÇÑ °¨Á¤À» °øÀ¯ÇÏÁö¸¸ ±× º»ÁúÀº ºûÀ» Ÿ°í È帣´Â »ýµ¿°¨°ú »ý¸í¼º, ¾Æ·ÃÇÑ »îÀÇ Á¶Å¸¿Í ¸Â´ê¾Æ ÀÖÀ½À» ½±°Ô ´«Ä¡ ç ¼ö ÀÖ´Ù. ¾î¸° ½ÃÀý, ¶Ç´Â ´©±¸³ª ¾î´À ¼ø°£ °­ÇÏ°Ô ÀüÀÌµÉ ¼ö ÀÖ´Â ÀϼøÀÇ À̹ÌÁöµé, ÀÚ¿¬ÀÇ ¿Ü°æ¿¡¼­ ¹ß°ßÇÒ ¼ö ÀÖ´Â ½É»óÀÇ µµÈ­µé, ±×°Í¿¡Á¶Â÷ ¿ì¸®µéÀÌ °øÅëÀ¸·Î ü°¨ÇÒ ¼ö ÀÖ´Â ¿©¹éÀÌ ÀÌÀԵǾî ÀÖ´Ù. ¸¶Ä¡ ±íÀº ¼ö¸é ¾Æ·¡ ħÀáµÈ ä ¹«ÇÑÇÑ ºóÀÚ¸®¿Í ä¿òÀÇ ±³ÁýÇÕÀ» µå·¯³»´Â <³» ¸¶À½ÀÇ Ç³°æÀ» ±×¸®´Ù-Åõ¿µ> ½Ã¸®Áîó·³.

±×·¡¼­ÀÎÁö ÇÊÀÚ´Â ±×ÀÇ ÀÛÇ°µéÀ» º¸¸ç ±× ¾î¶² ¹ÌÇÐÀû Æò°¡³ª º¹ÀâÇÏ°í ³­ÇØÇϱâ ¦ÀÌ ¾ø´Â À̷е麸´Ù ÀڽŸ¸ÀÇ °¨¼º¿¡ ÀÇÇØ °ÅµÖÁö´Â µ¶ÀÚ¼º¿¡ ¹«°Ô¸¦ µÐ´Ù. Çö½Ç¿¡¼­ º¸°í, ¸¶ÁÖÇÏ´Â/¸¶ÁÖÇß´ø ´ÜÆíÀû »ç½ÇµéÀ» ³»¸éÀû ÀºÀ¯¿Í Ç¥ÇöÀÇ Á÷Á¢¼ºÀ¸·Î Á¢±ÙÇÏ°í ÀÖÀ½µµ ÀÐÀ» ¼ö ÀÖ´Ù. ±×°÷¿¡´Â ½º½º·ÎÀÇ »îÀ» ÅÔ¹çÀ¸·Î ÇÑ ÀÛ°¡¸¸ÀÇ ³»·¹À̼ÇÀ» ³Ñ¾î Àΰ£ Àλý ¿©Á¤ ¼Ó ü°¨µÇ´Â ȸ·Î¸¦ ÂÑ´Â ¿ì¸® ¸ðµÎÀÇ º¸Æí¼ºÀÌ ³ì¾Æ ÀÖÀ¸¸ç Áö±ØÈ÷ Àΰ£ÀûÀÎ ´À³¦µé, ±× ´ë»óµé¿¡ ´ëÇÑ ¹¬»óÀÇ ½Ã°¢ÀÌ ¾î´À ÇÑ ¾ðÀú¸®¿¡¼­ ÇǾ°í ÀÖÀ½À» ¸ñµµÇÒ ¼ö ÀÖ´Ù. ¹°·Ð ÀÌ°ÍÀÌ ±×ÀÇ ÀÛÇ°µéÀ» ÈξÀ Æí¾ÈÇÏ°Ô, °ü¶÷°´µé¿¡°Ô ÀÌÁú°¨ ¾øÀÌ ´Ù°¡¿À´Â ÀÌÀ¯°¡ µÇ°í ÀÖÀ½¿£ Ʋ¸²¾ø´Ù.

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¡ã ¿¬»ó·Ï, <½£, ºû, ¹Ù¶÷À» ±×¸®´Ù-º½ÀÇ ¼­Á¤>, 130x97cm, ¾ÆÅ©¸± ¹× È¥ÇÕÀç·á, 2013



¡ã ¿¬»ó·Ï, <½£, ºû, ¹Ù¶÷À» ±×¸®´Ù-º½ÀÇ ¼­Á¤>, 70x30cm, ¾ÆÅ©¸± ¹× È¥ÇÕÀç·á, 2013



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Image originated from light and darkness, from representation to perception
- a view on Sang-rok Yeon¡¯s recent artwork

¡ÚKyoung-Han Hong(art critic)

1. There have been artists who bring the light into paintings and reconstruct it as a part of figurative language in the art history. For example, impressionists immersed in the light changing from moment to moment and tenebrism painter tried to emphasize a three-dimensional effect by the light. They digged into the color for presenting the light visually, and the color was replaced by the image so that it induced sharing new sentiments and messages about the things and phenomenon. The light counts for much in the art history as an eternal light like Venus.

In Sang-rok Yeon¡¯s artworks, the light is a main figurative factor. Sometimes the light breaths with the air and sometimes it takes root in the nature. At times it keeps winds and also it reflects the look of memory. So these exist many aspect of his use of the light for a realistic and abstract expression. It has been living with his artistic career for a long time. Therefore the light inspires the artist with important artist motivation or creative will.

However, most of all, the light that reflects the look of memory is the main element, and it forms the backbone of his art. Some of his works absorb the air with his delicate sense during the dawn when the light that rises from the dark substitutes for the darkness. Subsequently it represents a passing natural phenomenon by using a technique of 'chiaroscuro'. Even thought it is positively figurative because it depicts a view, but it is close to abstractness in terms of showing veiled a flow of time and a part of condensed memory. Especially, as the artwork shows not only perceptible image with eyes but also one beyond these narrative images, it can be said that it doesn't stay in the level of reflection of the real or the representation it is involved with artist's spirit.

Therefore, Sang-rok Yeon's works are realistic in a general perception but doesn't focus on recording or representation. He rather tries to reflect a desire inside of the mind and to grasp the fact in a different way than existing one. Therefore, the artist put more weight on converting into multi-dimensional inspiring from percepted object's surface. He wants to achieve aesthetical completeness by inter-correspondence which converts consciousness into sense. As a consequence of his artworks look detailed just like an actual image depending on the light and chiaroscuro but actually put more weight on invisible opposite representation and multi-layered depth.

2. To examine Sang-rok Yeon's painting's feature, which is dominated by black and blue doesn't embody glittering colors, nonetheless it flaunts influences to draw impressions much more than any fluorescent color painting. Scattering of the light which cut lumped darkness into pieces colored the picture with fresh fragrance. Furthermore, a stream of silent echo of the light in the forest melts fragments of time.

The series of and which is produced previously than snitchs the time like changing moments. It could be meant in the fact of visualization from the light which is invisible. But above all, the most important feature of the painting is that adding dreamlike image on the picture authentic nature creature makes open compatible structure like chaos vs order, opening vs denouement.(This is what we generally acknowledge, after considering every small things among various view around us, the artist grants order. The things showed off since passing these procedures are visual and emotional.

Another feature what we can find out on his picture is that it still has a mysterious air despite using mainly single color. Though the painting is made of blue and black range of color, the density drawing the audience is not short at all. So this permits us find the spatiotemporal trace and emotional exchange. Especially it contains not only the presenting real but also the reflux of memory and idealistic concept in parallel.

It is a kind of painting. But it is out of representation. Rather after keeping impressions and experiences in his mind, he deconstructs and reconstruct it. In this way, he tries to build the formativeness. It is one of the important feature of his artworks. This is same in his series which show well his artistic value.

The thing interesting is that in the background of the artworks there is random order which substitutes juvenile memory. Random sequence rather grant a valuable role for organizing discipline. It can be just a contrast and alternation of light by seeing with eyes, but actually it is a artist¡¯s grammar, which is structed by his own formative theory. But the thing important is to flow scenery in the memory under propre interpretation and to recreate and reinterprete artistically.

3. The light point out a display but the extinction of the light notices the appearance of the darkness and vice-versa. Putting these in one picture at the same time, the artist construct his own artistic steering. As the subject matter he uses is ordinary things, it convey us comfortable afterglow and the artist and audience share same feeling. But the essence corresponds with a vividness and liveness which run through the light, and steering of life. In momentary images that we could be impressed by and imaginal pictures that could be found out outside of the nature, the margin that we could feel together are involved. Like in the series of which shows the intersection between endless empty space and filling withdrawing into deep under water.

For this reason, I attach weight to the originality acquired by his own sensitivity watching his works, rather than to any aesthetic appraisal or convoluted theories. Also I can see that fragmentary facts witnessing and facing/having faced in the real world are approached with internal metaphor and expressive immediacy. It reflects human being¡¯s universality that follows a circuit of the journey in life beyond an artist¡¯s narration. So the audiences can share human feelings and see a kind of contemplative perspective about all these objects. Of course, this might be the reason that the artwork approach to the audience in a more comfortable way without sense of difference.

Meanwhile, it is necessary to strengthen stubborn analysis and expressive competence for a development of object¡¯s subjective accessibility and artists¡¯s intention in a polished appearance. Here ¡®the expressive competence¡¯ means a kind of arrangement that simplify artist¡¯s complicate thoughts and overall metaphor not a kind of technical polish.

To be more bluntly speaking, from the appearance to the inner side - From the shape to the recognition - It means not the description or technique, but sense and eons of the transition, and it simply won the key grip towards the infinite proliferation art world of freedom and truly aesthetic order to obtain a value for the exit that can be. As they do most of the work to follow the natural rhythm inherent mental switch in the picture, trying to melt even his or her will, and thereby derived the overthrow of the issues should be discussed until the time that the flow of creative and thoroughly proportional to that. Only then will be epic storytelling and a touch of imagination, empathy and emotional margin can recall a unique context, the more valuable the drilling. Therefore, this Invitational exhibit will be another turning point and by a small compass as an instrument, one that spoke their aesthetic route toward where.
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