ON THE WAY HOME
SHIN, DONG WON
2014. 11. 19 - 12. 16
๋คํ์ด ๋งํ๋ค
ํฉ๋ก์ฃผ(๋ฏธ์ ํ๋ก ๊ฐ, ๊ฒฝ๊ธฐ๋๋ฏธ์ ๊ด ํ์์ฐ๊ตฌ์ฌ)
ํ์ ๋์๊ธฐ ์์ ์ง์ด๊ฒจ์ง ํ ๊ฐ์ ์๊ฐ์ด, ๋ฐํ ๋ฏ ์ค๋ฏผ ๋ฏ ๋์ ๋ค์ด์จ๋ค. ์ธ๋ป ๋๋ฐญ ์์ ์ ์จ๊ธฐ๋ก ๋ชธ์ ๋๋ฌ๋ธ ๊ฒจ์ธ์ ์ก๋ชฉ ๊ฐ์ ๋ณด์ด๊ธฐ๋ ํ๊ณ , ๋ด ๋์ ํฐ ์๊ฐ๋ฃจ์ ๋ฒ๋ฒ
์ด ๋์ด ํฅ๋ด๋ฅผ ํ๊ธฐ๋ ์ฅ๋ฒ๋ฌด๋ฆฌ์๋ ๋ฎ์๋ค. ์ด๋ ๊ฒ์ด ๋์๋ ๋๊ตฐ๊ฐ์๊ฒ ๋ฌด์ธ๊ฐ๋ฅผ ๋ถ๋ฌ์ผ์ผํค๋, ๊ทธ๋์ ๋ง์์ ๋ฉ์นซํ๊ฒ ๋ง๋๋ ํ๊ฒฝ์ด๋ค. ๊ทธ ์๋ก ๋ถ๋ช
๋จ๋ด ๋๋ ๋ฐ๋๋ ํ ์ค ๋ถ์ด์ค ๊ฒ์ด๋ค. ๋ณด๊ณ ๋์์๋ฉด ๊ด์ค๋ ์ธ์ธํ๊ณ , ๋ ๋ฐ๋ปํ ๊ฒ์ด๋ค. ์ง ๋ชจ์์ ํ๊ณ ์ ์๋ ํฐ ๋์๊ธฐ์ ๋ค์ด์์ ๋๋จ์น ์์ ํ๊ฒฝ์ด ์ฃผ๋ ์ด ๋จน๋จนํ ์ถฉ๋ง์ ๋ฌด์ผ๊น. ๊ณ ํฅ ๊ณ์ ์๋ง๋ฅผ ๋ง๋๊ณ ๋์์ค๋ ๊ธฐ๋ถ์ด๋ค.
์๊ฐ ๋ถ๋ถ๊ฐ ํจ๊ป ์์
์ค ์ผ์ ์ธ ์ง์ ์ฐพ์ ์ด์ฌ๋ฅผ ํ ๊ฒ์ด ์๋ก์ด ์ํ์ ์์์ด์๋ค. ์ธ์ ์ด ๋ง์ง ์์ ๊ณณ์ ์ ๋ฒ ๋ช ํ ๋๋ ๋ง๋น์ด ๋ค์ด์์ ์ง์ด๋ผ ๋ด๋ถํฐ ์๋ ์ฌ์ด๋ก ๋ฏผ๋ค๋ ์ ํ ๋ผํ์ด ๋์๋ค. ์ฒ์์๋ ์๋๋ฅผ ๋๋ณผ ์๋์ผ๋ก ๋ช ๋ฒ ๊ฑท์ด๋ด์์ง๋ง ๋ฌด๋ฆฌ์ ์์ ์๋ช
๋ ฅ์ ์ฌ๋์ ์์ ๋์ด์๋ ๋ถ๋์ด์๋ค. ๋ฌด๋ํ๋ ์ด ์กํ๋ค๊ณผ ์จ๋ฆ์ ํ๋ค ๋ณด๋, ์ด๋์๊ฐ ๊ทธ ๋
์๋ค์ด ๋ง์ ๊ฑธ๊ณ ์๋ ๊ฒ์ด ์๋๊ฐ. ํ์ ๋ฟ๋ฆฌ๋ฅผ ๋๊ณ ํผ์ด๋ ๊ทธ์ผ๋ง๋ก ์ก์ค๋ฐ ๊ฝ๋ค์ด ์ ๋ ํ ์ฒ ์ ์ด๋ค๊ฐ๋ ์๋ช
์ด๋ผ๊ณ ๋ฎ๊ฒ ์์๋ฅผ ํ๋ ๊ฒ์ด์๋ค. ์๊ฐ ์ ๋์์ ๋์๊ธฐ๋ฅผ ๋ง๋๋ ์ฌ๋์ด๋ค. ํ์์ ์๋ช
์ ํค์ ์ฌ๋ฆฌ๋ ์ฌ๋์ด๋ค. ํ์ ์ก๊ฝ๋ ํผ์ฐ๊ณ , ๋์๊ธฐ๋ ํค์ด๋ค. ์์ฐ์ค๋ฝ๊ฒ ์กํ์ ๋ง๋ ์ง๊ณผ, ์กํ๊ณผ ๋์๊ธฐ๋ฅผ ํค์ฐ๋ ํ๊ณผ, ์ง ๋ง๋น์ ํ์์ ํผ์ด๋ ๊ฝ์ด ํ ๋ฉ์ด๋ฆฌ๊ฐ ๋์๋ค. ๊ทธ๊ฒ์ด ์ ๋์ ์๊ฐ๊ฐ 10์ฌ ๋
๋ง์ ์ธ์์ ์๋กญ๊ฒ ๋ด๋์ ์ํ์ด๋ค.
์ ๋์ ์๊ฐ๋ ์ฐ๋ฆฌ๊ฐ ์ตํ ์๊ณ ์๋ ๊ธฐํ์ ๊ทธ๋ฆ์ ์
์ฒด๊ฐ ์๋ ํ๋ฉด์ผ๋ก ๋ง๋ค์ด ์ค์นํ๋ ์ํ์ ํด์๋ค. ์ฃผ์ธ๊ณต์ธ ์์์ด ์๋๋ผ, ๊ทธ ๋ฐฐ๊ฒฝ์ด ๋์ด์ฃผ๋ ๋์๊ธฐ์ ๋ด๋ฐํ ์กด์ฌ๋ฅผ ํตํด ๋์๊ธฐ์ ์ด์ฐ๋ฌ์ง๋ ์ฌ๋์ ์ด์ผ๊ธฐ๋ฅผ ์ ํ๋ ์ํ๋ค์ด์๋ค. ์๊ฐ์ ์ค๋ ๋ฐ๋์ฒ๋ผ ๋์๊ธฐ๋ก ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ์ผ์ด ๊ทธ๊ฐ์ ์์
์ด์๋ค.
๊ทธ๋ฐ๋ฐ, 2013๋
๊ฒจ์ธ, 10์ฌ๋
์ ๋ณ์ฃผํ๋ ๊ทธ๋
์ ์ํ์ ์์ฃผ ํฐ ๋ณํ๊ฐ ์๊ฒผ๋ค. ์ผ๋จ ์ํ์ ๊ธฐํ์ด ๊ทธ๋ฆ์ ๋์ด์ฐ๋ค. ํ์ผ๋ก ๋ง๋๋ ๋์๊ธฐ์ ๊ฐ๋
์ ์ธ ํ์์ ํ๋ฉดํ๋ ํํ๋ก ๋ณด์ฌ์ฃผ์๋ ์ด์ ์ ์ํ๊ณผ ๋ฌ๋ฆฌ, ์ด์ ํ์ด ํ ์ฑ์ ์ง์ ์ง๋๋ค. ๋จน์๊ฑฐ๋ฆฌ๊ฐ ๋ด๊ธฐ๋ ๊ฒ์ด ๊ทธ๋ฆ์ด๋ผ๋ฉด, ์ง์ ์ฌ๋์ด ๋ด๊ธฐ๋ ๊ทธ๋ฆ์ด๋ค. ์ผ๊ฐ ์ง๋ถ์ ์น๊ณ ์๋, ๊น๋๊น๋ ๋จธ๋ฆฌ๋ฅผ ์๋ฅธ ์ํํธ๊ฑด, ์ง์ ๋๊ตฌ์๊ฒ๋ ๊ณตํํ๊ฒ ์ ์ ์๊ณ , ๋ฐฅ์ ๋จน๊ณ , ์ด์ผ๊ธฐ๋ฅผ ๋๋๊ณ , ํด์์ ์ฃผ๋ ๊ณณ์ผ๋ก ์กด์ฌํ๋ค. ๋์๊ธฐ๋ฅผ ํตํด ์ฌ๋์ ์ด์ผ๊ธฐํ๋๋, ์์ ๊ทธ ๋์๊ธฐ์ ์ฌ๋์ด ๋ชจ๋ ํจ๊ป ์ฌ๋ ๊ณต๊ฐ์ ๋ง๋ค์ด๋ฒ๋ฆฐ ๊ฒ์ด๋ค. ์ง ๋ํ ํ ์์ ๋ฟ๋ฆฌ๋ฅผ ๋ด๋ฆฌ๊ณ ์๋ค. ํ ์์ ์ ์๋ ์ง์์ ํ์ ๋ฟ๋ฆฌ๋ด๋ฆฐ ๋คํ๋ค๊ณผ ํจ๊ป ํ์ผ๋ก ๋ง๋ ๋์๊ธฐ์ ๋ด๊ธด ์์์ ๋จน๊ณ ์ฌ๋์ ์ด์๊ฐ๋ค.
ํ์ผ๋ก ๋ง๋ค์ด ๋ถ์ ๊ตฌ์๋ธ ์ง์ ๋๊ฐ ๋ญ๋ผ ํ์ง ์์๋ ์ด์๊ฐ๋ ๋ชจ์์๋ฅผ ๋ฎ์๋ค. ์ฐ๋ฆฌ๋ ์ง์์ ํ๋ก๋ ์ฌ๋ฟ์ด๋ ๊ฐ์ธ์ ์ธ ์ญ์ฌ๋ฅผ ๋ง๋ค์ด๊ฐ๋ค. ๊ทธ ์ญ์ฌ๋ ๋ชจ๋์๊ฒ ๊ณต์ ๋๊ฑฐ๋ ๋๊ตฌ์๊ฒ๋ ์ ์๋ฏธํ ์๋ ์๋ค ํ๋๋ผ๋ ์ ๋๋ฆ ๊ต์ฅํ ์น์ดํ ๋ด์ ์ธ์์ ๊ฒฐ๊ณผ๋ค. ์ฐ๋ฆฌ์ ์ถ์ ๋ค๋๋ ๋๊ฐ๋์์ ๋
น์๋ฒ๋ฆฌ๋ ์ณ๋ฉ์ด๋ฆฌ์ด๊ฑฐ๋ ์ฒด์จ์ 300๋ฐฐ๋ฅผ ๋๋๋๋ ์จ๋์ ๊ฐ๋ง ์์์ ๋ฌต๋ฌตํ ์์ฑ๋๋ ๋์๊ธฐ์ ๋ค๋ฅผ ๋ฐ ์๊ธฐ ๋๋ฌธ์ด๋ค. ๊ทธ ๊ณผ์ ์ด ์ผ๋ง๋ ๋จ๊ฑฐ์ ๋์ง๋ฅผ ์์์กฐ์ฐจ ํ ์ ์๋๋ก ์ฐจ๊ณ ๋จ๋จํ๊ฒ ๊ตณ์ด ์๋ ์ง ๋ชจ์์ ๋์๊ธฐ๋, ๊ทธ์ ์ ๋ํ ํ๋์ ๊ทธ๋ฆ์ด๋ผ ๋งํ๋ค. ๋ญ๊ฐ๋ฅผ ๋ด์๋ด๋ ํฌ๊ธฐ๊ฐ, ๋ํ ๊ทธ๊ฒ์ด ๋ฐ ๋๋ ํฐ๊ฐ ์กฐ๊ธ ๋ฌ๋ผ์ก์ ๋ฟ์ด๋ผ ๋ค๋คํ ๋งํ๋ค. ๊ทธ๋ฌ๋ ์ด ๊ธฐ๋งํ ๊ธฐํ์ ๋ณํ๋ฅผ ๊ณผ์ฐ ๊ตณ์ด ‘๋ณํ’๋ผ๋ ๋ง๋ก ๋จ์ํํ ์ ์์๊น.
๋ ๋ฒ์งธ๋ก ๋์ ๋ค์ด์ค๋ ๋ณํ๋ ๊ทธ๋ฆฌ๊ธฐ์ ๋ฐฉ์์ด๋ค. ์ด์ ์๋ ๊ฐ๊ฐ์ ๋์๊ธฐ๋ฅผ ํ ๋ฐ ์ด์ฐ๋ฌ์ง๊ฒ ํ์ฌ ํ๋์ ๋์๊ธฐ ๊ทธ๋ฆผ์ ์์ฑํ๋ค. ํ์ง๋ง ์ด์ ์๊ฐ๋ ๋์๊ธฐ์ ์ง์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฐ๋ค. ์ธ์ ๊ฐ ๊ณ ๋ฐฑํ์๋ฏ, ์ ๋์์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ณ ์ถ์ ์๊ฐ์๋ค. ๋์๊ธฐ๋ฅผ ๋ง๋ค๋ฉด์ ๊ทธ๊ฒ์ผ๋ก ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ค๋, ๋์๊ธฐ ๊ทธ๋ฆผ์ด ๋์๋ค. ๊ทธ๋ฐ๋ฐ ์ด๋ฒ์๋ ์ฐํ์ ๋ค๊ณ ํ๋ฉ์ด ์์ ๊ณผ๊ฐํ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฐ๋ค. ํํ ์์ ์ข
์ด๋ฅผ ์น์ด๋๊ณ ์ฐํ๋ก ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ฉด, ํฐ ์ข
์ด์๋ ์ฐํ๋ก ๋ ๊ทธ๋ฆผ์ด ๋จ๊ณ , ํ ์์๋ ๊ทธ๋๋ก ๊ทธ ๊ทธ๋ฆผ์ด ์๊ฒจ์ง๋ค. ์๊ฒ ์๊ฒจ์ง ์๋ฆฌ ์๋ก ์๊ฐํ ๋ฅผ ๋ฃ๊ณ ๊ทธ๋ฆผ์ ํ์ ์ ๋ค์ ํ์ผ๋ก ๋ฉ์ด๋ค. ๊ทธ๋ฆผ์ ๊ธฐ์ด์ ๋ฐ๋ผ ์๊ฒจ์ง ์๋ฆฌ ๋๋จธ๋ก ๋ฐ๋์ฒ๋ผ ์๊ฐ์ฒ๋ผ ํ์ด ๋๋๋ค๊ธฐ๋ ํ๋ค. ๊ทธ ์๋ก ์ ์ฝ์ด ์น์ด์ง๊ณ ๋ถ๊ธธ์ ๋๋๋ค๋ฉด, ์ด๋์ ์๊ฐ๊ฐ ๊ทธ๋ฆฐ ๊ทธ๋ฆผ์ ๋์๊ธฐ์ ํ๋๊ฐ ๋๋ค.
์ญ์ฌ์ ์ผ๋ก ์ด๋ฆ๋ ๋์๊ธฐ์ ์ด๋ฆ๋ ์๊ฐ๊ฐ ์๋ ๊ฒ์ ๊ทธ๊ฒ์ด ์ด๋ ํ ์ฌ๋์ ์ํ์ด ์๋๊ธฐ ๋๋ฌธ์ด๋ค. ์ ํ ์ ์ฑ์ง๊ณผ ๊ธฐํ์ ์๋ คํจ, ๊ทธ ์์ ๋ฌธ์์ ์๊ธฐ๊ฑฐ๋ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ์ด์ ์๋, ๊ฐ๋ง์ ์จ๋์ ๋ถ ๋๋ ์ด์ ์๋ จ๋, ์ข์ ์ ์ฝ์ ๋ง๋๋ ๊ธฐ์ด, ๊ทธ ์ด๋ ๊ฒ ํ๋ ํํธ๋ฌ์ ธ์๋ ์ ๋ ์์ธ์ด๊ธฐ ๋๋ฌธ์ด๋ค. ๊ทธ๋ฌ๋ฏ๋ก ๋์๊ธฐ๋ ๋ค๋ง ์ด๋ ์์ , ์ด๋ ๊ฐ๋งํฐ์์ ์์ฐ๋ ๊ฒ์ด๋๋ฅผ ๋ฌป๋ ๋ฐฉ์์ ๋ช
์ฑ๋ง์ ํ๋์ ๋จ๊ฒผ๋ค. ์์ค ํ๊ฐ์ธ ํ์๋ค์ ์ฃผ์ ์
๋ฌด ์ค ํ๋๊ฐ ๊ด์(ๅฎ็ชฏ)์์ ๊ตฌ์๋ผ ๋์๊ธฐ ์์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ์ผ์ด์๋ค๋ ์ฌ์ค๋ ์์ผ์ค๋ฌ์ธ ๊ฒ ์๋ค.
๊ทธ๋ฐ๋ฐ ์ด๋ฒ ์ํ์์ ์ ๋์ ์๊ฐ๋ ๋์๊ธฐ ์์ ๊ทธ๋ฆผ์ ์ง์ ๊ทธ๋ฆฐ๋ค. ๋ณธ๋ ์ ๋์์ ๊ทธ๋ฆผ์ ์ ๊ทธ๋ฆฌ๋ ์๊ฐ๋ค. ๊ทธ๋ฆฌ๊ณ ์ถ์ ์ด๋ง์ด ํฐ ์๊ฐ์๋ค. ๋์๊ธฐ๋ฅผ ๋ง๋ ๊ทธ ์ด์ ์ด ํ์ ๋ง์ง๋ ์ผ๋ก ์์ฐ์ค๋ ์ฎ๊ฒจ๊ฐ์ง๋ง, ๊ทธ๋ ๊ฒ ๋ง๋ค์ด์ง ๋์๊ธฐ๋ค์ ์๋ก ์ฝํ ํ๋์ ๊ทธ๋ฆผ์ด ๋์๋ค. ๊ทธ๋ฆฌ๊ณ ๊ทธ๋
๋ ์ด์ ์ง์ ํ ์์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฐ๋ค. ํํ์ ์๊ฒจ์ง๋ ๊ทธ๋ฆผ์ ํ ๋ฒ ๊ทธ๋ฆฌ๊ณ ๋๋ฉด ์ง์ฐ๊ณ ์์ ํ ์ ์๊ธฐ์, ์์ฑ๋ ๋์๊ธฐ์ ๋จ๊ฒจ์ง ๋ชจ๋ ๊ทธ๋ฆผ์ ํ ๋ถ์ ๊ทธ๋ ค์ง๋ค. ๋ฌด์ฑํ ๋ฒ์ ธ๊ฐ๋ ๋คํ์ ์๋ช
์ฒ๋ผ ๋จ ํ ์๊ฐ๋ ๋ฉ์ถ๊ฑฐ๋ ๋ค๋ก ๋ฌผ๋ฌ์ค ์ ์๋ ํธํก์ด ์ด์ด์ง๋ค. ๋ฌ์ฌํ๋ ๊ฒ(describing)์ด ์๋๋ผ ์๊ธฐ๋ ๊ฒ(inscribing)์ด๋ค.
๊ทธ๋ฌ๋ฏ๋ก ์ด ๊ทธ๋ฆผ์ ์ด๋ค ํ์์ ๊ทธ๋๋ก ๊ฐ๋ฒผ์ด ์ฌํํ๋ ๊ฒ์ด ์๋๋ค. ์๊ฐ๋ ๋์ฌ๊ฒจ๋ณด์ง ์๋ ์๋ช
์ด ์ฌ๋๊ณผ ์ถ์ ๋คํฌ๋ ๊ณผ์ ์ ๊ฑฐ์น๋ฉฐ ์ผ๋ง๋ ๊ฐ์ธํ๊ฒ ์ด์๋จ๋๊ฐ๋ฅผ ๊ทธ๋ ธ์ ๊ฒ์ด๋ค. ๋ฌด์์ด๋ ์ด์ ์๋ ๊ฒ์ ์ด์ ์๋ ์ด์ ๊ฐ ์๋ค๋ ๊ฒ์ ๋งํ๊ณ ์ถ์์ ๊ฒ์ด๋ค. ๋ฏผ๋ค๋ , ํ ๋ผํ, ์ฅ๋ถ์์ด ๊ฐ์ ๋ฏธ์ฝํ ์กด์ฌ๋ ํ๋๊ฐ ์๋๋ผ, ๋์ด ์๋๋ผ, ์
, ๋ท, ๋ค์ฏ์ด ๋ฌด๋๊ธฐ๋ฌด๋๊ธฐ ํผ์ด์ค๋ฅด๋ฉด ํ๊ฒฝํ๋ ๋๊ณ , ์ฐ์ํ๋ ๋๋ค๋ ๊ฒ์ ๋ณด์ฌ์ฃผ๊ณ ์ถ์์ ๊ฒ์ด๋ค. ํ์ ๋ฟ๋ฆฌ๋ฐ์ ํ๋ค์ ํ ์์ด ๋ถ๋๋ฝ๊ฒ ํ์ ์๊ฒจ ๊ทธ ๋ฌด์๋ณด๋ค ๊ฐํ ์๋ช
์ ์ญ๊ณ ํจ์ ์ ํ๊ณ ์ถ์์ ๊ฒ์ด๋ค. ์ค๋ฌด ํด๋ฅผ ์๋์ ์ ๋ณดํด๋์๋ ์ ๋์์ ๊ทธ๋ฆผ์, ๊ทธ๋ ๊ฒ ๊ทธ๋
๊ฐ ์ค๋ซ๋์ ๋ฐ๋๋ ๋ณ ๊ฒ ์๋ ๊ฒ๋ค๋ ์จ์ ์ฐ๋ค๋ ๋ง์ ์ ํ๋ ค ๋คํ์ฒ๋ผ ๊ฝ์ ํผ์ ๋ค.
์ด๋ ๊ฒ ๋ง๋ค์ด์ง ๋์๊ธฐ๋ค์ ๋จ์ผํ ์ํ ํ๋๋ก๋ ์ถฉ๋ถํ ์๋ฒฝํ์ง๋ง, ๋ช๋ช์ ์ํ๋ค์ ์ฌ๋ฌ ๊ฐ๋ฅผ ์ฐ์ด์ด ์ค์นํ๋ ๋ชจ์ต์ผ๋ก ๊ณํ๋๊ธฐ๋ ํ๋ค. ์ ๊ธฐ์ ๋ฐ๋์ด ๋ถ์ด์ค๋ฉด ์์ํ ํ์ด ์ผ์ด์๊ณ , ์ธ์ฐจ๊ฒ ๋ถ๋ ๋ฐ๋์ ๋คํ๋ผ๋ฆฌ ๋ญ์น๊ณ ๋ญ์ณ์ ธ ์์์ค๋ฅด๋ค, ๋ค์ ์กฐ์ฉํ ์ฌ๊ทธ๋ผ์ง๋ ๋ถ๊ฝ์ฒ๋ผ ๋๋ฌ๋๋ ๊ทธ๋ฆผ์ด ์ฌ๋ฌ ๊ฐ์ ๋์๊ธฐ์ ๊ฑธ์ณ ํธํกํ๋ฏ ๊ทธ๋ ค์ ธ ์๋ค. ๊ตณ์ด ๋จ๋ฐ์ ๋ชจ๋ ๊ฒ์ ๋งํ๊ฒ ๋ค๋ ์์ฌ ๋ฐ์ ๋์ ์ง ์ค๋๋ค. ์ด๋ฏธ ์ด์ ์ํ์์๋ถํฐ ์๊ฐ๋ ๊ทธ๋ฆ๊ณผ ๊ทธ ๋ฆ์ ์๋ก ์๊ณ ๋ด์ผ๋ฉฐ ์ํธ๊ฐ์ ๋ํํ๋ฏ ์ค์นํด์๊ธฐ ๋๋ฌธ์ด๋ค. ๊ทธ ๊ทธ๋ฆ์ด ์กฐ๊ธ ๋ฌ๋ผ์ก๋ค ํ์ฌ ๋ชจ๋ ๊ฒ์ ํ ๋ฒ์ ๋ด์๋ผ ์ ์๊ฒ ๋๊ฐ. ์คํ๋ ค ๊ทธ๋ฆ์ด ๋ด์๋ด๋ ์กด์ฌ๋ค์ ๋ฉ์น๊ฐ ์ปค์ง ๋งํผ ๋ ๋ง์ ์ด์์ ํ์๋ก ํ ์๋ ์์ ๊ฒ์ด๋ค. ๊ทธ๋ค ์ถ ์ด๋์ ๋
๋ถ์ฅ๊ตฐ์ด ์์ด ํ๋ก ์จ ์ด ์ ์๋จ ๋ง์ธ๊ฐ. ๋๋ ๋ค๋ง ๋๋ฅผ ์์ธ์ ์กด์ฌํ ๋ฟ์ด๋ค. ๊ทธ ์กด์ฌ์ ํฐ์ ์ด ๋๋ ํ์ ๋๊ตฌ์๊ฒ๋ ๊ณตํํ๊ณ , ๋๊ตฌ์๊ฒ๋ ์จํํ๋ค. ๊ฑฐ์น ์ด ๋ณด์ด์ง๋ง ํ ์์ด ๋ถ๋๋ฝ๊ณ , ๋ฌด๋ฅด๊ณ ์ฐํด ๋ณด์ด์ง๋ง ๋ถ๊ธธ ์์์ ๊ทธ ๋ฌด์๋ณด๋ค ๊ฐํ๊ฒ ์ง์ค์ ๋งํ๋ค.
์ด์ ์ผ ์๊ฒ ๋ค. ์ ๋์์ ์ ์์
์ ๋ชฉ์ ์ ๋๊ณ , ํ์ด ์์ ์๊ฒ ๋ฌด์์ธ์ง๋ฅผ ์์๋ณด๊ฒ ๋
ธ๋ผ ๋งํ์๋ค. ๋ํ ๋์๊ธฐ๋ฅผ ๋ง๋ค๋ฉด์ ๊ทธ๋์ ์๋ํด๋ณด์ง ์์๋ ๋ช๋ช ๋ฐฉ๋ฒ์ ๋ค์๊ธ ์ฐ๊ตฌํ๊ฒ ๋ค ํ์๋ค. ๋์๊ธฐ๋ฅผ ๋ง๋๋ ์ธ์์ 20์ฌ ๋
๋ฌ๋ ค์จ ์๊ฐ๊ฐ ๊ทธ๊ฐ ์๋ํ์ง ์์๋ ๋ฐฉ๋ฒ์ ๋ฌด์์ด์๊ฒ ์ผ๋ฉฐ, ๋์ ์์ ๋ฌ๊ณ ์ฌ๋ ํ์ ๋ ์ผ๋ง๋ ์๋ก์ธ ์ ์์์๊น. ํ์ง๋ง ์ ๋ง ์๊ฒ ๋ค. ํ์ ์๋กญ๊ฒ ์๋ํ๋ ํ์์ ํฐ์ ์ด๋ฉฐ ๊ทธ๊ฒ์ ์ด๋ฃจ๊ณ ์๋ ๋ฌผ์ง์ด์, ๊ทธ ์์ ๋ด๊ธด ๊ทธ๋ฆผ ์ ์ฃผ์ธ๊ณต์ธ ๋คํ์ ์ด๋จธ๋๋ค. ํฐ์ ์ ํ ์๋ก ์ค์ค๋ก๋ฅผ ๋์๋ณด๋ฏ ์ํ๊ฒ ์๊ธด ํ์ ๋ค์ ๋ค์ ๋ ๋ค๋ฅธ ํ์ผ๋ก ์ฑ์์ ธ ๋น๋ก์ ํ๋๋ฅผ ์ด๋ฃฌ๋ค. ์ด ์ํ๋ค์ ๊ทธ๋์ ๋ณด์์๋ ์ ๋์ ์์
์ ๊ธฐ๋ณธ์ ์ธ ๋ชจ์ต์ ํ๊ณ ์์ผ๋ฉด์๋ ๊ทธ๊ฒ์ ๊ฐ๋ฅํ๊ฒ ํ๋ ํ์ด ๋ฌด์์ธ์ง์ ๋ํ ๊ทผ์์ ๋ฌผ์์ ๋ตํ๊ณ ์๋ ๊ฒ์ด๋ค. ๋๊ณ ์ฌ๋ ํ์ด ๋ณํ๊ณ , ์๊ฐ๋ ๊ทธ ๋ณํ๊ฐ ์ฃผ๋ ์ธ์์ ์ค๋ง๋ฆฌ๋ฅผ ์๋ฏผํ๊ฒ ํฌ์ฐฉํด๋๋ค. ๋คํ ํ ๋ฌด๋๊ธฐ์ ๋ง์ ์์ฌ๋กญ๊ฒ ํ๋ ค๋ณด๋ด์ง ์๋ ๊ฒ, ํฌ๊ณ ๊ฑฐ์ฐฝํ ๊ฒ์ด ์๋๋ผ ๋งค์ผ ๋งค์ผ์ ์ผ์์ ์ธ ํ์๊ฐ ์ถ์ ๊ฐ์ฅ ๋น๋๋ ์๊ฐ์์ ์์ง ์๋ ๊ฒ ๋ง์ด๋ค.
์ธ์์, ๋ง๋ฅ์ ์๊ตฌํ๋ค. ๊ทธ์ผ๋ง๋ก ์ฌ๋ฌ ๋ถ์ผ์ ๊ฑธ์ณ ๋ง ๊ฐ์ง ์ผ์ ๋ฅํตํ ์ด๋ฅผ ํ๋์ ์ธ ์ธ์ฌ๋ผ ๋ถ์ถ๊ฒจ ์ธ์ด๋ค. ๊ทธ๋ฐ๋ฐ ๊ทธ ๋ง๋ฅ์ ์ข ์์ํ๋ค. ์ด๋ป๊ฒ ์ฌ๋์ด ๋ค์ํ ๋ถ์ผ์ ๋ชจ๋ ๋ฅํ ์ ์๋จ ๋ง์ธ๊ฐ. ์ธํฐ๋ท์ด ์ ์๋ฌด๋ฆฌ ์ง์์ ์์ํ์์ ํด๋ฐฉ์์ผฐ๋ค ํ๋๋ผ๋, ํ ๋ถ์ผ์ ์ค๋๋๋ก ๋ชธ๋ด์ ์ง์๊ณผ ํธํก๊ณผ ์์ง์ด ํ๋๊ฐ ๋๋ ์ฌ์ธํ ์ผ๋ค์ ๋ชจ๋ ๋ง๋ฅ์ผ ์ ์๊ฒ ๋๊ฐ. ์ฌ์ค ๋ง๋ฅ์ด๋ผ๋ ๋ง์ ์ข ๋ฌ๋ผ์ผ ํ๋ค. ๋ง๋ฅ์ด๋ ํ๋์ ์ญํ ์ ์ํด ์๋ฒฝํด์ง๋ ๊ฒ, ๋ง๋ฅ์ ์ํ ๋ง๋ฅ์ด ์๋๋ผ, ๊ทธ ํ๋์ ์๋ฒฝ์ ์ํด ๋ง๋ฅ์ ํฅํ๋ ๊ฒ์ด์ด์ผ ํ๋ค.
๊ทธ๋ฐ ์๋ฏธ์์ ์ ๋์์ ๋ ์ฌ๋ ค๋ณธ๋ค. ๋ช ์ฐจ๋ก ์๊ฐ๋ฅผ ๋ง๋๋ฉด์ ๋์๊ธฐ๋ฅผ ์ง๋ ์ฌ๋์ด๋ ํน ๊ทธ๋ฆ์ ์ง์ ๋ง๋ค์ด ์ฐ์์ง๋ ์๋๋ ๋ฌผ์๋๋, ํ๊ณ ์๋ ์ํ์๊ฒ๋ง ์ธ ๋งํ ์ฌ์ฃผ๋ผ ๊ทธ๋ฆ ๋ง๋๋ ์ผ์ ๋ ๊ทธ๋ฆ์ ์ ๋ง๋๋ ์ด์ ๋ชซ์ด๋ผ ๋งํ๋ค. ๋ณธ์ธ์ด ํ๊ณ ์๋ ์์
๋ํ ์ํ ํฌ๊ธฐ์ ๋ฐ๋ผ ํ์ ์ข
๋ฅ์ ๊ฐ๋ง์ ์จ๋๋ฅผ ๋ฐ๊พธ์ด์ผ ํ๊ฒ ๋ค๋ฉฐ, ๊ณํํ๋ ์ํ ์ผ๋ถ๋ฅผ ์ ์ ์ ์ด๋์๋ค ํ๋ค. ์ฐ๋ฆฌ๋ ์ด๋ฐ ์ฌ๋์ด ๋ชฉ๋ง๋ฅด๋ค. ์ค์ค๋ก๋ฅผ ๋ด์ธ์ฐ์ง ์๊ณ , ๋ชฉ์๋ฆฌ๋ ํ ์์ด ๋ฎ์ผ๋ฉด์, ๊ทธ๋๋ง ์ธ์์์ ๊ฑด์ง ๊ฒ์ด ๊ฒจ์ฐ ์ด๋งํผ์ด๋ผ ๋ด๋ฏผ ์์ ๊ทธ ๋๊ตฌ๋ ํ๋ด๋ด์ง ๋ชปํ ์ ์๊ธ์ ๊ทธ๋ฆฌ๊ณ ์๋ ์ฌ๋ ๋ง์ด๋ค. ํ์ ํ์ ๋ง์ง๋ฉฐ ํ์ด ๋ฌด์์ธ์ง ์์ง๋ ๋ชจ๋ฅด๊ฒ ๋ค๋ ์ฌ๋, ํน์ ์ด์ ์ผ ์กฐ๊ธ ์ ๊ฒ๋ ๊ฐ๋ค๋ ์ฌ๋ ๋ง์ด๋ค.
๊ทธ ์ฌ๋์๊ฒ ๋คํ์ด ๋งํ๋ค. ๋๋ ํ ์์ ๋ฟ๋ฆฌ๋ฅผ ๋ด๋ฆฌ๊ณ ์ฌ๋ ์๋ช ์ด๋ค. ๊ฒ ์์ด ํ ์ฒ ์ ์ง๋ด๋ค ๋ค์ ํด๋ฅผ ๊ธฐ์ฝํ์ง ๋ชปํ๊ณ ๋ ๋๋ค. ๊ทธ๋ฌ๋ ๋๋ ์ด์ ์๋ ๋์ ์๋ ํ์ ๋คํด ๋ฌด์ฑํ ๊ฒ์ด๋ค. ๊ณ๋์งํ์ง ์๊ณ ์ถ์ ์น์ดํ ๊ฒ์ด๋ค. ํ๋ฑ ํ๋ฌด๋๊ธฐ์ด์ง๋ง ์ฒ์ ์ด๋ฃจ๊ณ ์ฐ์ํ๊ฐ ๋ ๊ฒ์ด๋ค. ๊ทธ๊ฒ์ด ๋์ ์ง์ค์ด๋ค. ๊ทธ ๋คํ์๊ฒ ์๊ฐ๊ฐ ๋งํ๋ค. ๋๋ ๋๋ฅผ ํตํด ์ถ์ ๊ทผ์์ธ ํ์ ๋ง๋๋ค. ๋ด ์กด์ฌ์ ์์ฐํ ํ์ค์ธ ํ์ ๋ง์ฃผํ๋ค. ๋์ ๋ฟ๋ฆฌ์ ๋์ ๋ฟ๋ฆฌ๋ ๊ทธ๋ฌ๋ฏ๋ก ๋์ผํ๋ค. ๋ฌด์ฑํ์ฌ๋ผ. ๋์ ์์ง๋งํผ ๋๋ ๋งคํด ๊ฝํผ์ฐ๋ ๋๋ฅผ ๊ธฐ๋ค๋ฆด ๊ฒ์ด๋ค. ๋์ ๋ฌดํํ ์ ์๊ณผ ์ง๊ทนํ ๋์์ ์ฃผ์ ์๊ณ ๋๋ฉดํ๋ฆฌ๋ผ. ๊ทธ๋ฌํ ๋๋ฅผ ํตํ์ฌ ๋๋ ํ์ผ๋ก ์๋ฒฝํด์ง ๊ฒ์ด๋ค.
The Parable of the Wild Grass
Hwang Rockjoo | Art Critic, Curator of Gyeonggi Museum of Modern Art
The inlaid work on white pottery that is reminiscent of trampled grass, looks like it is smeared or engraved onto the surface. The shapes on the work resemble a winter tree whose warmth reveals its presence on a field of snow or the scent of spring mugwort mixed with white rice flakes. Whatever we call it, the work evokes our memory, becoming a scenery that holds our emotions. It is a scenery where sweet breezes pass by - leaving us lonely -, yet it is also imparts warm feelings, when we turn away our eyes from it. The humble scenery of the house-shaped white pottery arouses a dazed fullness, like the trip back from visiting a mother in a hometown.
Shin’s new project started when the artist couple moved into their new house, which doubled as their artist studio. Isolated from human traces, since the springtime dandelion and clover were growing amongst the grass in their spacious backyard. At first, she weeded several times in order to groom the lawn but the number and vitality of the wild grass was substantial. Struggling with the grass, Shin started to listen to stories of wild grass. The wild flowers were quietly testifying their ephemeral yet tenacious lives rooted in the soil. Shin is a ceramic artist who gives birth from soil. The earth not only constitutes the basis for ceramics but also blooms wild flowers. The house with wild grass, the soil that nurtures both wild flowers and ceramics, and the flowers growing from the soil in their backyard have fused into a piece of artwork. This is Shin’s new work of ten years.
Shin has been making installations out of pottery that have familiar shapes in flattened forms. Through the work that alludes to the humbleness of pottery as mere ? background ? container (pointing to food), Shin attempts to tell stories about people in harmony with pottery. Creating drawings out of pottery has been Shin’s art practice and her long time enthusiasm.
In the winter of 2013, there was a huge change in the variation of her practice since 10 years. First of all, Shin started creating works that were not in the shape of dishes. Unlike her previous work showing conceptual ceramics in flattened forms, Shin is recently creating houses out of clay. As dishes contain food, as vessels houses contain humans. Whether it has a triangular roof or is the square box of an apartment, all types of houses are shelters for humans - where they sleep, eat, rest and share their stories. If Shin’s previous practice was to tell stories about people through pottery, now she is creating a space where pottery and people live together. Houses are also rooted on soil. People live with wild grass in houses grounded on the soil, while eating food contained in ceramics made of earth.
Houses made out of pottery resemble our lives. We make personal histories in houses, alone or with other people. These histories are the result of fierce inner struggles (even though they cannot be shared or understood by everyone). Our lives are like metal in a melting pot or pottery that forms its shape in a hot kiln that is around 300 times our normal temperature. Likewise, the house shaped ceramic, which is now cooled down and firm, went through unimaginably intense heat - just like any other piece of pottery. It speaks in a humble voice, that it is just a little different in its size and base. Then, could we describe this change of shape with the simple term ‘mutation’?
The second change in Shin’s practice is her method of drawing. In the past, Shin made drawings by juxtaposing ceramics in harmony. But now in her recent work she starts drawing onto ceramics themselves. As she once mentioned, she has great passion for drawing. So she attempted to draw through her ceramics and created a kind of ‘pottery-drawing’. Yet this time, she draws directly on the clod with a pencil. As Shin draws on a piece of paper placed over a clay slab, pencil marks leave a trace on the paper as well as on the clay. Then she inlays slips in the thinly incised lines and fills the traces of drawing with clay. Depending on the ambience of drawings, sometimes, clay passes through these incised traces, like how wind and fog pass by. Once they are coated with glaze and are passed through flame, her drawings are merged with ceramics.
Historically, creators of notable pottery remained anonymous, as they didn’t belong to a single maker. A masterpiece of pottery involves various sensitive factors such as properties of the soil, the beauty of the shape, the skill for the drawings and patterns on its surface, the accurate temperature of the kiln, the quality of the glaze, etc. Therefore, on famous pottery, there was only the name of the kiln site and the time they were produced. Accordingly, the fact that one of the main tasks of the court painters was to draw on the pottery that was produced in the royal kiln is not a surprising story.
In her recent works, Shin draws directly onto her pottery. Shin is not only enthusiastic but also has been skillful in her drawings. Her encounter with ceramics naturally led to her passion to work with clay, however she composed a drawing out of the pottery she made. Now she draws directly onto the clay in her recent works. Since it is impossible to erase or revise once the drawings are engraved onto clay, all the drawings on the finished ceramic piece have to be done in a single attempt. These strokes imply a continuous breath that cannot stop or go backwards, like the thriving life of wild grass. It is about inscribing, not describing.
Therefore these drawings do not merely represent a shape of something. The artist must attempt to reveal how small creatures survive by struggling for life against humans. She might want to say that all living beings have reasons for living. Her work shows how trivial beings like dandelion, clover and asters could constitute a landscape all together, not by oneself but when they collectively spring up. Softly engraving the form of the wild grass on the earth, Shin expresses the sublimity of a strong vitality. After the long delay of twenty years, Shin’s drawings finally bloom like wild grass to convey the message she was longing for: the equal importance of the breath of all living things.
Each piece of pottery is perfect by itself, but some of them are installed together in series. Shin draws across multiple pieces of pottery that appear like wild grass, slowly rising together along the harsh wind, then lying down like a dying flame - as if they are breathing. Shin never tries to express everything at once. Her installation process is more like a mutual conversation between each element as she piles up the pottery or makes pottery that contains her older works. Can pottery contain all things at once solely by transforming itself? It needs more neighbors in order to embrace bigger things. Who can exist and breathe, by themselves? We only exist in relation to others. The earth as a basis for existing beings is equally given to every creature - it gives warmth to everybody. It seems rough but incessantly tender, appears to be soft but it speaks the truth more strongly than anyone else in the burning flame.
Now I come to understand. Starting her new project while making ceramics, Shin said she wants to explore the meaning of earth and experiment with new means of expression. But what could be the new method for the artist who has been working with ceramics for 20 years? How could she redefine her long relationship with the earth? But I grasp the point. The earth is the base of a newly made shape, a material that composes the base, and the mother of wild grass, who is the main character of the painting on the base. As if looking back upon oneself on one’s base of the earth, the painstakingly inscribed traces are filled by another earth again and eventually they are merged together. While embodying the basic form of her previous works that I have seen before, the artworks in this exhibition answer the essential question, about what of the earth that makes her work possible. The artist sensitively captures the changing of the earth and its implication in our lives. This means not to dismiss small meanings in life, like the parables of the wild grass, and to remember that the most splendid moments are in our daily activities rather than large and grander things.
The world demands people to be capable of everything. People who are proficient across multiple disciplines are considered to be “talented” in contemporary society. However, this idea is questionable. Even though the Internet has liberated knowledge from the ivory tower, how could a person master a sensitive work without a long-term engagement that puts together knowledge, experience, and skill? Thus, we need to reconsider the idea of multiple capabilities. Instead of trying to be good at everything, what is more important perhaps is to focus on one thing to its perfection.
This idea reminds me of Shin. I have asked Shin during our meetings if she makes her own dishes as a ceramic artist. Shin responded that her skills are limited to her art practice, unlike other people who are very masterful in making dishes. She added that a part of her project is in the pause, because she needs to change the type of clay and the temperature of the kiln according to the size of the work. She is the type of person who this era is calling for: A self-effacing and humble person with the unique voice no one else can mimic. A person who has dedicated all her life towards earth, but has the humbleness to say she could not figure out the earth yet. A person who says there is still much to learn, and so little she has grasped.
The wild grass tells Shin, “I am a living being rooted in the earth. My fearless life doesn’t last over a season without a promise for the next year. However, I will bloom my best all the days in my life. I will live fiercely without a side-glance. I am merely a grass but I will constitute a forest, and eventually become a landscape. This is my story of truth.” Shin replies to the wild grass, “Through your being, I met the earth, the root of life and the reality of my very existence. Dear wild grass, we thus share the same root. I wish your exuberant life! I will wait for your tenacious blooming every year and confront your infinite youth and utmost maturity without hesitation. Through these encounters, I will perfect my art with the earth that connects us. Through this encounter, I will perfect myself with the earth.”
๋ฆ์ฌ๋ฆ...๊ฐ๋, 28 x 48 x 36cm, ์๊ธฐ, 2014(์ข) / ๋ฐ๋...๋ถ๋ค, 28 x 48 x 36cm, ์๊ธฐ, 2014(์ฐ)
๋ฆ์ฌ๋ฆ...๊ฐ๋, 28 x 48 x 36cm, ์๊ธฐ, 2014(์ข) / ๋ฐ๋...๋ถ๋ค, 28 x 48 x 36cm, ์๊ธฐ, 2014(์ฐ)
์ฌ๋ฆ...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014(์ข) / ๊ฐ์...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014(์ฐ)
์ฌ๋ฆ...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014(์ข) / ๊ฐ์...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014(์ฐ)
๋ฅ์ , 138X 17 X 8cm, ์๊ธฐ, 2014
๋ฅ์ , 138X 17 X 8cm, ์๊ธฐ, 2014
๊ฐ์...๊ฐ๋, 28 x 48 x 36cm, ์๊ธฐ, 2014
๊ฐ์...๊ฐ๋, 28 x 48 x 36cm, ์๊ธฐ, 2014
๊ฐ์...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014
๊ฐ์...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014
๋ฏผ๋ค๋ ...์ฑ์ฐ๋ค, 28 x 48 x 36cm, ์๊ธฐ, 2014
๋ฏผ๋ค๋ ...์ฑ์ฐ๋ค, 28 x 48 x 36cm, ์๊ธฐ, 2014
๋ฐ๋...๋ถ๋ค, 28 x 48 x 36cm, ์๊ธฐ, 2014
๋ฐ๋...๋ถ๋ค, 28 x 48 x 36cm, ์๊ธฐ, 2014
์ฌ๋ฆ...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014
์ฌ๋ฆ...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014
๊ฐ์...๊ฐ๋, 28 x 48 x 36cm, ์๊ธฐ, 2014
๊ฐ์...๊ฐ๋, 28 x 48 x 36cm, ์๊ธฐ, 2014
๊ฐ์...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014
๊ฐ์...์ง๋๊ฐ๋ค, 36 x 48 x 10cm, ์๊ธฐ, 2014
๋ฏผ๋ค๋ ...์ฑ์ฐ๋ค, 28 x 48 x 36cm, ์๊ธฐ, 2014
๋ฏผ๋ค๋ ...์ฑ์ฐ๋ค, 28 x 48 x 36cm, ์๊ธฐ, 2014