YOU YOUNGHEE
μ μν¬
λλ‘μμ μ ν¬ - μ€λ¬Έμ / GALLERY SP
μ€λλ , μ΅μ μ₯λΉμ μ κΈ°μ λ‘ λ¬΄μ₯ν μ΄λνμ μ€μΉμνμ΄ λ―Έμ κ΄μ μ μμ€μ μ°¨μ§νκ³ , λ€μν λ°©λ²μ μλν΄λ³΄λ κ²μ΄ νλλ―Έμ μ λ―Έλμ΄λΌλ λλ λ― μλ‘μ΄ λ§€μ²΄μ κΈ°μ μ λν΄ λ§μ μ°κ΅¬κ° μ΄λ£¨μ΄μ§κ³ μλ€. λ―Έμ μ΄ μ²¨λ¨ κ³Όνκ³Ό μ λͺ©μ μλν¨μΌλ‘μ¨ λ§€μ²΄μ νκ³λ κ±°λΆλκ³ , κ·Έ ννμμκ³Ό ννλ°©μμ΄ μ μ λ νμ₯λμ΄κ°κ³ μλ κ²μ΄λ€. κ·Έλ¬λ λΉ λ₯΄κ² λ³ννλ μ€λλ μ μμ΄μλ λ¬Όκ° λμλλ νλ©΄μ ννλ μκ°μ κ΄λμμκ² μ ν¨ν 맀체λΌκ³ ν μ μλ€. μλ‘μμ λν μλ§κ³Ό μ΄μ μ μ½κ² νμ€λ₯Έ λ§νΌ μ½κ² μ¬κ·ΈλΌλ€ μλ μλ κ²μ΄μ§λ§, ννμ λν μλ λ‘κ·Έμ μλ§μ μ°λ¦¬ λ§μ κΉμμ΄μ μ리μ‘μ μ½κ² μ¬λΌμ§μ§ μλ κ²μ΄κΈ° λλ¬Έμ΄λ€.
μ μν¬λ μ΄λ¬ν ννλ₯Ό κ³μΉνκ³ λ°μ μμΌκ°λ μκ° μ€ νλͺ μ΄λ€. νλ €ν μμ±μ μλμ μΈ μ μ μ¨λμ 보μ¬μ£Όλ κ·Έμ μμ μ λμμ μ¬νμ μν κ²μ΄ μλλΌ ‘그리기’λΌλ νμ μ체μ μ¦κ±°μμ μ μνλ€. λν μΆμμ±κ³Ό ννμ±μ΄ μ‘°νλ νλ©΄μ νλ©΄μ±μ νκΈ°μμΌμ€μΌλ‘μ¨ ννλΌλ 맀체μ μμ±μ μμνκ² λλ¬λΈλ€.
μ μν¬μ μμ μ μ΄ν΄ν¨μ μμ΄μ ν¬κ² λκ°μ§μ μ€μν μμλ₯Ό λ€ μ μλλ° κ·Έ μ€ νλλ μ (η·)μ΄λ€. κ·Έλ μ¬μ μ κ³νλ λ Όλ¦¬μ μ΄κ³ ν©λ¦¬μ μΈ μ 보λ€λ λͺΈμ μμ§μμ λ°λΌ μ κΈ°μ μΌλ‘ μμ§μ΄λ λ―ν μμ¨μ μΈ μ μ μ¬μ©νλ μͺ½μ 무κ²λ₯Ό λλ€. λμμ μ¬νμ΄λ λ°κ·Έλ¦Όκ³Ό κ°μ κΈ°λ₯μμ ν΄λ°©λ μμ λ‘μ΄ μ μ κ΅΅κΈ°λ μλμ λ³ν, κ²ΉμΉ¨, λ°λ³΅ λ±μ ν΅ν΄ μλͺ λ ₯ μλ μ¨λκ°μ νννλ€. μ΄λ¬ν μ μ μ¨λμ λ무νμ§ μκ³ μμ λ‘μ μμ μ§μλ₯Ό κ°μΆκ³ μμμ κΉ¨λ«κ² λλλ°, μ΄λ ν΅μ κ° μλ κ²μ΄ μλ ‘μμμ μ‘°μ μ κ±°μΉλ μλ°μ±μ ννλ°©λ²’μμ μ μ μλ€. μ΄μ²λΌ λ€μ±λ‘μ΄ μμ μ λ€λ‘ ꡬμ±λ νλ©΄μ΄ μ΄λ ν νμμ μ μν기보λ€λ μμ μμ λ‘μ΄ μ¨λμ νννκ² λ¨μΌλ‘μ¨, μκ°μ μνμ λ¬μ¬μ μ°¨μμ λ¨Έλ¬Όμ§ μλ λ νΉν νλ©΄μ ꡬμΆν΄ λ΄κ³ μλ€. ‘μ무κ²λ νκΈ°μν€μ§ μμμΌλ‘μ¨, νν μ체μ λ΄μ ꡬ쑰μ μ£Όλͺ©νκ² λλ€.’λ λͺ¨λλμ¦μ ν΄μμ μ κ°νλ©΄, μκ°μ λλ‘μμ ‘λ¬΄μμ λν μ§μ ’μ΄λΌκΈ°λ³΄λ€λ ‘κ·Έ μμ²΄λ‘ μ‘΄μ¬νλ 무μ’μ΄λΌκ³ ν μ μλ κ²μ΄λ€. μ¦, κ·Έ μ체μ μμ‘±μ±κ³Ό μκ²°μ±μ μ§λλ€λ μ μμ, κ·Έμ μνμ΄ μμ¨μ μ΄κ³ μκΈ°μκ²°μ μΈ μ±κ²©μ λ κ² λλ€κ³ νκ² λ€.
μ κ³Ό ν¨κ» μ μν¬μ μμ μμ μ€μν λΆλΆμ μ°¨μ§νλ μμλ 그리λ(Grid)μ΄λ€. κ·Έμ μμ μμ 보μ¬μ§λ 그리λλ νκ³μ ꡬμμ μλ―ΈλΌκΈ°λ³΄λ€λ νλ©΄ μ 체μ μ§μλ₯Ό λΆμ¬νλ μμλ‘ μν μμ λ Ήμλ λ€. μ°½λ¬Έ λλ¨Έμ νκ²½μ λ°λΌλ³Ό λ, μ΄λ μκ° μ°½νμ μμνμ§ μκ³ νκ²½ μ체μ λͺ°μ νκ³ μμμ λλΌκ² λλ κ²μ²λΌ, μ°λ¦¬λ κ·Έμ μνμ λ§μ£Όν λ λΆν λ λ©΄κ³Ό λ©΄μ μ§μ€νμ¬ λΆλΆμ μ§ν©μΌλ‘μ¨ μ 체λ₯Ό μΈμνλ κ²μ΄ μλλΌ λ€μ΄λλ―Ήνκ² μ§λνλ 무μν μ μ μ ν¬λ₯Ό μ 체μ νκ²½μΌλ‘μ¨ λ°μλ€μ΄κ² λλ κ²μ΄λ€. μκ°μ λ°λ₯΄λ©΄ μ΄λ¬ν 그리λλ μ νμ Έ μλ μ’ μ΄λ₯Ό νΌμ³€μ λ μκΈ΄ νμ μ νλ¦μ λ°λΌ λλ‘μ μ μ κ·Έμ΄λ³Έ κ²μΌλ‘ μμλμλ€κ³ νλ€. μ¦, κ³νλ λΆν μ΄λ μ‘°μμ μΈ νλ©΄μ ꡬνμ΄ μλμ μ μ μλ€. κ·Έλ¬λ μ΄λ¬ν μ°μ°μ±μ λμ μΌλ‘ κ·Έλ μνμ μμ κ°μ λΆμ¬ν μ μκ² λλλ°, νλνλμ λ¨μκ° μ립μ±μ μ μ§νλ©΄μ μ 체μ μ‘°νλ₯Ό 보μ΄κ³ μλ€. κ·Έλ 무νμ μ μμ?κ°μ±μ μμ?μΈμ μΈ μμλ‘μ μνμ μ¬μ©νκ³ , μμ μ μμ?κ°μ μ μμ?λ΄μ μΈ μμλ‘μ μμ§μ μ¬μ©ν¨μΌλ‘μ¨ μνμ μ§ν±νλ€κ³ μΈκΈνλ€. λ°λ νΉμ 곡기μ νλ¦μ΄λ λμ, ν₯κΈ°μ κ°μ νλ₯΄λ κ°λ μ μνμ κ³Ό νλμ λμμ΄ κ³§κ² μ μλ λ―ν μ‘΄μ¬κ°μ νκΈ°μν€λ μμ§μ μ μ‘°νλ₯Ό ν΅ν΄ μ?곡κ°μ λν μκ°μ ν΄μμ κ΄λμμκ² μκ°νκ³ μλ κ²μ΄λ€. μ μν¬μ μμ μ λ°μ μμ°λ₯΄λ ‘μ ’κ³Ό ‘그리λ’, ‘그리기’μ ‘λμ΄’μ λν κ·Έμ μ¬μ λ₯Ό μ§μμ μΌλ‘ μ¬νμμΌ λκ°κ³ μλ μκ°λ κ·Όμμ ν΅ν΄ λ€μν μμμΌλ‘ ννλ κ½μ νλ©΄μ λ΄μλ΄κ³ μλ€. μκ°κ° μ€μ μ μΌλ‘ νꡬνλ μλμ μΈ μ μ 리λ¬κ³Ό μλͺ λ ₯μ΄ λκ»΄μ§λ κ²½μΎν μμ±μ λλμ μ μ§νλ©΄μ μ΄κ²μ ꡬ체μ μΈ κ½μ νμμ κ°λ―Ένλ κ²μ΄λ€. κ½μ νμμ΄ μ΄μ°λ¬μ§ μ 체 νλ©΄μ λ°λμ νλ€λ¦¬λ μν κ°κΈ°λ νκ³ , νΌλΆλ λΉμ€κΈ°λ μΌλ μ΄λ μλ©΄μ λ¬Όκ²°κ³Ό κ°μ νΉμ ν νκ²½μ μ°μμν€κΈ°λ νλ€. κ·Έλ¬λ μ£λΆλ¦¬ κ·Έκ° λμμ μ¬νμ λ³΄λ€ λ μ¬λ μκ² λ€λ£¨λ €λ κ²μ΄λΌκ³ λ§ν μλ μλ€. κ·Έμ νλ©΄μ ꡬ체μ μΈ νκ²½μ λͺ¨λ°©νκΈ° 보λ€λ νλ©΄μ±μ μ μνκ³ , μκ°κ³Ό 곡κ°, μμ°κ³Ό μλͺ λ° μ°μ£Όμ μ§μμ λν μκ°μ μ² νμ λ΄μλ΄λ μ₯(ε ΄)μ΄κΈ° λλ¬Έμ΄λ€.
ν΄λ‘(Jackson Pollock)μ μμ μ λ리ν νμΈν (Dripping painting) κΈ°λ²μ λν΄ “λ μμ μ κ·Έλ κ² ν¨μΌλ‘μ¨ ννμ μΌλΆκ° λ λλμ΄λ€.”λΌκ³ λ§νλ€. μ΄λ¬ν ν΄λ‘μ μμ μ μ‘μ νμΈν (Action painting)μ΄λΌλ μ©μ΄λ₯Ό μ²μ μ¬μ©ν λ‘μ λ²κ·Έ(Harold Rogenberg)λ ννμ΄ νμ€μ΄λ λμμ μ¬ν?ꡬμ±?λΆν΄?νννλ 곡κ°μ΄ μλκ³ νμλ₯Ό μν κ²½κΈ°μ₯ κ°λ€κ³ μΈκΈνλ©° νμ μμ²΄κ° κ·Έ νμμ κ²°κ³Όλ‘ λ¬΄μμ΄ κ·Έλ €μ Έ μλκ°μ λ¬Έμ λ³΄λ€ μ€μν μλ―Έλ₯Ό μ§λλ€κ³ μμ€νλλ°, μ΄λ‘μ¨ νμμ ννλ μμ κ³Ό μν μ¬μ΄μ ꡬλ³μ 무λλ¨λ¦¬κ² λμλ€. μ¦, μ μν¬μ λ§μ μνλ€μ΄ ‘μ ν¬μ λλ‘μ’ λλ ‘λλ‘μ λμ΄’λΌλ μ λͺ©μ λ¬κ³ μλ κ²μ²λΌ κ·Έμ κ·Έλ¦Όμ λμμ μ¬ννκ³ μμΌλ‘ μΉ νλ κ·Έλ¦Όμ΄ μλλΌ μ μ ν΅ν΄ λ΄λ©΄μ μμ μ νμΆνκ³ ‘κ·Έλ¦°λ€’λ μκ°μ μ ν¬μ νμλ₯Ό 보μ¬μ£Όλ νμ₯λ μμ(θͺζ)λΌ ν μ μλ κ²μ΄λ€.
λΌμ΄λ λ§λ¦¬μ 릴μΌ(Rainer Maria Rilke)λ γμ μ μμΈμκ² λ³΄λ΄λ νΈμ§ Letters to a Young Poetγμμ μ¬λμ λνμ¬ λ€μκ³Ό κ°μ΄ μ μνμλ€.
“μ°λ¦¬λ μ΄λ €μ΄ κ²μ μ§μ°©νμ¬μΌ ν©λλ€. μμ°μ λͺ¨λ κ²λ€μ μ΄λ €μ΄ κ²μ 극볡ν΄μΌ μμ μ κ³ μ ν¨μ μ§λ μ μμ΅λλ€. κ³ λ ν κ²μ μ΄λ ΅κΈ° λλ¬Έμ μ’μ κ²μ λλ€. ν μ¬λμ΄ λ€λ₯Έ μ¬λμ μ¬λνλ κ²λ μ΄λ ΅κΈ° λλ¬Έμ μ’μ κ²μ λλ€. μλ§λ λ΄κ° μκΈ°μ κ·Έκ²μ κ°μ₯ μ΄λ €μ΄ μΌμ΄κ³ λ€λ₯Έ λͺ¨λ νμλ κ·Έ μ€λΉ κ³Όμ μ λΆκ³Όν©λλ€. μ μμ΄λ€μ λͺ¨λ μΌμ μ΄λ³΄μμ΄κΈ° λλ¬Έμ μμ§ μ λλ‘ μ¬λν μ€μ λͺ¨λ¦ λλ€. κ·Έλ¬λ λ°°μμΌ ν©λλ€. λͺ¨λ μ‘΄μ¬λ₯Ό λ°μ³ μΈλ‘κ³ μμ€κ³ λκ·Όλλ κ°μ΄μΌλ‘ μ¬λμ λ°°μμΌ ν©λλ€. μ¬λμ μ΄κΈ° λ¨κ³μμλ λ€λ₯Έ μ¬λκ³Όμ ν©μΌ, μ‘°νκ° μλλλ€. μ¬λμ μ°μ νλ‘ μ±μν΄μ§κ³ λμ μκΈ° μ€μ€λ‘λ₯Ό μν΄μ, κ·Έλ¦¬κ³ λ€λ₯Έ μ¬λμ μν΄ νλμ μΈκ³κ° λλ κ²μ λλ€."
λκ΅°κ°λ₯Ό μ¬λνκΈ° μν μ격μ κ°μΆκΈ° μν΄μ μκΈ° μ€μ€λ‘μ μ±μν μΈκ³λ₯Ό μ΄λ£¨μ΄μΌ νλ€λ 릴μΌμ ννμ μ μν¬μ μμ μμ 그리λμ μν΄ λ§λ€μ΄μ§ μμ λ©΄κ³Ό λ©΄μ΄ λͺ¨μ¬μ μ΄λ£¨μ΄λ΄λ νλμ μΈκ³λ₯Ό λ μ¬λ¦¬κ² ν΄μ€λ€. λͺΈμ μμ§μμ λ°λΌκ°λ λ―ν μ μ μ¨λκ³Ό κ·Έκ²μΌλ‘ μ΄λ£¨μ΄μ§ μμ°μ€λ¬μ΄ λΆλΆλ€, κ·Έ μμ λΆλΆλ€μ μ체μ μΌλ‘ νλμ μκ²°μ 보μ΄λ©΄μ λ€λ₯Έ λΆλΆλ€λ‘ μ°κ²°λλ νλ¦μ νμ±νκ³ μ΄λ‘μ¨ μ 체μ μ‘°νλ₯Ό μ΄λμ΄λΈλ€. μ΄λ¬ν λΆλΆκ³Ό λΆλΆ, λΆλΆκ³Ό μ 체μ νλͺ¨λλ λ¬μ¬λ λͺ¨λ°©μ κΈ°λ₯μ λ²μ΄λ μμ¨μ μμ λλ‘μμ μ ν¬λ₯Ό μ¦κΈ°λ μκ°μ μμκ³Ό μ 체μ μ°μ₯μ 보μ¬μ£Όκ³ μλ κ²μ΄λΌ νκ² λ€. κ²°κ΅ μ μν¬μ λλ‘μ μ ν¬(Play with drawing)λ 주체μ κ°μ²΄, κ΄λμμ μν λ° μκ°μ μμ μ¬μ΄μ μ¦κ±°μ΄ μν΅μ΄μ μλͺ , μ¬λκ³Ό κ°μ κ·Όμμ λ¬Έμ μ λν΄ νꡬνκ³ μ νλ μκ°μ μ¬μ λ₯Ό λλ¬λ΄κ³ μλ κ²μ΄λ€.
PLAY WITH DRAWING - Yoon Moonsun / Curator of Gallery SP
Today, a huge installation work with newest equipment and high technology is showed in a museum, and many people research new media and updated technology as if they think it can be a virtue of contemporary art to try various methods for art and integrate high technology with it. Therefore, art can exceed the limit of media and the field of expression as well as the methods of it becomes expanded. However, nostalgia about painted canvas with smells of oil, acrylic and other dyes has an influence both on artists and audiences, because the passion for something new can be burned quickly and disappeared easily, but the analogue desire for traditional paintings lasts constantly.
Young-hee You is one of the artists who inherits the tradition of modern paintings and develop it. Her works aren't for representing real objects, but they display the joy of action in 'drawing' along with brilliant colors and dynamic movement of lines. And her works reveal the character of paintings purely as showing flatness of canvas in which abstraction harmonizes with expression. The best way to start understanding her works of art is through getting the meanings of two important factors; one is the lines. She takes the lines to follow the natural movement of her body that is primitive and basic without awakening the conscience or reason in order to understand that which is physically not visible, all without the sense of time. The free lines from function of representation and sketch show vital rhythm through the change, variation, overlap, repetition of them. And the canvas maintains order although the lines are liberal, because they are not out of control but they manage themselves consciously in canvas. The surfaces of her works which are composed of lots of various and colorful lines show natural rhythms, so they can express unique scene without reproduction of real objects and spaces. Concerning the sentence 'modernist painting makes people pay attention just the work, not the illusion on it, by virtue of the frankness with which it declared the surfaces on which it is painted', her drawings are what exist just as they are, not for showing something on them. The other important factor is grid. The grid on her works means the element for keeping order of the space on canvas, not for defining the boundary or restricting the surface. When we look out a scenery over the window, we suddenly found we cannot recognize the obstacle between the scene and us. As the example, we don't concentrate the partition and grid, and neither we see each part of the separated surface divided by grid. In other works, we can understand the whole picture in which dynamic lines are overflowing with pleasurable activities. Next she flattens many shapes which form into a square and organizes them in both horizontal and vertical directions. She previously presented this idea in her thesis as follows:
"The element of infinity, and the element of senses-the elements of the exterior-are incorporated into the horizontal while the vertical that supports the horizontal incorporates the inner elements of stability and emotions. The horizontal direction denotes concepts that flow such as the horizons of the water and the land, the waves and the wind where as the vertical represents standing people, buildings and mountains, the concept of 'existence'. In sum, when the vertical and horizontal directions coexist, the whole universe exists."
Young-hee You is keeping her researches for 'lines', 'grid' and 'play with drawing', and she shows cheerful canvas with diverse colorful flowers as well as dynamic rhythm from free lines. The canvas of her work in which lines and brilliant colors enjoy the freedom is the place containing the philosophy of her about time, space and universal order.
Jackson Pollock said about his 'dripping painting' that he felt himself had become a part of his painting through it. Harold Rogenberg, who named Pollock's ways 'Action painting' for the first time, said
"At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, redesign, analyse or 'express' an object, actual or imagined. What was to go on the canvas was not a picture but an event. (…) What matters always is the revelation contained in the act. It is to be taken for granted that in the final effect, the image, whatever be or be no in it, will be a tension."(Harold Rosenberg, "American Action Painters",1952) As he said, "The new painting has broken down every distinction between art and life."
Most titles of Young-hee You's works are 'Play with Drawing'. That means her works are not the painted canvases representing any objects but herself, the expanded individual artist, as they reveal her mind and thought by the lines on them and show just her action in playing with drawing.
Rainer Maria Rilke(1875~1926) defined 'love' in his bookγLetters to a Young Poetγ as follows:
"Most people have (with the help of conventions) turned their solutions toward what is easy and toward the easiest side of the easy; but it is clear that we must trust in what is difficult; everything alive trusts in it, everything in Nature grows and defends itself any way it can and is spontaneously itself, tries to be itself at all costs and against all opposition. We know little, but that we must trust in what is difficult is a certainty that will never abandon us; it is good to be solitary, for solitude is difficult; that something is difficult must be one more reason for us to do it.
It is also good to love: because love is difficult. For one human being to love another human being: that is perhaps the most difficult task that has been entrusted to us, the ultimate task, the final test and proof, the work for which all other work is merely preparation. That is why young people, who are beginners in everything, are not yet capable of love: it is something they must learn. With their whole being, with all their forces, gathered around their solitary, anxious, upward-beating heart, they must learn to love. But learning-time is always a long, secluded time ahead and far on into life, is - ; solitude, a heightened and deepened kind of aloneness for the person who loves. Loving does not at first mean merging, surrendering, and uniting with another person (for what would a union be of two people who are unclarified, unfinished, and still incoherent - ?), it is a high inducement for the individual to ripen, to become something in himself, to become world, to become world in himself for the sake of another person(…)"
According to Rilke, people must make themselves ripen for qualification to love someone, which reminds a world in Young-hee You's work constructed with small parts of surfaces divided by grid. And lines' rhythm following the movement of body, the surface and parts organized with them, and the parts themselves show completion and establish the flows on the whole surface. Then, the space of her work get in harmony. This shows herself like her thought as well as expanded body which is playing with drawing and enjoying the action. In conclusion, Young-hee You's 'play with drawing' is the pleasurable communication between the subject and the object, audiences and the artist and art and her. And it also expresses the philosophy through continuous studies about the essential themes including life and love.
Play with drawing, Deep Blue, 189x93cm Acrylic,Oil pastel on paper, 1999
Play with drawing, Deep Blue, 189x93cm Acrylic,Oil pastel on paper, 1999
Play with drawing, Deep Blue, 189x93cm Acrylic,Oil pastel on paper, 1999
Play with drawing, Deep Blue, 189x93cm Acrylic,Oil pastel on paper, 1999
Play with drawing, Deep Blue, 189x93cm Acrylic,Oil pastel on paper, 1999
Play with drawing, Deep Blue, 189x93cm Acrylic,Oil pastel on paper, 1999
Play with drawing, 63x47cm, Conte, Pigment black on Paper, 2005
Play with drawing, 63x47cm, Conte, Pigment black on Paper, 2005
Play with drawing, 63x47cm, Conte, Pigment black on Paper, 2005
Play with drawing, 63x47cm, Conte, Pigment black on Paper, 2005
Play with drawing, 63x47cm, Conte, Pigment black on Paper, 2005
Play with drawing, 63x47cm, Conte, Pigment black on Paper, 2005
Play with drawing, 144x74cm, Acrylic, Drawing Pencil on Paper, 1999
Play with drawing, 144x74cm, Acrylic, Drawing Pencil on Paper, 1999
Play with drawing, 144x74cm, Acrylic, Drawing Pencil on Paper, 1999
Play with drawing, 144x74cm, Acrylic, Drawing Pencil on Paper, 1999
Play with Drawing, 183x120cm, Acrylic, Conte, Oil pastel on paper 2004
Play with Drawing, 183x120cm, Acrylic, Conte, Oil pastel on paper 2004
Play with Drawing, 183x120cm, Acrylic, Conte, Oil pastel on paper 2004
Play with Drawing, 183x120cm, Acrylic, Conte, Oil pastel on paper 2004
Play with Drawing, 183x120cm, Acrylic, Conte, Oil pastel on paper 2004
Play with Drawing, 183x120cm, Acrylic, Conte, Oil pastel on paper 2004