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유영희

λ“œλ‘œμž‰μ˜ 유희 - μœ€λ¬Έμ„  / GALLERY SP


μ˜€λŠ˜λ‚ , μ΅œμ‹  μž₯비와 μ‹ κΈ°μˆ λ‘œ 무μž₯ν•œ μ΄ˆλŒ€ν˜•μ˜ μ„€μΉ˜μž‘ν’ˆμ΄ λ―Έμˆ κ΄€μ˜ μ „μ‹œμ‹€μ„ μ°¨μ§€ν•˜κ³ , λ‹€μ–‘ν•œ 방법을 μ‹œλ„ν•΄λ³΄λŠ” 것이 ν˜„λŒ€λ―Έμˆ μ˜ 미덕이라도 λ˜λŠ” λ“― μƒˆλ‘œμš΄ 맀체와 κΈ°μˆ μ— λŒ€ν•΄ λ§Žμ€ 연ꡬ가 이루어지고 μžˆλ‹€. 미술이 첨단 κ³Όν•™κ³Ό μ ‘λͺ©μ„ μ‹œλ„ν•¨μœΌλ‘œμ¨ 맀체적 ν•œκ³„λŠ” κ±°λΆ€λ˜κ³ , κ·Έ ν‘œν˜„μ˜μ—­κ³Ό ν‘œν˜„λ°©μ‹μ΄ 점점 더 ν™•μž₯λ˜μ–΄κ°€κ³  μžˆλŠ” 것이닀. κ·ΈλŸ¬λ‚˜ λΉ λ₯΄κ²Œ λ³€ν™”ν•˜λŠ” μ˜€λŠ˜λ‚ μ— μžˆμ–΄μ„œλ„ 물감 λƒ„μƒˆλ‚˜λŠ” ν‰λ©΄μ˜ νšŒν™”λŠ” μž‘κ°€μ™€ κ΄€λžŒμžμ—κ²Œ μœ νš¨ν•œ 맀체라고 ν•  수 μžˆλ‹€. μƒˆλ‘œμ›€μ— λŒ€ν•œ μš•λ§κ³Ό 열정은 μ‰½κ²Œ νƒ€μ˜€λ₯Έ 만큼 μ‰½κ²Œ 사그라듀 μˆ˜λ„ μžˆλŠ” κ²ƒμ΄μ§€λ§Œ, νšŒν™”μ— λŒ€ν•œ μ•„λ‚ λ‘œκ·Έμ  μš•λ§μ€ 우리 마음 κΉŠμˆ™μ΄μ— μžλ¦¬μž‘μ•„ μ‰½κ²Œ 사라지지 μ•ŠλŠ” 것이기 λ•Œλ¬Έμ΄λ‹€.

μœ μ˜ν¬λŠ” μ΄λŸ¬ν•œ νšŒν™”λ₯Ό κ³„μŠΉν•˜κ³  λ°œμ „μ‹œμΌœκ°€λŠ” μž‘κ°€ 쀑 ν•œλͺ…이닀. ν™”λ €ν•œ 색채와 역동적인 μ„ μ˜ μœ¨λ™μ„ λ³΄μ—¬μ£ΌλŠ” 그의 μž‘μ—…μ€ λŒ€μƒμ˜ μž¬ν˜„μ„ μœ„ν•œ 것이 μ•„λ‹ˆλΌ ‘그리기’λΌλŠ” ν–‰μœ„ 자체의 즐거움을 μ œμ‹œν•œλ‹€. λ˜ν•œ 좔상성과 ν‘œν˜„μ„±μ΄ μ‘°ν™”λœ 화면은 평면성을 ν™˜κΈ°μ‹œμΌœμ€ŒμœΌλ‘œμ¨ νšŒν™”λΌλŠ” 맀체의 속성을 μˆœμˆ˜ν•˜κ²Œ λ“œλŸ¬λ‚Έλ‹€. 

유영희의 μž‘μ—…μ„ 이해함에 μžˆμ–΄μ„œ 크게 λ‘κ°€μ§€μ˜ μ€‘μš”ν•œ μš”μ†Œλ₯Ό λ“€ 수 μžˆλŠ”λ° κ·Έ 쀑 ν•˜λ‚˜λŠ” μ„ (線)이닀. κ·ΈλŠ” 사전에 κ³„νšλœ 논리적이고 합리적인 μ„ λ³΄λ‹€λŠ” λͺΈμ˜ μ›€μ§μž„μ— 따라 유기적으둜 μ›€μ§μ΄λŠ” λ“―ν•œ 자율적인 선을 μ‚¬μš©ν•˜λŠ” μͺ½μ— 무게λ₯Ό λ‘”λ‹€. λŒ€μƒμ˜ μž¬ν˜„μ΄λ‚˜ λ°‘κ·Έλ¦Όκ³Ό 같은 κΈ°λŠ₯μ—μ„œ ν•΄λ°©λœ 자유둜운 선은 κ΅΅κΈ°λ‚˜ μ†λ„μ˜ λ³€ν™”, κ²ΉμΉ¨, 반볡 등을 톡해 생λͺ…λ ₯ μžˆλŠ” μœ¨λ™κ°μ„ ν‘œν˜„ν•œλ‹€. μ΄λŸ¬ν•œ μ„ μ˜ μœ¨λ™μ€ λ‚œλ¬΄ν•˜μ§€ μ•Šκ³  μžμœ λ‘œμ›€ 속에 μ§ˆμ„œλ₯Ό κ°–μΆ”κ³  μžˆμŒμ„ κΉ¨λ‹«κ²Œ λ˜λŠ”λ°, μ΄λŠ” ν†΅μ œκ°€ μ—†λŠ” 것이 μ•„λ‹Œ ‘μ˜μ‹μ˜ 쑰정을 κ±°μΉ˜λŠ” μžλ°œμ„±μ˜ ν‘œν˜„λ°©λ²•’μž„μ„ μ•Œ 수 μžˆλ‹€. μ΄μ²˜λŸΌ λ‹€μ±„λ‘œμš΄ μƒ‰μ˜ μ„ λ“€λ‘œ κ΅¬μ„±λœ 화면이 μ–΄λ– ν•œ ν˜•μƒμ„ μ œμ‹œν•˜κΈ°λ³΄λ‹€λŠ” μƒ‰μ˜ 자유둜운 μœ¨λ™μ„ ν‘œν˜„ν•˜κ²Œ 됨으둜써, μž‘κ°€μ˜ μž‘ν’ˆμ€ λ¬˜μ‚¬μ˜ 차원에 λ¨Έλ¬Όμ§€ μ•ŠλŠ” λ…νŠΉν•œ 화면을 ꡬ좕해 λ‚΄κ³  μžˆλ‹€. ‘아무것도 ν™˜κΈ°μ‹œν‚€μ§€ μ•ŠμŒμœΌλ‘œμ¨, νšŒν™” 자체의 내적 ꡬ쑰에 μ£Όλͺ©ν•˜κ²Œ λœλ‹€.’λŠ” λͺ¨λ”λ‹ˆμ¦˜μ  해석에 μž…κ°ν•˜λ©΄, μž‘κ°€μ˜ λ“œλ‘œμž‰μ€ ‘무엇에 λŒ€ν•œ μ§„μˆ ’μ΄λΌκΈ°λ³΄λ‹€λŠ” ‘κ·Έ 자체둜 μ‘΄μž¬ν•˜λŠ” 무엇’이라고 ν•  수 μžˆλŠ” 것이닀. 즉, κ·Έ 자체의 μžμ‘±μ„±κ³Ό 완결성을 μ§€λ‹Œλ‹€λŠ” μ μ—μ„œ, 그의 μž‘ν’ˆμ΄ 자율적이고 μžκΈ°μ™„κ²°μ μΈ 성격을 띠게 λœλ‹€κ³  ν•˜κ² λ‹€.

μ„ κ³Ό ν•¨κ»˜ 유영희의 μž‘μ—…μ—μ„œ μ€‘μš”ν•œ 뢀뢄을 μ°¨μ§€ν•˜λŠ” μš”μ†ŒλŠ” κ·Έλ¦¬λ“œ(Grid)이닀. 그의 μž‘μ—…μ—μ„œ λ³΄μ—¬μ§€λŠ” κ·Έλ¦¬λ“œλŠ” ν•œκ³„μ™€ κ΅¬μ†μ˜ μ˜λ―ΈλΌκΈ°λ³΄λ‹€λŠ” ν™”λ©΄ 전체에 μ§ˆμ„œλ₯Ό λΆ€μ—¬ν•˜λŠ” μš”μ†Œλ‘œ μž‘ν’ˆ μ•ˆμ— λ…Ήμ•„λ“ λ‹€. μ°½λ¬Έ λ„ˆλ¨Έμ˜ 풍경을 바라볼 λ•Œ, μ–΄λŠ μˆœκ°„ 창틀을 μ˜μ‹ν•˜μ§€ μ•Šκ³  풍경 μžμ²΄μ— λͺ°μž…ν•˜κ³  μžˆμŒμ„ 느끼게 λ˜λŠ” κ²ƒμ²˜λŸΌ, μš°λ¦¬λŠ” 그의 μž‘ν’ˆμ„ λ§ˆμ£Όν•  λ•Œ λΆ„ν• λœ λ©΄κ³Ό 면에 μ§‘μ€‘ν•˜μ—¬ λΆ€λΆ„μ˜ μ§‘ν•©μœΌλ‘œμ¨ 전체λ₯Ό μΈμ‹ν•˜λŠ” 것이 μ•„λ‹ˆλΌ λ‹€μ΄λ‚˜λ―Ήν•˜κ²Œ μ§„λ™ν•˜λŠ” λ¬΄μˆ˜ν•œ μ„ μ˜ 유희λ₯Ό 전체적 ν’κ²½μœΌλ‘œμ¨ λ°›μ•„λ“€μ΄κ²Œ λ˜λŠ” 것이닀. μž‘가에 λ”°λ₯΄λ©΄ μ΄λŸ¬ν•œ κ·Έλ¦¬λ“œλŠ” μ ‘ν˜€μ Έ 있던 쒅이λ₯Ό νŽΌμ³€μ„ λ•Œ 생긴 ν”μ μ˜ 흐름을 따라 λ“œλ‘œμž‰ 선을 κ·Έμ–΄λ³Έ κ²ƒμœΌλ‘œ μ‹œμž‘λ˜μ—ˆλ‹€κ³  ν•œλ‹€. 즉, κ³„νšλœ λΆ„ν• μ΄λ‚˜ μ‘°μž‘μ μΈ ν™”λ©΄μ˜ ꡬ획이 μ•„λ‹˜μ„ μ•Œ 수 μžˆλ‹€. κ·ΈλŸ¬λ‚˜ μ΄λŸ¬ν•œ μš°μ—°μ„±μ˜ λ„μž…μœΌλ‘œ κ·ΈλŠ” μž‘ν’ˆμ— μ•ˆμ •κ°μ„ λΆ€μ—¬ν•  수 있게 λ˜λŠ”λ°, ν•˜λ‚˜ν•˜λ‚˜μ˜ λ‹¨μœ„κ°€ μžλ¦½μ„±μ„ μœ μ§€ν•˜λ©΄μ„œ 전체적 μ‘°ν™”λ₯Ό 보이고 μžˆλ‹€. κ·ΈλŠ” λ¬΄ν•œμ •μ˜ μš”μ†Œ?κ°μ„±μ˜ μš”μ†Œ?외적인 μš”μ†Œλ‘œμ„œ μˆ˜ν‰μ„ μ‚¬μš©ν•˜κ³ , μ•ˆμ •μ˜ μš”μ†Œ?κ°μ •μ˜ μš”μ†Œ?내적인 μš”μ†Œλ‘œμ„œ μˆ˜μ§μ„ μ‚¬μš©ν•¨μœΌλ‘œμ¨ μˆ˜ν‰μ„ μ§€νƒ±ν•œλ‹€κ³  μ–ΈκΈ‰ν–ˆλ‹€. λ°”λžŒ ν˜Ήμ€ 곡기의 νλ¦„μ΄λ‚˜ λƒ„μƒˆ, ν–₯기와 같은 흐λ₯΄λŠ” κ°œλ…μ˜ μˆ˜ν‰μ„ κ³Ό ν•˜λ‚˜μ˜ λŒ€μƒμ΄ 곧게 μ„œ μžˆλŠ” λ“―ν•œ μ‘΄μž¬κ°μ„ ν™˜κΈ°μ‹œν‚€λŠ” μˆ˜μ§μ„ μ˜ μ‘°ν™”λ₯Ό 톡해 μ‹œ?곡간에 λŒ€ν•œ μž‘κ°€μ˜ 해석을 κ΄€λžŒμžμ—κ²Œ μ†Œκ°œν•˜κ³  μžˆλŠ” 것이닀. 유영희의 μž‘μ—… μ „λ°˜μ„ μ•„μš°λ₯΄λŠ” ‘μ„ ’κ³Ό ‘κ·Έλ¦¬λ“œ’, ‘그리기’와 ‘놀이’에 λŒ€ν•œ 그의 μ‚¬μœ λ₯Ό μ§€μ†μ μœΌλ‘œ μ‹¬ν™”μ‹œμΌœ λ‚˜κ°€κ³  μžˆλŠ” μž‘κ°€λŠ” κ·Όμž‘μ„ 톡해 λ‹€μ–‘ν•œ μƒ‰μƒμœΌλ‘œ ν‘œν˜„λœ 꽃을 화면에 λ‹΄μ•„λ‚΄κ³  μžˆλ‹€. μž‘κ°€κ°€ μ€‘μ μ μœΌλ‘œ νƒκ΅¬ν•˜λŠ” 역동적인 μ„ μ˜ 리듬과 생λͺ…λ ₯이 λŠκ»΄μ§€λŠ” κ²½μΎŒν•œ μƒ‰μ±„μ˜ λŠλ‚Œμ€ μœ μ§€ν•˜λ©΄μ„œ 이것에 ꡬ체적인 κ½ƒμ˜ ν˜•μƒμ„ κ°€λ―Έν•˜λŠ” 것이닀. κ½ƒμ˜ ν˜•μƒμ΄ μ–΄μš°λŸ¬μ§„ 전체 화면은 λ°”λžŒμ— ν”λ“€λ¦¬λŠ” μˆ˜ν’€ 같기도 ν•˜κ³ , νΌλΆ“λŠ” λΉ—μ€„κΈ°λ‚˜ μΌλ μ΄λŠ” 수면의 λ¬Όκ²°κ³Ό 같은 νŠΉμ •ν•œ 풍경을 μ—°μƒμ‹œν‚€κΈ°λ„ ν•œλ‹€. κ·ΈλŸ¬λ‚˜ μ„£λΆˆλ¦¬ κ·Έκ°€ λŒ€μƒμ˜ μž¬ν˜„μ„ 보닀 더 심도 있게 λ‹€λ£¨λ €λŠ” 것이라고 말할 μˆ˜λŠ” μ—†λ‹€. 그의 화면은 ꡬ체적인 풍경을 λͺ¨λ°©ν•˜κΈ° λ³΄λ‹€λŠ” 평면성을 μ œμ‹œν•˜κ³ , μ‹œκ°„κ³Ό 곡간, μžμ—°κ³Ό 생λͺ… 및 우주적 μ§ˆμ„œμ— λŒ€ν•œ μž‘κ°€μ˜ 철학을 λ‹΄μ•„λ‚΄λŠ” μž₯(ε ΄)이기 λ•Œλ¬Έμ΄λ‹€.

폴둝(Jackson Pollock)은 μžμ‹ μ˜ λ“œλ¦¬ν•‘ νŽ˜μΈνŒ…(Dripping painting) 기법에 λŒ€ν•΄ “λ‚˜ μžμ‹ μ€ κ·Έλ ‡κ²Œ ν•¨μœΌλ‘œμ¨ νšŒν™”μ˜ 일뢀가 된 λŠλ‚Œμ΄λ‹€.”라고 λ§ν–ˆλ‹€. μ΄λŸ¬ν•œ 폴둝의 μž‘μ—…μ— μ•‘μ…˜ νŽ˜μΈνŒ…(Action painting)μ΄λΌλŠ” μš©μ–΄λ₯Ό 처음 μ‚¬μš©ν•œ λ‘œμ  λ²„κ·Έ(Harold Rogenberg)λŠ” 화폭이 ν˜„μ‹€μ΄λ‚˜ λŒ€μƒμ„ μž¬ν˜„?ꡬ성?λΆ„ν•΄?ν‘œν˜„ν•˜λŠ” 곡간이 μ•„λ‹ˆκ³  ν–‰μœ„λ₯Ό μœ„ν•œ κ²½κΈ°μž₯ κ°™λ‹€κ³  μ–ΈκΈ‰ν•˜λ©° ν–‰μœ„ μžμ²΄κ°€ κ·Έ ν–‰μœ„μ˜ 결과둜 무엇이 κ·Έλ €μ Έ μžˆλŠ”κ°€μ˜ λ¬Έμ œλ³΄λ‹€ μ€‘μš”ν•œ 의미λ₯Ό μ§€λ‹Œλ‹€κ³  μ—­μ„€ν–ˆλŠ”λ°, 이둜써 ν–‰μœ„μ˜ νšŒν™”λŠ” 예술과 μƒν™œ μ‚¬μ΄μ˜ ꡬ별을 λ¬΄λ„ˆλœ¨λ¦¬κ²Œ λ˜μ—ˆλ‹€. 즉, 유영희의 λ§Žμ€ μž‘ν’ˆλ“€μ΄ ‘유희적 λ“œλ‘œμž‰’ λ˜λŠ” ‘λ“œλ‘œμž‰ 놀이’λΌλŠ” 제λͺ©μ„ 달고 μžˆλŠ” κ²ƒμ²˜λŸΌ 그의 그림은 λŒ€μƒμ„ μž¬ν˜„ν•˜κ³  μƒ‰μœΌλ‘œ μΉ ν•˜λŠ” 그림이 μ•„λ‹ˆλΌ 선을 톡해 내면적 μžμ‹ μ„ ν‘œμΆœν•˜κ³  ‘κ·Έλ¦°λ‹€’λŠ” μž‘κ°€μ˜ 유희적 ν–‰μœ„λ₯Ό λ³΄μ—¬μ£ΌλŠ” ν™•μž₯된 μžμ•„(θ‡ͺζˆ‘)라 ν•  수 μžˆλŠ” 것이닀.

λΌμ΄λ„ˆ λ§ˆλ¦¬μ•„ 릴케(Rainer Maria Rilke)λŠ” γ€Šμ Šμ€ μ‹œμΈμ—κ²Œ λ³΄λ‚΄λŠ” νŽΈμ§€ Letters to a Young Poetγ€‹μ—μ„œ μ‚¬λž‘μ— λŒ€ν•˜μ—¬ λ‹€μŒκ³Ό 같이 μ •μ˜ν•˜μ˜€λ‹€.

“μš°λ¦¬λŠ” μ–΄λ €μš΄ 것에 μ§‘μ°©ν•˜μ—¬μ•Ό ν•©λ‹ˆλ‹€. μžμ—°μ˜ λͺ¨λ“  것듀은 μ–΄λ €μš΄ 것을 극볡해야 μžμ‹ μ˜ κ³ μœ ν•¨μ„ 지닐 수 μžˆμŠ΅λ‹ˆλ‹€. κ³ λ…ν•œ 것은 μ–΄λ ΅κΈ° λ•Œλ¬Έμ— 쒋은 κ²ƒμž…λ‹ˆλ‹€. ν•œ μ‚¬λžŒμ΄ λ‹€λ₯Έ μ‚¬λžŒμ„ μ‚¬λž‘ν•˜λŠ” 것도 μ–΄λ ΅κΈ° λ•Œλ¬Έμ— 쒋은 κ²ƒμž…λ‹ˆλ‹€. μ•„λ§ˆλ„ λ‚΄κ°€ μ•ŒκΈ°μ— 그것은 κ°€μž₯ μ–΄λ €μš΄ 일이고 λ‹€λ₯Έ λͺ¨λ“  ν–‰μœ„λŠ” κ·Έ μ€€λΉ„ 과정에 λΆˆκ³Όν•©λ‹ˆλ‹€. μ Šμ€μ΄λ“€μ€ λͺ¨λ“  일에 초보자이기 λ•Œλ¬Έμ— 아직 μ œλŒ€λ‘œ μ‚¬λž‘ν•  쀄을 λͺ¨λ¦…λ‹ˆλ‹€. κ·ΈλŸ¬λ‚˜ λ°°μ›Œμ•Ό ν•©λ‹ˆλ‹€. λͺ¨λ“  쑴재λ₯Ό 바쳐 μ™Έλ‘­κ³  수쀍고 λ‘κ·ΌλŒ€λŠ” κ°€μŠ΄μœΌλ‘œ μ‚¬λž‘μ„ λ°°μ›Œμ•Ό ν•©λ‹ˆλ‹€. μ‚¬λž‘μ€ 초기 λ‹¨κ³„μ—μ„œλŠ” λ‹€λ₯Έ μ‚¬λžŒκ³Όμ˜ 합일, μ‘°ν™”κ°€ μ•„λ‹™λ‹ˆλ‹€. μ‚¬λž‘μ€ μš°μ„  ν™€λ‘œ μ„±μˆ™ν•΄μ§€κ³  λ‚˜μ„œ 자기 슀슀둜λ₯Ό μœ„ν•΄μ„œ, 그리고 λ‹€λ₯Έ μ‚¬λžŒμ„ μœ„ν•΄ ν•˜λ‚˜μ˜ 세계가 λ˜λŠ” κ²ƒμž…λ‹ˆλ‹€."

λˆ„κ΅°κ°€λ₯Ό μ‚¬λž‘ν•˜κΈ° μœ„ν•œ μžκ²©μ„ κ°–μΆ”κΈ° μœ„ν•΄μ„œ 자기 슀슀둜의 μ„±μˆ™ν•œ 세계λ₯Ό 이루어야 ν•œλ‹€λŠ” λ¦΄μΌ€μ˜ ν‘œν˜„μ€ 유영희의 μž‘μ—…μ—μ„œ κ·Έλ¦¬λ“œμ— μ˜ν•΄ λ§Œλ“€μ–΄μ§„ μž‘μ€ λ©΄κ³Ό 면이 λͺ¨μ—¬μ„œ μ΄λ£¨μ–΄λ‚΄λŠ” ν•˜λ‚˜μ˜ 세계λ₯Ό λ– μ˜¬λ¦¬κ²Œ ν•΄μ€€λ‹€. λͺΈμ˜ μ›€μ§μž„μ— λ”°λΌκ°€λŠ” λ“―ν•œ μ„ μ˜ μœ¨λ™κ³Ό κ·Έκ²ƒμœΌλ‘œ 이루어진 μžμ—°μŠ€λŸ¬μš΄ λΆ€λΆ„λ“€, κ·Έ μž‘μ€ 뢀뢄듀은 자체적으둜 ν•˜λ‚˜μ˜ 완결을 λ³΄μ΄λ©΄μ„œ λ‹€λ₯Έ λΆ€λΆ„λ“€λ‘œ μ—°κ²°λ˜λŠ” 흐름을 ν˜•μ„±ν•˜κ³  이둜써 μ „μ²΄μ˜ μ‘°ν™”λ₯Ό μ΄λŒμ–΄λ‚Έλ‹€. μ΄λŸ¬ν•œ λΆ€λΆ„κ³Ό λΆ€λΆ„, λΆ€λΆ„κ³Ό μ „μ²΄μ˜ ν•˜λͺ¨λ‹ˆλŠ” λ¬˜μ‚¬λ‚˜ λͺ¨λ°©μ˜ κΈ°λŠ₯을 λ²—μ–΄λ‚œ 자율적 순수 λ“œλ‘œμž‰μ˜ 유희λ₯Ό μ¦κΈ°λŠ” μž‘κ°€μ˜ μ˜μ‹κ³Ό μ‹ μ²΄μ˜ μ—°μž₯을 보여주고 μžˆλŠ” 것이라 ν•˜κ² λ‹€. κ²°κ΅­ 유영희의 λ“œλ‘œμž‰ 유희(Play with drawing)λŠ” 주체와 객체, κ΄€λžŒμžμ™€ μž‘ν’ˆ 및 μž‘κ°€μ™€ 예술 μ‚¬μ΄μ˜ 즐거운 μ†Œν†΅μ΄μž 생λͺ…, μ‚¬λž‘κ³Ό 같은 근원적 λ¬Έμ œμ— λŒ€ν•΄ νƒκ΅¬ν•˜κ³ μž ν•˜λŠ” μž‘κ°€μ˜ μ‚¬μœ λ₯Ό λ“œλŸ¬λ‚΄κ³  μžˆλŠ” 것이닀.



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 bookγ€ŠLetters to a Young Poet》 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.

Address

30, Hoenamu-ro 44ga-gil, Yongsan-gu, Seoul, 04346, Korea
04346 μ„œμšΈμ‹œ μš©μ‚°κ΅¬ νšŒλ‚˜λ¬΄λ‘œ 44κ°€κΈΈ 30


Phone 82 2 546 3560 / Fax 82 2 546 3556

E-mail gallerysp.info@gmail.com


Gallery Hours 

Tuesday to Saturday_10am - 6pm

Sunday_Appointment Only 

Closed on Monday, New Year's day, Thanksgiving day


Director 이 은 μˆ™ / EUNSOOK LEE