Visage (面相 면상)
Projection Mapping on 3 D facial rear Screen (Glass) 30*80*180 cm, 2016
작가는 오래전부터 portrait에 관심이 많았다.
‘인간의 존재’의 가장 많은 감성이 드러나는 곳
얼굴이다.
유화를 배울 때부터 미술관에서 보던 명화의 대부분이 ‘초상’이었고
그걸 볼 때마다 작가는 그 생명력이 담긴 회화에서 드러나는 존재감에 경외하였다.
초상에 담겨 있는 인물의 눈빛은 관객을 사로잡고 말을 건네 온다.
각기 다른 콧날은 오만한 모습이거나 선하기도하고 강직하거나 때론 비굴함을 느낄 때도 있었다.
부드러우면서도 습기 찬 입술, 다양한 빛깔로 변하는 뺨, 부드럽거나 강한 목선, 짙은 눈썹은 그 위치와 형태에 따라 수많은 감성이 은은히 드러난다.
오래 볼수록 그 꺼풀은 천천히 벗겨지며 바로 그 사람을 겪은 듯 찬란한 인생과 역정의 슬픔을 느낀다.
정말 신나는 ‘감상품’이었다. 작가도 화필을 통해 인간의 모습으로부터 느껴질 수 있는 인물을 많이 그렸었고 스스로 만족했었다.
비디오 아트를 접한 이후로 일반적인 비디오 아트 보다는 움직이고 살아 있는 비디오 작품이 될 수 있는 작품에 몰두하였는데
그 방법이 kinetic video 와 3차원 프로젝션 매핑이었다. 95년도에 시도한 비디오 설치에서
인물만을 프로젝션 매핑 하게 된 것은 2oo2년도에 처음 시작하였다.
고열로 가공한 유리를 사용하여 만들게 된 작품이 [visage]이다.
이 부조의 유리 판을 사용한 이유는 미스터리한 존재감이 허공에서 홀로그램처럼 강한 존재감을 뿜어내는 것을 의도하였기 때문이다.
프로젝션 되는 빛이 허공으로 뿜어져 나와 유리판 릴리프(relief)에 상이 맺히는 것은 빛이 이세상을 가시화하는 현존의 形而上學(metaphysic)이다.
존재했으나 부재하는 것 또는 지속하는 현존의 증거이며 그 당시의 감성이다.
영원성이 배제된 인간의 한시성(限時性, ephemera)에 기인한 ‘절대자에 대한 그리움’의 영상이다.
보이지만 존재자보다 실존의 결여를 느낄 수 있다. 그러나 그것은 우리의 인지의 영역에서 감각을 추출하다 보면 완벽해진 허상이다.
그 허상은 메시지이며 존재에 대한 더 강할 수밖에 없는 애정이다.
우리의 뇌는 존재의 인식보다 애정의 대상을 인지하고 간직하기 때문이다.
나에게 날라와서 아련한 존재의 이미지를 투영(projection)하는 기표인 작품이다.
Visage's artwork description
The artist Who I am has always been interested in portraits.
The face is actually where the expression of ‘human’s existence’ manifests the most.
Most of the famous paintings he has seen in museums since learning oil painting were ‘portraits’
Every time I looked at those, the artist could not help but feel in awe in front of the presence in those types of paintings.
The eyes of the characters in the portraits capture the audience and talk to them.
The different shapes of the nose could make their personality seem arrogant, kind, cold, or even cowardly.
Lips can be moist and soft, cheeks vary in color tones, necklines can either be soft or strong, and thick eyebrows reveal different emotions depending on their location and shape.
As you watch a portrait for a long time, you feel the eyelid slowly sagging under the skin, and start to feel the sorrow of life and everything that person has been through as if you had experienced it yourself. It becomes a very exciting moment of feeling through watching.
In a similar fashion, the artist has also painted many emotions that could be felt from human beings and was quite satisfied with them.
Since I came into contact with video art, he has been focused on creating video works that can be more in motion and alive than classic video art.
The method he discovered was kinetic video and 3D projection mapping.
The first projection mapping on a human form, since trying video installation in 1995, happened in 2002.
[Visage] is an artwork made using glass that has been processed at high temperature.
The reason for using a glass plate with relief is that the mysterious presence is supposed to float in the air like a hologram thus emitting a strong presence.
The projected light spewing out into the air and forming an image entering in contact with the glass plate relief is the exact metaphysics(形而上學) of the extant light that makes this world visible.
It is the evidence of what has existed but does not exist anymore or continues to exist and manifests the emotion of a specific time.
It is a video representing the ‘wish for the absolute being’ that exists due to the ephemera of human beings that excludes eternity from it.
Although it can be seen, we feel more the ‘lack of existence’ rather than its existence. However, it becomes a perfect illusion if we extract our sense of recognition.
The illusion is a message and an affection for existence that can only be stronger.
This is due to the fact that our brain tends to recognize and memorize objects of affection rather than focusing on being aware of existence.
It is a work that sends ‘sign’ projects the image of a nostalgic being to ‘me’.
The artist Who I am has always been interested in portraits.
The face is actually where the expression of ‘human’s existence’ manifests the most.
Most of the famous paintings he has seen in museums since learning oil painting were ‘portraits’
Every time I looked at those, the artist could not help but feel in awe in front of the presence in those types of paintings.
The eyes of the characters in the portraits capture the audience and talk to them.
The different shapes of the nose could make their personality seem arrogant, kind, cold, or even cowardly.
Lips can be moist and soft, cheeks vary in color tones, necklines can either be soft or strong, and thick eyebrows reveal different emotions depending on their location and shape.
As you watch a portrait for a long time, you feel the eyelid slowly sagging under the skin, and start to feel the sorrow of life and everything that person has been through as if you had experienced it yourself. It becomes a very exciting moment of feeling through watching.
In a similar fashion, the artist has also painted many emotions that could be felt from human beings and was quite satisfied with them.
Since I came into contact with video art, he has been focused on creating video works that can be more in motion and alive than classic video art.
The method he discovered was kinetic video and 3D projection mapping.
The first projection mapping on a human form, since trying video installation in 1995, happened in 2002.
[Visage] is an artwork made using glass that has been processed at high temperature.
The reason for using a glass plate with relief is that the mysterious presence is supposed to float in the air like a hologram thus emitting a strong presence.
The projected light spewing out into the air and forming an image entering in contact with the glass plate relief is the exact metaphysics(形而上學) of the extant light that makes this world visible.
It is the evidence of what has existed but does not exist anymore or continues to exist and manifests the emotion of a specific time.
It is a video representing the ‘wish for the absolute being’ that exists due to the ephemera of human beings that excludes eternity from it.
Although it can be seen, we feel more the ‘lack of existence’ rather than its existence. However, it becomes a perfect illusion if we extract our sense of recognition.
The illusion is a message and an affection for existence that can only be stronger.
This is due to the fact that our brain tends to recognize and memorize objects of affection rather than focusing on being aware of existence.
It is a work that sends ‘sign’ projects the image of a nostalgic being to ‘me’.
Statement
The basis of reality is the spatial reality, the existence of space being the proof of the continuity of time.
To become an art piece that touches emotionally, it dreams to become a living piece of work.
By using a real-life size 3D rear screen, it becomes a projection mapping of space by projecting a video of this Model.
A sense of reality can be felt by the changes of the shape of the light that shines on the face due to the changes in expressions.
Virtuality cannot be a reality, however it does not exist, existence feel it makes real.
We wander around as to whether or not to believe whether the confusion of the memory is real or not,
but the reality that is seen as a visual exists as an image that comes to me from the faraway world such as reality.
It makes the non-existence seem present as an existence.
Artist’s note
unzi, KIM gives us the chance to meet his realization and his invention.
His video-sculpture whose motif is the face of a young Korean woman is the plastic installation
that creates the possibility of a fusion of the analog space of the exhibition with the digital space with our meditation look.
The presence of this illuminated woman in the dark room, discreetly changing her expression,
suggests her temporary visit to this world, coming from another world beyond.
unzi, KIM projected the image of this woman behind a funeral mask so that we could actually feel the face.
As for the plastic installation, it is the best choice when visiting the exhibition and reflecting on the aesthetic appearance on the spot.
All the information about the installation work, which replaces the actual contact show the limit of the conceptualization.
Thus, the installation of the technical images reveals that there is an affinity of character
between 'the magic of the sky' and 'the event of the Heaven'.
The imaginary reality by concept builds the cultural world of literature and human sciences
while the other reality by concept is the technical reality produced by the theory of science.
The 'Magicians of the sky' want to give the opportunity to imagine the magical world by technical phenomena.
Extract in the catalog of Contemporary Art Exhibition 'The Magician of Heaven'
written by Chong Jae- Kyoo (Photograph Artist)
現實은 空間的 實在이며 空間의 存在는 時間의 連續性을 證明한다.
感動을 주는 藝術 作品이 되기 위해서는 살아있는 作品이 되기를 꿈꾼다.
實際 크기의 3D 後面 스크린을 使用하여 이 모델의 비디오를 投映하여 空間의 透映 매핑이다.
表情의 變化로 인해 얼굴에 비치는 빛의 模樣이 變化함으로써 現實感을 느낄 수 있다.
가상은 현실이 될 수 없으나 존재의 느낌은 존재하지 않는 것이라 하여도 존재를 진실로 느끼게 한다.
마치 기억의 혼돈이 실재하는 것인지 아닌지 무얼 믿어야 하는지 방황하지만
시각으로 보여지는 현실감은 현실처럼 저 먼 세상에서 내게 다가온 이미지로서 존재한다.
부재의 존재를 존재하게 한다.
작가의 글
韓國 女性의 얼굴을 모티브로 制作된 그의 비디오 人物 彫刻은 아날로그한 展示 現場 空間과
디지털화된 假想空間 사이의 差異를 冥想成으로 融解시킬 수 있는 造形 設置이기도 하다.
어두운 室內 空間 속에서 밝게 비치면서 隱密히 表情을 이어가고 있는
이 女人은 假像 世界의 저쪽에서 이쪽 現場 世界를 暫時 訪問한 事態로 여겨진다.
김형기는 그 實感을 느끼게 하기 위해서 女人의 3次元 마스크 리어 스크린을 制作하여
그 後面에서 얼굴 映像을 投射하는 方式을 보여준다.
設置 作業은 直接 現場을 訪問해서 各自 느끼고 思惟하는 方式이 最善의 選擇일 것이다.
現場 訪問이 現實化 될 수 없는 境遇를 代身한 모든 情報는 結局 文字에 의한 槪念의 限界이다.
이렇듯 ‘機械的 이미지’의 現場 設置는 ‘하늘의 魔法’을 ‘하늘의 事件’과 相通하는 性格을 지니게 한다.
槪念에 위한 想像的 現實이 人文社會的이며 文學的 文化世界를 形成하고 있다면
槪念에 의한 또다른 現實化가 科學 理論에 의해 制作된 機械的 現實이다.
미디어 造形 企劃展 ‘하늘의 魔法師들’ 카달로그 중에서
鄭 載 圭 (造形寫眞家) 글