SHIM MOON SEUP 심문섭 시간의 향해 The Voyage of Time Section 3

2023. 3. 17. - 6. 25. 경남도립미술관 Gyeongnam Art Museum

1·2F

 

20230612 방문

반(反)조각의 확장: 물성에서 회화까지

심문섭은 조각 자체보다는 그것이 되어가는 배경과 존재 이유를 찾기 위해 늘 조각이라는 매체의 고정관념에 반해 도전해왔다. 

 

완결된 형태보다는 작업의 과정을 중요시하며 시간성이 가미된 열린 형태의 작업을 추구했던 그는 '반(反)조각'의 조각가로 널리 알려졌다. 

 

이를테면 기존의 틀을 부정함으로써 더욱 집요하게 반문하며 조각의 본질에 다가서고자 했던 것이다. 

 

'조각은 물질의 예술'이며 '세상 모든 것이 조각의 재료가 된다'라고 이야기하는 작가에게 조각, 설치, 회화라는 장르의 구분은 무의미해 보인다.

심문섭은 2000년대 초반 파리에서 시작했던 회화 작업을 현재까지 지속하고 있는데, 그의 푸른색 회화는 조각에서와 마찬가지로 대상을 재현한 것이기보다는 고향 통영의 바다에 대한 기억과 연상을 가시적이면서 은유적으로 표현한 것이다. 

 

2000년대 이후 그의 작품에는 새로운 재료인 '물'이 흐르고, 바람, 빛과 같은 비물질적 요소가 등장하였는데, 바다를 상징하는 <제시-섬으로〉 회화 연작 역시 반(反)조각의 연장으로 볼 수 있다.

작가가 '평면적인 입체작업'이라 명명했던 <현전>(1974)에서 물성에 시간성을 도입해 사물의 본질을 드러내었듯이 그는 시시각각 변화하는 파도의 생성과 소멸의 반복에서 느껴지는 역동적인 리듬과 운동성, 즉 유동하는 시간의 과정과 순간들을 화폭에 제시함으로써 새로운 의미와 재현 너머의 근원을 찾고 있다.

 

Expansion of Anti-Sculpture: From Materiality to Painting

Shim has always challenged the stereotypes of the medium of sculpture in order to seek answers to the reason why sculpture turns into a mere background instead of a sculptural piece of art and its rationale. He has been widely known as a sculptor of "anti-sculpture" because he empha-sized the process of work rather than a finished form, and pursued an open form of work with a sense of temporality. In other words, he intended to take a closer step to the essence of sculpture, questioning it more intensely by denying the existing framework. As he said, "Sculpture is an art of materials" and "Everything becomes a material for sculpture," making a distinction between sculpture, insta lation, and painting seems irrelevant. Shim has continued his painting practice up to now, which he began in Paris in the early 2000s. His blue paintings are not representations of objects, as in his sculpture but rather a tangible and metaphorical expression of his memories and associations with the sea in his hometown of Tongyeong. His works since the 2000s have introduced such non- material elements as wind and light while a new material of "water" flows. The Presentation - To the Island as his painting series symbolizing the sea could be interpreted as an extension of his signature "anti-sculpture." As he exposed the nature of objects by adopting temporality to materiality in Opening Up (1974), which he called "flat three-dimensional work," he seeks for new meanings and a source beyond representation by presenting on canvas dynamic rhythms and motility felt in the repetition of the creation and destruction of waves, that is, the processes and moments of time in flux.