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It is prevalent opinion that Kim Whan?ki from the 1930s to the early 1940s was an abstract artist. As well known, Kim had strong ties with the avant-garde communities of Japan when he was a student there as well as when back to Korea while producing abstract works. Kim later formed a neorealism community with Yoo Youngkuk and Lee KyuSang, where he seeked the ‘Neo-Reality’. He also reflected his interest in korean tradition and antiques in his work while having made an exchange with artists, poets, and writers who had worked through ‘Munjang’ that is literature magazine.
That much of the academic literature on Kim’s paintings from this period have been focused on abstract and avant-garde art and orientalism may be a natural consequence of his historical trajectory as the above.
As the advanced researches tell, Kim Whan?ki’s interest is not the departure from an object but the way ‘abstractifying’ an object, while pursuing the abstract art. This study also begins from the premise that the key element necessary for interpreting Kim’s abstract art is the way rather than the concept. I would like to go even a step further to argue that the form and content of the abstract in Kim’s work reflect the artist’s personal experiences and emotional sensations. And I’ll argue that such personal experiences-which exist on the outskirts of Kim’s abstract art-are imbued with a kind of romanticism.
To illuminate these points, I analyze the abstract features of Kim’s work that appear as geometrical designs in conjunction with the social atmosphere of the era, and also interpret the artist’s personal experiences reflected in the work through references to articles, photographs, and related written works published in the literary magazines of the day.
I attempt to show that Kim Whan-ki’s painting which abstractly portrayed the city and machines-symbols of the most cutting-edge elements of civilization- are not simply a matter of style but concrete expressions of the artist’s existential interpretations of nature, life, and modern civilization. It may seem unusual for an artist who interprets the world through the lens of existentialism to pursue such an abstract style. However, at that time, this is not unusual. This is because the avant-garde discourse in those days was developed in each artist’s personal understanding.
The experiences of the 1930s that appear in Kim’s work were personal and everyday experiences of modern civilization, and this is why his artwork includes hints at the modernist emotional connection with urban life. Kim’s nostalgia for the modern lifestyle he experienced during his student years in Tokyo occasionally appears as a landscape that is in turn representational or contemplative. These approach is similar to imagism in literature. Kim Gi-rim, a leading Korean modernist poet, defines poetry as the expression of not the mental but the “real” world in writing. Similarly, Kim Whan?ki’s work is an expression of reality as created through the artist’s memories and experiences.
That much of the academic literature on Kim’s paintings from this period have been focused on abstract and avant-garde art and orientalism may be a natural consequence of his historical trajectory as the above.
As the advanced researches tell, Kim Whan?ki’s interest is not the departure from an object but the way ‘abstractifying’ an object, while pursuing the abstract art. This study also begins from the premise that the key element necessary for interpreting Kim’s abstract art is the way rather than the concept. I would like to go even a step further to argue that the form and content of the abstract in Kim’s work reflect the artist’s personal experiences and emotional sensations. And I’ll argue that such personal experiences-which exist on the outskirts of Kim’s abstract art-are imbued with a kind of romanticism.
To illuminate these points, I analyze the abstract features of Kim’s work that appear as geometrical designs in conjunction with the social atmosphere of the era, and also interpret the artist’s personal experiences reflected in the work through references to articles, photographs, and related written works published in the literary magazines of the day.
I attempt to show that Kim Whan-ki’s painting which abstractly portrayed the city and machines-symbols of the most cutting-edge elements of civilization- are not simply a matter of style but concrete expressions of the artist’s existential interpretations of nature, life, and modern civilization. It may seem unusual for an artist who interprets the world through the lens of existentialism to pursue such an abstract style. However, at that time, this is not unusual. This is because the avant-garde discourse in those days was developed in each artist’s personal understanding.
The experiences of the 1930s that appear in Kim’s work were personal and everyday experiences of modern civilization, and this is why his artwork includes hints at the modernist emotional connection with urban life. Kim’s nostalgia for the modern lifestyle he experienced during his student years in Tokyo occasionally appears as a landscape that is in turn representational or contemplative. These approach is similar to imagism in literature. Kim Gi-rim, a leading Korean modernist poet, defines poetry as the expression of not the mental but the “real” world in writing. Similarly, Kim Whan?ki’s work is an expression of reality as created through the artist’s memories and experiences.
목차
I. 시작하며
II. 일상을 반영한 추상
Ⅲ. 일상이 내포된 풍경
IV. 마치며
참고문헌
Abstract
참고문헌 (31)
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