인류는 형상화할 수 없는 초자연적인 세계와 관념을 상징과 표징의 수법으로 이미지의 매개를 통해 전개시키고 전달하면서 성장의 문화를 만들어 왔다. 그래서 예술가들은 상징의 형태로 담겨있는 진선미의 의미를 캐내고, 상징적 상상력을 통해 작품들을 창조해 내는 가장 선구자적인 행위자들이다.
인간 의식은 필연적으로 의식의 어떤 구조를 상징으로 표현한다. 인류는 달을 소재로 다양한 상징을 단지 역사적으로 나타낸 것이 아니라, 시대 의미를 넘어서는 인간의식의 구조를 드러낸다. 그래서 달의 상징으로써의 관점은 통시적인 것이 아니라 공시적인 것이고, 단선의 시공간 개념이 아니라 모양이 변하는 순환적 시공간 개념이다. 시간적 제약은 사라지고 끊임없이 빈복되는 상상력, 다차원적 다양한 상상력, 결코 단일 맥락에서 벗어나는 상상력 등이 달에 대한 상징을 더해갔다.
이런 의미에서 김성대의 달에 대한 상징은 풍경의 소재가 아닌 의미의 구성이며, 기존의 역사적 문화적인 박물화를 초월하여 개별적임과 동시에 욕망하고 소망하는 기원적 구성물의 규정에서 출발한다.
김성대 작가는 공간과 시간의 변화를 파악하고 인식할 수 있는 대상으로서 달과 마을을 찾아내어 상징화 시킨다. 공간과 시간은 의식 밖에 존재하는 실재라고 할 수 있지만, 작가는 시간과 공간의 관념의 구조를 달의 시공간적 변화를 통해 상징화시켜 인식의 안으로 끌어 들여 마을과 연결시킨다.
작가는 달을 기하학적 모양과 거리에 의해서 고정시키는 것이 아니라, 마을 사람들의 기원과 꽃으로 가득한 달을 생명의 가치와 상호 이해관계의 끈으로서 정의하고 표현한다. 그래서 만발한 꽃으로 충만 된 보름달과 달 아래 마을을 통해 공간적이고 시간적인 표상과 원초적이고 주관적인 형식으로 만들어, 사람들에게 구체적이고 이질적인 체험공간과 이미지의 존재를 제공한다.
달은 인간에게 밝음과 원만함의 상징으로 그 은은함과 부드러움이 강조되어 달빛은 포용의 표상이 되었다. 그래서 햇빛과는 달리, 사물의 구분과 개별화가 아닌 서로 어울리고 녹아들게 한다. 따라서 김성대의 달빛은 구별과 차이를 만드는 빛이 아니라 꽃으로 달을 만들고 마을과 동행하는 통섭과 융합하는 빛이다.
작가는 달빛을 햇빛과 달리 어둠속에 존재하며, 어둠을 거부하거나 동일성이 아닌 어둠 속에서 밝음을 찾는 부정변증으로 어둠의 밝음으로 표현한다. 그래서 어둠의 공간이 밝음의 꽃으로 사라지게 하고, 마을은 담을 없애고 회색빛으로 퇴색되지 않는 채 원색의 빛을 발하며 마을 사람들과 의식적 관계를 맺는다.
공간의 가역성과 시간의 불가역성을 작가는 꽃으로 가득한 달을 월화화(月花을化)를 통해 가역과 불가역이 아닌 반복의 대칭성으로 만들었다. 달의 시공간적 모양 변화를 꽃의 피움, 만발과 시들음의 반복으로 해석하여 의미의 장을 만든다. 그래서 가장 충만 된 달의 순간을 포착하기 위해 작가는 달의 공간을 가장 만발한 꽃으로 가득 채워 물질로서 달을 밀어내고, 삶과 친밀성이 존재하고 옹기종기 모여 숨 쉬고 경계의 담이 없는 마을 위에 위치 시켜 잠시 시공간을 멈추게 하는 마력을 부린다. 달의 변화가 시간에 의존한다는 것을 인정하는 의식은 내가 시간에서 벗어나 있다는 것을 의미한다. 그래서 달 아래 마을 사람들은 달이 된 꽃의 충만성에 고정시켜, 한 아름의 가득한 이 시간으로 머물기를 기원하고 욕망하는 것이다.
김성대 작가의 또 다른 추구는 꽃과 달의 연계하는 추상사유를 넘어 기하학적 아라베스크 문양을 회화의 영역으로 끌어와, 기하학적 수학적 공간의 비율에 대한 사색을 담아내고 있다. 이런 문양 작업은 깊은 명상과 기도를 통해 초월적이고 무한한 기하학적 미학으로 완성하는 것이다. 미학적 완성을 위해 공간 비율과 형태를 끊임없이 탐색하는 수행의 과정이며, 끝없는 반복의 연결로 표현하고 수행하는 구도자적 행위이다. 문양 무늬의 역사가 곧 문화, 종교, 신앙, 통치의 이데올로기 등을 표현하는 사상의 역사이다. 그래서 문양은 만들고 표현하는 작가의 깊은 성찰과 통찰의 신념이 녹아 있는 것이다. 김성대 작가의 문양은 원과 다각형 안에 순환으로 이어져 있는 하나의 기원과 소망의 마스코트 모습을 만들고, 연속의 아라베스크 문양에서 버리고 덜어 순수하게 남은 최소의 형식을 자기 회화의 소재로 만든다.
김성대 작가의 회화 키워드는 마을, 달, 꽃. 문양이다. 작가가 추구하는 마을이란 회귀하는 마을로서 마음이 상실한다는 두려움 없는, 관계이익과 의도성 없는 자아 정체감을 마을 사람과 연결시켜 인간을 인간답게 하는 것을 기본적 요소로 보고 있다. 그래서 그는 현대 도시화에서 친밀성 부족, 고립과 위기감, 인간관계의 상처 등을 회복하는 방법으로서 마을로의 회귀를 주장한다. 이런 결실은 회화대상전에서 대상을 받은 ‘붉은 꽃’ 작품에서 도시화로 잃어가는 마을에서 피어나는 꽃을 통해 볼 수 있다. 작가는 이번 전시도 같은 맥락에서 달과 마을을 통해 물질의 풍요로움으로 달과 같은 대상에 소원하고 기도하는 마음은 사라지고, 서로의 다른 생각과 주장들을 노려보며 대치하는 외로운 시대를 비판하고 있다.
김성대의 마을은 공동체 거주자로서 서로 교류하고 공동 관심사를 구현하는 인간적 삶과 행복이라 한다. 그래서 행복은 마을이며 달이며 꽃으로 규정한다. 그리고 오늘날 도시화에 의해 공동체 마을에서 마을 본연의 가치와 목표를 상실시켜 왔음을 지적한다. 그래서 그는 회화의 주제와 작가정신을 통해, 행복의 관계망인 마을은 사라지고, 얼굴 없는 이웃만이 모여 견고하고 높은 시멘트로 만든 집합공간에서 더 이상 마을과 이웃의 이야기는 단절되고 미디어 속의 가상적 이야기만 하는 회색 빛 현실에 저항하고 있다.
김성대 <달이 꽃이어라> 전
마을·달·꽃으로 회색 빛 현실에 저항
김용근 (동강대학 교수)
Kim Seong-dae Exhibition
Resist the gray light reality with villages, moons and flowers
Yonggeun Kim (Professor, Donggang University)
Humanity has created a culture of growth by developing and delivering the unimaginable supernatural world and ideas through the medium of images using the method of symbols and signs. Therefore, artists are the most pioneering actors who find out the meaning of truth and beauty contained in the form of symbols and create works through symbolic imagination.
Human consciousness necessarily expresses some structure of consciousness as a symbol. Humanity does not just historically represent various symbols with the moon as a material, but reveals the structure of human consciousness that transcends the meaning of the times. So, the point of view as a symbol of the moon is formal rather than diachronic, and it is not a single-line concept of space-time, but a cyclical concept of space-time that changes shape. The time constraint has disappeared, and the imagination that constantly empties, multi-dimensional and diverse imagination, and imagination that never strays from a single context added to the symbolism of the moon.
In this sense, Kim Seong-dae's symbol for the moon is a composition of meaning, not a material of the landscape, and transcends the existing historical and cultural museumization, and starts from the definition of the original composition that is desired and desired at the same time as individual.
Artist Seong-Dae Kim identifies and symbolizes the moon and village as objects that can recognize and understand changes in space and time. Space and time can be said to exist outside of consciousness, but the artist symbolizes the structure of the concept of time and space through the spatiotemporal change of the moon, bringing it into awareness and connecting it with the village.
The artist does not fix the moon by geometric shapes and distances, but defines and expresses the origins of the villagers and the moon full of flowers as a bond of life value and mutual interest. So, through the full moon filled with flowers and the village under the moon, it is created in a spatial and temporal representation and in a primitive and subjective form, providing people with a concrete and heterogeneous experience space and existence of images.
The moon is a symbol of lightness and smoothness for humans, and its gentleness and softness are emphasized, and the moonlight has become a symbol of inclusion. So, unlike sunlight, it does not separate and individuate things, but let them blend in and blend with each other. Therefore, Kim Seong-dae's moonlight is not the light that makes distinction and difference, but the light that creates the moon with flowers and converges with the consilience that accompanies the village.
The artist expresses the darkness as light as a negative dialect of moonlight, which exists in darkness, unlike sunlight, and rejects darkness or seeks light in darkness rather than identity. So, the dark space disappears as a flower of light, and the village removes the walls and emits the primary color light without fading to gray, forming a conscious relationship with the villagers.
The reversibility of space and the irreversibility of time, the artist made the moon full of flowers a symmetry of repetition, not reversibility and irreversibility. It creates a field of meaning by interpreting the spatiotemporal shape change of the moon as the repetition of flower blooming, full bloom and withering. So, in order to capture the fullest moment of the moon, the artist fills the space of the moon with the most blossoming flowers, pushes the moon out as a material, and places it on top of a village where life and intimacy exist, gather and breathe, and there is no boundary wall. Casts a magical power that temporarily stops time and space. Consciousness to admit that the moon's changes depend on time means that I am out of time. So, the villagers under the moon fix themselves on the fullness of the flower that has become the moon, and wish and desire to stay in this time full of beauty.
Another pursuit of artist Seong-Dae Kim is to bring geometric arabesque patterns into the realm of painting beyond the abstract thought of linking flowers and the moon, and contemplate the proportions of geometric and mathematical spaces. This pattern work is completed with a transcendent and infinite geometrical aesthetic through deep meditation and prayer. It is a process of performance that constantly explores spatial proportions and forms for aesthetic perfection, and it is an investigative act that is expressed and performed through a connection of endless repetition. The history of patterns is the history of ideas that express culture, religion, belief, and the ideology of government. So, the pattern is the artist's deep reflection and insight into the formative beliefs that he expresses. The patterns of artist Seong-Dae Kim create a mascot of origin and hope that is connected in a circle and a polygon in a cycle, and the minimal form left purely by discarding it from the continuous arabesque pattern is used as the subject of his painting.
The keywords of Kim Seong-dae's paintings are village, moon, flowers, and patterns. The village the artist pursues is a village of return, and he sees as a basic element that humanizes human beings by linking the villagers with a sense of self-identity without fear of losing their mind and without relational gains and intentions. He argues for a return to the village as a way to recover from the lack of intimacy, the sense of isolation and crisis, and the scars of human relationships in modern urbanization. You can see the flowers blooming in the villages that are losing due to urbanization in the work 'Red Flower', which won the Grand Prize at the Korea Painting Awards. In the same vein in this exhibition, the artist criticizes the lonely era in which the desire and prayer for the moon disappear due to the abundance of material through the moon and villages, and staring at and confronting each other's different thoughts and arguments.
Kim Seong-dae's village is said to be human life and happiness, where residents interact with each other and realize common interests. So happiness is defined by villages, moons, and flowers. And it points out that the original values and goals of the village have been lost in the community village due to urbanization today. So, through the theme of painting and the spirit of the artist, the village, the network of happiness, disappears, and only the faceless neighbors gather in a solid and high cement collective space, where the story of the village and the neighborhood is no longer cut off and only virtual stories in the media are created. Resisting the gray light reality.
In this sense, Kim Seong-dae's symbol for the moon is a composition of meaning, not a material of the landscape, and transcends the existing historical and cultural museumization, and starts from the definition of the original composition that is desired and desired at the same time as individual.
Artist Seong-Dae Kim identifies and symbolizes the moon and village as objects that can recognize and understand changes in space and time. Space and time can be said to exist outside of consciousness, but the artist symbolizes the structure of the concept of time and space through the spatiotemporal change of the moon, bringing it into awareness and connecting it with the village.
The artist does not fix the moon by geometric shapes and distances, but defines and expresses the origins of the villagers and the moon full of flowers as a bond of life value and mutual interest. So, through the full moon filled with flowers and the village under the moon, it is created in a spatial and temporal representation and in a primitive and subjective form, providing people with a concrete and heterogeneous experience space and existence of images.
The moon is a symbol of lightness and smoothness for humans, and its gentleness and softness are emphasized, and the moonlight has become a symbol of inclusion. So, unlike sunlight, it does not separate and individuate things, but let them blend in and blend with each other. Therefore, Kim Seong-dae's moonlight is not the light that makes distinction and difference, but the light that creates the moon with flowers and converges with the consilience that accompanies the village.
The artist expresses the darkness as light as a negative dialect of moonlight, which exists in darkness, unlike sunlight, and rejects darkness or seeks light in darkness rather than identity. So, the dark space disappears as a flower of light, and the village removes the walls and emits the primary color light without fading to gray, forming a conscious relationship with the villagers.
The reversibility of space and the irreversibility of time, the artist made the moon full of flowers a symmetry of repetition, not reversibility and irreversibility. It creates a field of meaning by interpreting the spatiotemporal shape change of the moon as the repetition of flower blooming, full bloom and withering. So, in order to capture the fullest moment of the moon, the artist fills the space of the moon with the most blossoming flowers, pushes the moon out as a material, and places it on top of a village where life and intimacy exist, gather and breathe, and there is no boundary wall. Casts a magical power that temporarily stops time and space. Consciousness to admit that the moon's changes depend on time means that I am out of time. So, the villagers under the moon fix themselves on the fullness of the flower that has become the moon, and wish and desire to stay in this time full of beauty.
Another pursuit of artist Seong-Dae Kim is to bring geometric arabesque patterns into the realm of painting beyond the abstract thought of linking flowers and the moon, and contemplate the proportions of geometric and mathematical spaces. This pattern work is completed with a transcendent and infinite geometrical aesthetic through deep meditation and prayer. It is a process of performance that constantly explores spatial proportions and forms for aesthetic perfection, and it is an investigative act that is expressed and performed through a connection of endless repetition. The history of patterns is the history of ideas that express culture, religion, belief, and the ideology of government. So, the pattern is the artist's deep reflection and insight into the formative beliefs that he expresses. The patterns of artist Seong-Dae Kim create a mascot of origin and hope that is connected in a circle and a polygon in a cycle, and the minimal form left purely by discarding it from the continuous arabesque pattern is used as the subject of his painting.
The keywords of Kim Seong-dae's paintings are village, moon, flowers, and patterns. The village the artist pursues is a village of return, and he sees as a basic element that humanizes human beings by linking the villagers with a sense of self-identity without fear of losing their mind and without relational gains and intentions. He argues for a return to the village as a way to recover from the lack of intimacy, the sense of isolation and crisis, and the scars of human relationships in modern urbanization. You can see the flowers blooming in the villages that are losing due to urbanization in the work 'Red Flower', which won the Grand Prize at the Korea Painting Awards. In the same vein in this exhibition, the artist criticizes the lonely era in which the desire and prayer for the moon disappear due to the abundance of material through the moon and villages, and staring at and confronting each other's different thoughts and arguments.
Kim Seong-dae's village is said to be human life and happiness, where residents interact with each other and realize common interests. So happiness is defined by villages, moons, and flowers. And it points out that the original values and goals of the village have been lost in the community village due to urbanization today. So, through the theme of painting and the spirit of the artist, the village, the network of happiness, disappears, and only the faceless neighbors gather in a solid and high cement collective space, where the story of the village and the neighborhood is no longer cut off and only virtual stories in the media are created. Resisting the gray light reality.