현대미술작품의 물성에 따른 시각심리 연구－본인 작품 <무한･포옹>을 중심으로

Abstract

본 논문은 현대미술작품에서 다루어지는 물성(property of matter)이 예술의 표현 수단이자 과정과 결과의 총체적 의미를 함축하고 물성으로 인지한 뇌의 시지각적 자극과 반응 사이에서 촉발하는 창작의 다양한 스펙트럼을 연구자의 작품과 연계하여 모색하는데 목적이 있다. 현대미술에서 물성은 행위와 정서적 태도를 포함한 감성의 전달체로서 물질로 채워져 표현하지만 빛과 희망 구원 등 비물질적 개념을 끊임없이 환기시키고 드러내며 확장시킨다. 이러한 형상이자 정신의 이중의미를 내포한 물성과 존재로서 새로운 지평을 탐구하는 추상회화의 조형적 탐구 경향을 과학과 융합하고자 하는데 의의가 있다. 각 장에서 살펴본 각각의 과정은 Ⅱ장에서 첫째, 평면성이라는 제한된 형식인 ‘추상’이 내면화된 마음을 움직이게 하는 시지각의 선천적이고 보편적 인지 규칙인 뇌의 인식 처리 과정에 기인하고 있음을 알아보았다. 특히 형상을 ‘하나의 단일한 전체’로 이해하는 게슈탈트(Gestalt-theorie)의 특징이 개입하고 있음을 알 수 있는데 애매성과 모호함에도 불구하고 작품 심층에 기저 하는 마음의 동요와 움직임을 통하여 ‘가치 있는 실재’가 된다고 할 수 있다. 둘째, 물성이 표면적 촉각의 표상으로 직접 제시될 때 심리적 시간인 기억과 흔적을 통하여 ‘의미화’하는 창작 에너지로 작용한다. 셋째, 심리적 부조리와 모순의 현상을 창작 과정에서 의미가 깊이의 차원을 획득하고 ’홀연히‘ 섬광과도 같은 상황과 사태를 마주하도록 하는데 뇌의 구조적 기능과 작용이 영향을 미치고 있음을 살펴보았다. Ⅲ장의 <무한･포옹 2020-2021> 연작은 첫째, 시지각적 전달체인 물성이 ‘이음’으로 접촉하는 ‘가능태’로, 둘째, 물러섬의 태도로 해체되는 과정에서 새로운 이미지가 드러나는 ‘잠재태’로 작용한다. 셋째, 앞선 ‘이음’과 ‘해체’의 과정을 통합된 ‘담지체’로 삼아 변주화하며 물성이 단순히 분위기 연출의 상태가 아닌 다양한 창작으로 ‘범주화’할 수 있음을 알아보았다. Ⅳ장을 통해 마무리하자면 뇌의 전기화학적 특성이 눈과 정신의 시각 심리와 시지각을 통하고, 물질적 촉감의 표상이 물성으로 인지하는 가운데 끊임없이 마음속 변화의 요청을 담아 예술적 실천과 지성적 실천으로 서로 상호작용하고 있음을 알 수 있다.

This article aims to explore how except for what property of matter could mediate activity of emotional response, so mind could move spectrum of artistic creation with process of understanding and visualization irrespective of seeing through retina. In addition, whether the sensuous information of visual perception recognized as property of matter could not stay in psychological ‘individualization’, with mutual connection and tuning, which could be expanded into the presence of various art ‘categorization’ and creation is investigated in terms of researcher analysis of work Property of matter contains the emotional judgement of material and texture, shape as well as activity and emotional attitude, and has the meaning as emotional media as physical dimension and psycho visual synesthesia imagination involved in terms of product of artwork. In a sense, in chapter Ⅱ this article examined formativeness of property of matter and psycho visual contents divided into three parts according to artwork. First, the process is attributed to two-dimensional limited format of planar characteristics, ‘abstractness’ as physical represented, and to cognition process of brain with physiological sensuous stimulus of visual perception which could mind internalized by color and touching. Specifically, characteristic of Gestalt-theorie psychology understood as ‘unique wholeness of oneness’ is involved in it, in respect of cognitive psychology, ‘reality’ of abstract art asks art appreciator apple and interprets by him/herself, so in spite of ambiguity and obscurity ‘valuable reality’ regenerated through in-depth underlying movement of mind across all artworks. For example, visual image of artist is recreated in our brain, and constructs a model of perceived and emotional recreation. Second, when property of matter is perceived as representation of touching, the practical suggestion of material acts as generation process and creative energy for ‘meaning’ through memory and trace of psychological time to creator as well as art appreciator. Property of matter is not returned into object and state of direction, but becomes ‘dynamis’ of categorization. Third, with psychological twofold meaning derived from relationship between object and subject, through new ‘creation of relationship’ the meaning obtains dimension of depth and overlooks the whole, so the characteristics which make one ‘suddenly’ encounter state and situation were investigated. In chapter Ⅲ, for 2020-2021 series, <Infinity, embracing> connected into researcher analysis of artwork, property of matter as media of the emotion induced by sensitivity necessarily arouses continuous psychological and aesthetic interpretation and is linked with regeneration and expansion. The attraction of infinite variation is based on principle of change which could capture the delicate qualitative variation. In summary, first, property of matter of visual and psychological media is transformed into acceptance and ‘connectedness’, i.e., ‘potentiality’. Second, dispersion and extinction of property of matter functions as ‘potentiality’ of new image with process dissolved into ‘attitude of recession’. Third, the variation by theme functions according to the previous process of ‘connectedness’ and ’dissolution’ serving as combined and unique ‘supporting carrier’. As discussed above, property of matter as well as major material, i.e., ‘Seokchae’ and cystal powder could overcome material ‘triviality’, and could tune sensuously, which not only supports the visual-spatial whole, but also be reduced into oneness. That is, there is the deep and precious one’s inner heart concluded into ‘syn-aesthetic categorization’. Finally in Ⅳ chapter, psychological representation could move through visual psychology and visual perception of eyes and mind, and while representation material touch is perceived into property of matter, unceasingly containing demand of change in the mind artistic as well as intellectual practice could be reflected.