[b] july 2015 online

Page 1

July 2015

ISSN 2384-3861

9 772384 386001

52


Editorsรข€™ Letters Jess Hinshaw former editor

Welcome back! In February of this year [b]racket ceased publishing. We didnรข€™t stop from a perceived lack of interest; we stopped because our team split up. Three crucial pieces of the [b]racket puzzle left the country at around the same time. This departure crippled our ability to get things done, and resulted in the magazine coming to an abrupt halt. It felt weird to put down something we had all invested so much time into, but it had to be done. All that has changed now. A new leader has come into the fold. A prominent advocate of the arts and all-around good guy, Chung Sae Yong, is now at the helm of the rebooted [b]racket magazine. The format, the critical eye for the art featured, and the thoughtful writing will all remain pillars of the publication. The look and feel of the magazine will remain the same due to the fact that there are some familiar names still working under the [b]racket umbrella. Whit Altizer, Sybille Casavin, and Seo Hee Joo all return as writers. Chris Cote will continue to push images and text around to create what we were most often complimented on: the design. There are also some new contributors on board- writers and translators that are eager to share their talents. The new mixed with the old ensures the magazine will do what it did well, while continuing to remain fresh. Itรข€™s exciting to pass the torch to Sae Yong, and we do so knowing his passion for community and his want for young artists to be seen is in line with our own. 2


Chung Sae Yong ํŽธ์ง‘์ž์˜ ๊ธ€

editor in chief

๋Œ€๊ตฌ์˜ ๋ฌธํ™”์žก์ง€์ธ [b]racket Magazine์„ ์žฌ์ฐฝ๊ฐ„ํ•˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ๋Œ€๊ตฌ์—์„œ ์˜๋ฏธ๊ฐ€ ์žˆ๊ณ  ์ค‘์š”ํ•œ ์ด ์žก์ง€๋ฅผ ์ œ๊ฐ€ ์žฌ์ฐฝ๊ฐ„ํ•˜๊ฒŒ ๋˜์–ด ์ฑ…์ž„๊ฐ๊ณผ ๊ฑฑ์ •์ด ์•ž์„ญ๋‹ˆ๋‹ค. ์ด ์žก์ง€๋Š” ๋Œ€๊ตฌ๋กœ ์˜จ ์™ธ๊ตญ ์˜ˆ์ˆ ๊ฐ€๋“ค์— ์˜ํ•ด ์‹œ์ž‘๋˜์–ด ์ง€๋‚œ 2๋…„๊ฐ„ ์ด์–ด์ ธ ์™”์Šต๋‹ˆ๋‹ค. ์˜์–ด๋กœ ๋ฐœ๊ฐ„๋˜๋Š” ์ด ์žก์ง€๋Š” ์šฐ๋ฆฌ์—๊ฒ ํ–‰์šด์ด์ž ๊ณ ๋งˆ์šด ์ผ์ด์—ˆ์Šต๋‹ˆ๋‹ค. ์ž‘๋…„์— ํŽธ์ง‘์ž์ธ Jess๊ฐ€ ์ €์˜ ์ž‘์—…์‹ค๋กœ ์ฐพ์•„์™€ [b]racket์˜ ํ–‰์ •์  ์–ด๋ ค์›€์„ ํ† ๋กœํ•˜์˜€๊ณ  ์ €๋Š” ๊ธฐ์œ ๋งˆ์Œ์œผ๋กœ ํ•จ๊ป˜ ์ผ์„ ํ•˜๋‚˜์”ฉ ํ•ด๊ฒฐํ•˜๋Š” ๊ณผ์ •์—์„œ ๋งŽ์€ ๋Œ€ํ™”๋ฅผ ๋‚˜๋ˆ„์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋ฉด์„œ[b]racket์˜ ์ •์‹ ๊ณผ ์•ž์œผ๋กœ์˜ ๋น„์ „์„ ์ถฉ๋ถ„ํžˆ ๊ฐ€๋Š  ํ•  ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ๋Œ์ด์ผœ๋ณด๋ฉด ์šฐ๋ฆฌ๊ฐ€ ์„œ๋กœ ์•Œ์ง€ ๋ชปํ•œ 2013๋…„์— ์ €๋Š” ์ž‘๊ฐ€๋กœ์„œ [b]racket์— ํˆฌ๊ณ ํ•˜์—ฌ 9์›”ํ˜ธ ์ปค๋ฒ„์— ์‹ค๋ ธ์„ ๋•Œ์˜ ๊ฐ๋™์„ ๊ธฐ์–ตํ•ฉ๋‹ˆ๋‹ค. ํ•„์ž ํ•œ ๋ถ„์ด ์ €์˜ ์ž‘ํ’ˆ๋“ค์„ ๋ณด์‹œ๊ณ ๋Š” ์ž์‹ ์˜ ๊ด€์ ์œผ๋กœ ํ›Œ๋ฅญํ•œ ๋…ผํ‰์„ ํ•ด ์ฃผ์…จ์Šต๋‹ˆ๋‹ค. 10๊ถŒ์˜ ์žก์ง€๋ฅผ ๋ฐ›์•˜์Œ์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ์ €๋Š” ๋” ๋งŽ์€ ์žก์ง€๋ฅผ ๊ตฌํ•˜๋ ค๊ณ  T-morning๊ณผ I am ํ™”๋ฐฉ, Havana ๋“ฑ์„ ๋งค์ผ๊ฐ™์ด ์ „์ „ํ•˜๋ฉฐ ์•…์ฐฉ๊ฐ™์ด ๋ชจ์•˜์Šต๋‹ˆ๋‹ค. ์ œ๊ฐ€ ์ด ์žก์ง€๋กœ ๊ฒช์€ ๊ฐ๋™์„ ์—ฌ๋Ÿฌ ์‹ ์ง„์ž‘๊ฐ€๋“ค๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์˜ˆ์ˆ ์• ํ˜ธ๊ฐ€๋“ค๊ณผ ํ•จ๊ป˜ ๋‚˜๋ˆ„๊ณ  ๋ฌธํ™”์˜ ์ˆ˜๋ ˆ๋ฐ”ํ€ด๋ฅผ ํ•จ๊ป˜ ๊ตด๋ฆฌ๋Š” ๊ฒƒ์ด ์ €์˜ ์—ญํ• ์ด๋ผ ์ƒ๊ฐ๋ฉ๋‹ˆ๋‹ค. ์ง€๊ธˆ๊นŒ์ง€ ๊ทธ ์—ญํ• ์„ ๊ฐ๋‹นํ•ด ์ค€ ํ•„์ง„๋“ค๊ณผ ๋ฒˆ์—ญ ๋ฐ ํ–‰์ • ์ง€์›์ž๋“ค ๊ทธ๋ฆฌ๊ณ  ํŠนํžˆ ํŽธ์ง‘์ž์ธ Jess์™€ ๋””์ž์ด๋„ˆ์ธ Chris์—๊ฒŒ ์ง„์‹ฌ์–ด๋ฆฐ ๊ฐ์‚ฌ๋ฅผ ํ‘œํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค. ์ €๋Š” ๋ณธ๊ตญ์œผ๋กœ ๋Œ์•„๊ฐ€๊ธฐ ์ „ ์žก์ง€๋ฅผ ๊ทธ๋งŒ ๋‘˜ ์ˆ˜ ๋ฐ–์— ์—†์—ˆ๋˜ ๊ทธ๋“ค์˜ ์ƒํ™ฉ์„ ์ถฉ๋ถ„ํžˆ ์ดํ•ดํ•˜๋ฉฐ ์•ž์œผ๋กœ๋„ ์˜ˆ์ˆ ๊ฐ€๋“ค์˜ ๊ด€๊ณ„๋ฅผ ๋”์šฑ

Editorsโ€™ Letters

๋ˆ๋…ํžˆ ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.


[b]racket Issue 25 July 2015

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๋ณธ ์‚ฌ์—…์€ 2015 ๋Œ€๊ตฌ๋ฌธํ™”์žฌ๋‹จ ์šฐ์ˆ˜๊ธฐํš์‚ฌ์—…์œผ๋กœ ์ง€์›๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.

์€ 5 ๋Œ€๊ตฌ๋ฌธํ™”์žฌ๋‹จ 2015 ๋Œ€๊ตฌ๋ฌธํ™”์žฌ๋‹จ ์šฐ์ˆ˜๊ธฐํš์‚ฌ์—…์œผ๋กœ ์šฐ์ˆ˜๊ธฐํš์‚ฌ์—…์œผ๋กœ ์ง€์›๋ฐ›์•˜์Šต๋‹ˆ๋‹ค. ์ง€์›๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.

๋ณธ ์‚ฌ์—…์€ 2015 ๋Œ€๊ตฌ๋ฌธํ™”์žฌ๋‹จ ์šฐ์ˆ˜๊ธฐํš์‚ฌ์—…์œผ๋กœ ์ง€์›๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.

staff

Chung Sae Yong [editor in chief] Christopher Cote [design editor] Seo Hee Joo, PhD [words editor] Whit Altizer [words editor] YoonKyung Amanda Lee [digital editor] Jess Hinshaw [resource director] Kim Yoon Kyung [translation]

artists

Antwon Maxwell antwon.maxwell@gmail.com Mesh Printing mesh-printing.com Shim Gyu Ri riaura@naver.com Jung So Hyun wjdth777@naver.com Lee Sang Bong jedenika77naver.com Martyn Thompson martyn@m-art-yn.com

writers

Mary C. Heinzel razztazz@comcast.net Sybille Cavasin s.cavasin@hotmail.com An Eun Ji blueblina@naver.com Choi Mi Kyung imconti@hanmail.net

contact

bracketmagazinekorea.com bracket.magazine@gmail.com facebook.com/bracketmagazine


The Grover 6

Antwon Maxwell

10

Mesh Printing

14

Shim Gyu Ri

18 to bellรข€™s22First auto 26 Home Exchange Lee Martyn Jung So Hyun

Sang Bong

Thompson


Antwon Maxwell Mary C. Heinzel writer

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์•ˆํ†ค ๋งฅ์Šค์›ฐ

Antwon Maxwell

Moving to Korea gave Antwon Maxwell a shove into his relatively newfound passion for photography. Though itโ€™s hard to believe, Maxwell wasnโ€™t photographing at all before 2012. โ€œI only bought a really nice camera before we (Antwon and his wife Marcia) moved here, so that I could take nice photos,โ€ he said. However, photography has become more than a hobby for Maxwell since he moved to Korea. Even though leaving behind his job and taking on the life of a full-time photographer doesnโ€™t seem at all appealing,

Maxwell canโ€™t curb his desire to photograph. It wasnโ€™t necessarily his new Korean environment that inspired him, but something else. โ€œI would see a fashion magazine and start itching to shoot,โ€ Maxwell said. So shoot pictures of fashion is what Maxwell did. Now, even with his day job in IT, people all over Korea have been seeking Maxwell out for his glossy, high-fashion, edgy photography. Julian, the Seoul designer featured in these photographs, hired Maxwell for his skill with lighting. โ€œAll his

clothes are really black, and he came to me, because I could capture the light he needed for his clothing to look good,โ€ Maxwell said. Maxwell has gained a reputation for working tirelessly, sometimes going all day without stopping to eat or have a break. But there have also been valuable lessons along the way. During his first shoot Maxwell said, โ€œI would count out 1,2,3 and snap take a picture, 1,2,3 snap.โ€ The experienced model Maxwell was shooting told him to stop counting and keep shooting. โ€œI went from shooting


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์•ˆํ†ค ๋งฅ์Šค์›ฐ

Antwon Maxwell

170 photos to 1700 photos in one session,โ€ Maxwell said. Though these photographs are taken in a fraction of a second, the final result Maxwell creates is anything but instant. He will frequently spend four to five hours working on a photograph in post processing. The results are captivating. In one series, the photographs showcase a moody, aloof model swathed in dark, pallid tones. She reclines on a warehouse floor that is littered with rubble and sits on a makeshift throne made of remnants of wood. Undaunted by the crumbling, urban wreckage surrounding her, the model seems comfortable with her surroundings. Her rosy skin tone stands out against the dull, peeling, and crumbling structures. The only other bits of color and life these locations

offer are the green weeds and purple flowers that defy the demolished landscape. The modelโ€™s angled poses seem motionless, but they are anything but static. The bend in her elbow, the point of her toe, or the direction of her gaze, cause the viewerโ€™s eye to fluidly move about each photograph. Only pausing at the light across her legs or the shadow nestled in her collarbone. Though Maxwell photographs a variety of themes, his style and skill are unwavering, because in the end, he hopes that he can surprise his subject by finding a part of them that they didnโ€™t know they possessed. He wants to give them a photograph that they love. โ€œI want them to say โ€˜thatโ€™s me?โ€™ even before I retouch the photo,โ€ Maxwell said.

Maxwell will be leaving Korea soon and he canโ€™t wait to travel to cities across America to photograph models in different environments and under a really blue sky. Maxwell remains optimistic about his future in America and hopes that capturing good photos will be easier after some lighting limitations heโ€™s found in Koreaโ€™s gray weather. โ€œIf my photographs are good here I can only imagine what itโ€™s going to be like at home,โ€ he said. Even still, Korea has benefited from Maxwellโ€™s keen eye and lens, and now America will too. [b]


Mesh Printing Seo Hee Joo, PhD ์ œ์Šค ํžŒ์…”(Jess Hinshaw /

์ œ์Šค, ํฌ๋ฆฌ์Šค์™€ ์ธ์—ฐ์„ ๋งบ๊ฒŒ ๋˜์—ˆ๋‹ค.

์Šคํฌ๋ฆฐ์ด๋‚˜ ์Šคํฌ๋ฆฐ ํ”„๋ฆฐํŠธ ์ž‘์—…์„

์ดํ•˜, ์ œ์Šค)์™€ ํฌ๋ฆฌ์Šคํ† ํผ ์ฝ”ํŠธ

๊ทธ๋Ÿฐ ์ด์œ ์ธ์ง€ ๊ทธ๋“ค์˜ ์ž‘ํ’ˆ์„ ๋งˆ์ฃผํ• 

์ฃผ๋กœ ํ•˜๋Š” ์ž์‹ ๋“ค์˜ ์ž‘ํ’ˆ ์ œ์ž‘

(Christopher Cote / ์ดํ•˜, ํฌ๋ฆฌ์Šค)

๋•Œ, ๋น„๋กœ์†Œ ๊ทธ๋“ค์ด ์˜ˆ์ˆ ์ธ์ด๋ผ๋Š”

๋ฐฉ์‹์„ ์ง€์นญํ•œ๋‹ค๊ณ  ๋ณผ ์ˆ˜ ์žˆ์œผ๋ฉฐ ๋‘

๋Š” ๋Œ€๊ตฌ์—์„œ ํ™œ๋™ํ•˜๋Š” ์˜ˆ์ˆ ๊ฐ€์ด๋‹ค.

์‚ฌ์‹ค์„ ๋˜์ƒˆ๊ธฐ๊ฒŒ ๋œ๋‹ค.

๋ฒˆ์งธ ์˜๋ฏธ๋Š” ์ œ์Šค์™€ ํฌ๋ฆฌ์Šค ์„œ๋กœ์˜

๋ฏธ๊ตญ์—์„œ ๋””์ž์ธ ์ž‘์—…์„ ํ–ˆ๋˜ ๋‘

์ œ์Šค์™€ ํฌ๋ฆฌ์Šค๋Š”

ํ˜‘์—…๊ณผ ๊ณ ๊ฐ๊ณผ์˜ ๊ด€๊ณ„๋ฅผ ์˜๋ฏธํ•˜๊ณ 

์ž‘๊ฐ€๋Š” ๋Œ€๊ตฌ์—์„œ ์™€์„œ ๋””์ž์ธ

2๋…„์ „๋ถ€ํ„ฐ ์ž‘์—…์‹ค์„ ํ•จ๊ป˜

์žˆ๋‹ค. ๊ณ ๊ธ‰์˜ˆ์ˆ ๊ณผ ์ƒ์—…์˜ˆ์ˆ ์˜

์ž‘์—…๋ณด๋‹ค ์˜์–ด๋ฅผ ๊ฐ€๋ฅด์น˜๋Š” ์ผ์ด

์‚ฌ์šฉํ•˜๋ฉด์„œ MESH๋ผ๋Š” ์ด๋ฆ„์œผ๋กœ

๊ฒฝ๊ณ„๋ฅผ ๋„˜๋‚˜๋“œ๋Š” MESH์˜ ์ž‘์—…์—์„œ

๋” ๋งŽ์•„์กŒ๋‹ค. ๊ทธ๋Ÿผ์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ 

๊ณต๋™์ž‘ํ’ˆ์„ ๋ฐœํ‘œํ•ด์˜ค๊ณ  ์žˆ๋‹ค. ๊ทธ๋“ค์—

๊ณ ๊ฐ๊ณผ ํ•จ๊ป˜(together) ์ž‘ํ’ˆ์ด

์˜ˆ์ˆ ๊ฐ€๋กœ์„œ ์ง€์†์ ์œผ๋กœ ์ž‘ํ’ˆ์„

์˜ํ•˜๋ฉด, MESH๋Š” ๋‘ ๊ฐ€์ง€ ์˜๋ฏธ๋ฅผ

์™„์„ฑ๋œ๋‹ค๋Š” ๊ฒƒ์€ ์ค‘์š”ํ•˜๋‹ค. ๊ทธ๋“ค์€

๋ฐœํ‘œํ•˜๊ณ  ์ง€์—ญ ๋ฏธ์ˆ ์ธ๋“ค๊ณผ ๊ต๋ฅ˜ํ•˜๊ณ 

๊ฐ€์ง€๊ณ  ์žˆ๋‹ค. ํ•˜๋‚˜๋Š” ์Šคํฌ๋ฆฐ ์œ„์—

์ด๊ฒƒ์„ โ€˜meshingโ€™์ด๋ผ๊ณ  ํ‘œํ˜„ํ•œ๋‹ค.

์žˆ๋‹ค. ๊ทธ๋“ค์˜ ํ™œ๋ฐœํ•œ ํ™œ๋™ ๊ฐ€์šด๋ฐ

์žˆ๋Š” ์‹ค ๊ฐ€๋‹ฅ์„ ์ง€์‹œํ•˜๋Š” ๋ง์ด๋ฉฐ

์šฐ๋ฆฌ๋ง๋กœ ๋ฒˆ์—ญํ•˜์ž๋ฉด

ํ•˜๋‚˜๊ฐ€ [b]racket์ด๋ผ๋Š” ์žก์ง€

๋‹ค๋ฅธ ํ•˜๋‚˜๋Š” ํ•จ๊ป˜ ์ž‘์—…ํ•œ๋‹ค๋Š”

โ€˜๋งž๋ฌผ๋ ค ์žˆ๋‹คโ€™๋Š” ๋œป์ด๋‹ค. ์ด๊ฒƒ์€

๋ฐœ๊ฐ„์ด๋‹ค. ํ•„์ž๋„ [b]racket์„ ํ†ตํ•ด์„œ

์˜๋ฏธ์ด๋‹ค. ์ฒซ ๋ฒˆ์งธ ์˜๋ฏธ๋Š” ์‹คํฌ

์ž์‹ ๋“ค์˜ ์˜ˆ์ˆ ์  ์ž‘์—…๊ณผ ๊ณ ๊ฐ

10


์‚ฌ์ด์˜ ๊ท ํ˜•์„ ์œ ์ง€ํ•˜๋ฉด์„œ ์ž‘์—…์„

์œ ๋ช…ํ•œ ์žฅ์†Œ๋กœ ๋งŒ๋“œ๋Š”๋ฐ ๊ธฐ์—ฌํ–ˆ๋‹ค.

์˜ˆ์ˆ ์€ ์ž์œ ์ด์ž ํ˜ผ๋ž€์ด ๋‚ด์žฌ๋˜์–ด

ํ•œ๋‹ค๋Š” ๊ฒƒ์ด๋‹ค. ๋‹ค์‹œ ๋งํ•˜์ž๋ฉด,

์ด๋ ‡๋“ฏ MESH์˜ ์ž‘์—…์€ ์ผ์ƒ์ 

์žˆ๋Š” ๊ฒƒ์ด๊ธฐ๋„ ํ•˜๋‹ค. ์ค‘์š”ํ•œ ์ ์€

์˜ˆ์ˆ ๊ฐ€๋กœ์„œ ์ž‘์—…๊ณผ ๊ณ ๊ฐ์ด ์›ํ•˜๋Š”

์‚ถ๊ณผ ์นœ๋ฐ€ํ•˜๊ฒŒ ๋‹ค๊ฐ€๊ฐ„๋‹ค. ๊ทธ๋“ค์€

์˜ˆ์ˆ ๊ฐ€์˜ ์˜๋„๊ฐ€ ๊ทธ ๋ฐ”ํƒ•์— ์žˆ๋‹ค๋Š”

๊ฒƒ๊ณผ์˜ ์†Œํ†ต์ธ ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฌํ•œ

์˜ˆ์ˆ ๊ฐ€๋“ค์˜ ํš์ผํ™”๋œ ๋ฐฉํ–ฅ์œผ๋กœ๋ถ€ํ„ฐ

๊ฒƒ์ด๋‹ค. ํฌ๋ฆฌ์Šค๋Š” ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ๋Š๋ผ๋Š”

๋Œ€ํ‘œ์ ์ธ ์ž‘์—…์ด ๋ถ€์‚ฐ์˜ ๊ฐˆ๋งค๊ธฐ

๋ฒ—์–ด๋‚˜ ์ž์œ ๋กœ์šด ์ฐฝ์กฐ๊ณผ์ •์„ ํ†ตํ•ด

๊ฒƒ์„ ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ๋Š” ๋ฐฉ๋ฒ•์ด

๋ธŒ๋ฃจ์ž‰์ด๋‹ค. ๊ฐˆ๋งค๊ธฐ ๋ธŒ๋ฃจ์ž‰์€ ๋ถ€์‚ฐ

์ž‘ํ’ˆ์„ ์ผ์ƒ์ ์ธ ์‚ถ์˜ ๊ณต๊ฐ„์œผ๋กœ

์˜ˆ์ˆ ์ด๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ๊ทธ๋ฆฌ๊ณ 

์ง€์—ญ ์ Š์€์ด๋“ค ์‚ฌ์ด์— ์ž˜ ์•Œ๋ ค์ ธ

ํ™•์žฅ์‹œํ‚จ๋‹ค. ์ด๋Ÿฐ ์ ์—์„œ MESH

์˜ˆ์ˆ ์ด ๋ฌด์—‡์ธ๊ฐ€๋ฅผ ํ‘œํ˜„ํ•˜๋Š” ํ•œ,

์žˆ๋Š” ๋งฅ์ฃผ ํ•˜์šฐ์Šค์ด๋‹ค. MESH

๋ผ๋Š” ๋ช…์นญ์€ ์ž์‹ ๋“ค์˜ ์ž‘์—…๋ฐฉ์‹๊ณผ

์˜ณ๊ณ  ๊ทธ๋ฆ„์œผ๋กœ ์ด์•ผ๊ธฐ ํ•  ์ˆ˜ ์—†๋‹ค๊ณ 

๋Š” ์ด๊ณณ์˜ ๋””์ž์ธ ์ž‘์—…์„ ๋งก์•˜๋‹ค.

๊ณต๋™ ์ž‘์—…์— ๋Œ€ํ•œ ์ƒ๊ฐ์„ ๊ณ ์Šค๋ž€ํžˆ

์ƒ๊ฐํ•œ๋‹ค. ๋‘ ์‚ฌ๋žŒ์—๊ฒŒ ์˜ˆ์ˆ ์€ ๊ทธ

๊ณ ๊ฐ์ด ์›ํ•˜๋Š” ๊ฒƒ๊ณผ ์ž์‹ ๋“ค์˜

๋‹ด๊ณ  ์žˆ๋‹ค.

์–ด๋Š ๊ฒƒ์—๋„ ์†๋ฐ•๋˜์ง€ ์•Š์€ ๊ฒƒ์ด๋ฉฐ

Mesh Printing

๋ฉ”์‰ฌ ํ”„๋ฆฐํŒ…

์˜ˆ์ˆ ์  ์ž‘์—…์ด ์ž˜ ์กฐํ™”๋˜์–ด

๊ทธ๋“ค์€ ์˜ˆ์ˆ ์— ๋Œ€ํ•œ ์ฒ ํ•™๋„

์˜ณ๊ณ  ๊ทธ๋ฆ„์„ ํŒ๋‹จํ•˜๋Š” ๊ทธ ๋ฌด์—‡๋„

ํฌ์Šคํ„ฐ, ๊ฐ ๊ฐ์˜ ๋งฅ์ฃผ์— ๋งž๋Š” ์—ฌ๋Ÿฌ

๊ฐ™์€ ๊ณณ์„ ํ–ฅํ•œ๋‹ค. ์ œ์Šค๋Š” ์˜ˆ์ˆ ์„

์•„๋‹Œ ๊ฒƒ์ด๋‹ค. ์ž์œ ๋กœ์šด ์ƒ๊ฐ์„

์ด๋ฏธ์ง€ ๋“ฑ์„ ์ œ์ž‘ํ•˜์˜€๊ณ  ์ด๊ณณ์„

์ฃผ๊ด€์ ์ธ ๊ฒƒ์ด๋ผ ์ƒ๊ฐํ•œ๋‹ค. ๋™์‹œ์—

๋‹ด์•„๋‚ด๊ณ  ์ž์‹ ์˜ ์ด์ƒ์„ ํŽผ์น˜๋Š”


The Grover

Home to bellรข€™s First auto Exchange

12


๋ฉ”์‰ฌ ํ”„๋ฆฐํŒ…

๊ฒƒ์ด ๋ฐ”๋กœ ์˜ˆ์ˆ ์˜ ์„ธ๊ณ„์ธ ๊ฒƒ์ด๋‹ค.

์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๊ทธ ๊ฐ€์‚ฌ๋ฅผ ์ „๋‹ฌํ•˜๊ฒ ๋‹ค๋Š”

์ผ์ด ๋  ์ˆ˜๋„ ์žˆ๊ณ  ์šฐ๋ฆฌ๋ฅผ ์˜ฅ์ฃ„๋Š”

๊ทธ๋“ค์˜ ์˜ˆ์ˆ  ์ฒ ํ•™์ด ํ•œ ๊ณณ์„ ํ–ฅํ•˜๋Š”

๋ฐœ์ƒ์€ ์žฌ๋ฏธ์žˆ๋Š” ์ž‘ํ’ˆ์„ ๋„์ถœํ–ˆ๋‹ค.

์‚ถ์˜ ๋ฌด๊ฒŒ์ผ ์ˆ˜ ์žˆ๋‹ค. ๊ทธ๋Ÿฐ๋ฐ

๊ฒƒ์€ ์„œ๋กœ์˜ ์ž‘์—…์„ ํ†ตํ•ด์„œ ์˜ˆ์ˆ ๊ด€๊ณผ

์ด๋ ‡๊ฒŒ ์ž์‹ ์˜ ์ž‘์—…์—์„œ ๊ฐœ์ธ์˜

์šฐ๋ฆฌ๋Š” ์ด๊ฒƒ์„ ๊นจ๋‹ซ์ง€ ๋ชปํ•  ๋•Œ๊ฐ€

์ž‘ํ’ˆ์— ๋Œ€ํ•œ ๊ต๊ฐ์„ ์ถ•์ ํ•ด ์™”๊ธฐ

์ผ์ƒ๊ณผ ์ž์‹ ์ด ๊ฐˆ๋งํ•˜๋Š” ์„ธ๊ณ„๋ฅผ

๋งŽ๋‹ค. ํฌ๋ฆฌ์Šค๋Š” ๊ทธ๋Ÿฐ ์šฐ๋ฆฌ์˜ ๋ชจ์Šต์„

๋•Œ๋ฌธ์ผ ๊ฒƒ์ด๋‹ค. ์ œ์Šค์™€ ํฌ๋ฆฌ์Šค๋Š”

์ œ์‹œํ•จ์œผ๋กœ์จ ์šฐ๋ฆฌ๋Š” ๊ทธ์˜ ์ž‘ํ’ˆ์„

์‹œ๊ฐ์ ์œผ๋กœ ํ‘œํ˜„ํ•œ๋‹ค. ์šฐ๋ฆฌ๋Š” ๊ทธ๋Ÿฐ

์ž‘๊ฐ€์—๊ฒŒ๋Š” ์ž์‹ ์˜ ์ž‘์—…์„ ์ด์•ผ๊ธฐํ• 

ํ†ตํ•ด์„œ ์„ธ์ƒ์„ ๋ฐ”๋ผ๋ณด๋Š” ๋˜ ๋‹ค๋ฅธ

๊ทธ์˜ ์ž‘ํ’ˆ ์•ž์—์„œ ๋‹นํ™ฉํ•ด ํ•˜๋‹ค๊ฐ€

์ˆ˜ ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์ด ์กด์žฌํ•ด์•ผ ํ•œ๋‹ค๋Š”

์‹œ์„ ์„ ๋งŒ๋‚˜๊ฒŒ ๋œ๋‹ค.

์ด๋‚ด ์ƒ๊ฐ์— ์ž ๊ธด๋‹ค.

Mesh Printing

์ƒ๊ฐ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋‹ค. ๋‹ค์‹œ ๋งํ•˜๋ฉด,

ํฌ๋ฆฌ์Šค์˜ ์ตœ๊ทผ ์ž‘์—… ๊ฒฝํ–ฅ์€

๊ณ ๊ธ‰์˜ˆ์ˆ ๊ณผ ์ƒ์—…์˜ˆ์ˆ ์˜

์ž์‹ ๊ณผ ๋‹ค๋ฅธ ์˜๊ฒฌ์„ ๊ฐ€์ง„ ๋ˆ„๊ตฐ๊ฐ€์˜

โ€œํ•˜์šด๋“œ(Hound)โ€์—์„œ ๋ณผ ์ˆ˜ ์žˆ๋‹ค.

๊ฒฝ๊ณ„๋ฅผ ๋„˜๋‚˜๋“œ๋Š” ์ œ์Šค์™€ ํฌ๋ฆฌ์Šค๋Š”

๊ด€์ ์ด ํ•„์š”ํ•˜๊ณ , ๊ทธ๋ ‡์ง€ ๋ชปํ• 

๊ทธ๋Š” ์˜์‹์˜ ํ๋ฆ„์„ ๋”ฐ๋ผ๊ฐ€๋ฉด์„œ ๊ธ€์„

์ƒ์—… ๋””์ž์ธ์—์„œ ์‹œ๋Œ€์  ๊ณ ๋ฏผ๊ณผ

๊ฒฝ์šฐ, ์ž์‹ ์˜ ์ž‘ํ’ˆ์— ์‰ฝ๊ฒŒ ๋งค๋ชฐ๋˜์–ด

์“ฐ๊ณ  ๊ทธ๊ฒƒ์„ ํ† ๋Œ€๋กœ ์ž‘ํ’ˆํ™”ํ•˜๊ณ 

์‚ฌํšŒ์  ๋ฐ˜์„ฑ์„ ๋‹ด์€ ์ž‘ํ’ˆ๊นŒ์ง€

๋ฒ„๋ฆฐ๋‹ค๋Š” ๊ฒƒ์ด๋‹ค. ๊ทธ๋“ค์€ ๊ณต๋™์ž‘์—…์„

์žˆ๋‹ค. ์ด๋Ÿฐ ์ž‘ํ’ˆ๋“ค์€ ์ž์‹ ์˜ ์—‰๋šฑํ•œ

ํญ๋„“์€ ๋ฒ”์ฃผ๋ฅผ ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ๋‹ค.

ํ•˜๋Š” ๊ณต๋™์ฒด์ธ ๋™์‹œ์— ์„œ๋กœ์˜ ์ž‘์—…์—

์ƒ๊ฐ์ด ์ฃผ๋กœ ํ‘œํ˜„๋œ๋‹ค. ์‚ฌ๋žŒ๋“ค์€

์ฃผ์ œ๋Š” ์ง„์ง€ํ•˜์ง€๋งŒ ํ‘œํ˜„์€ ๊ฐ€๋ณ๊ณ 

๋Œ€ํ•œ ๊ฐ€์žฅ ๋‚ ์นด๋กœ์šด ๋น„ํ‰๊ฐ€์ธ

๊ทธ๋Ÿฐ ์ž‘ํ’ˆ ์•ž์—์„œ ๋‹นํ™ฉํ•ด ํ•˜๊ฑฐ๋‚˜

์œ ์พŒํ•˜๊ฒŒ ๊ทธ๋“ค ํŠน์œ ์˜ ์žฌ์น˜๋ฅผ

๊ฒƒ์ด๋‹ค. ๋‘ ์‚ฌ๋žŒ์˜ ๊ต๋ฅ˜์™€ ๊ต๊ฐ์€

์–ด์ฉ” ์ค„ ๋ชฐ๋ผ ํ•˜๊ธฐ๋„ ํ•œ๋‹ค. ์‚ฌ์‹ค

๋‹ด์•„์„œ ์šฐ๋ฆฌ์˜ ํ˜„์‹ค์„ ๋งˆ์ฃผํ•˜๊ฒŒ

๊ถ๊ทน์ ์œผ๋กœ ๊ฐœ์ธ์  ์ž‘์—…์˜ ๋ฐœ์ „๋„

ํฌ๋ฆฌ์Šค๋Š” ๊ด€๋žŒ๊ฐ์˜ ๊ทธ๋Ÿฐ ํ‘œ์ •์„

ํ•œ๋‹ค. ๊ทธ๋“ค์€ ์ž‘ํ’ˆ์œผ๋กœ ํ‘œํ˜„ํ•˜๊ณ 

๊ฐ€์ ธ์˜จ ์›๋™๋ ฅ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค.

์ข‹์•„ํ•œ๋‹ค. ์žฅ๋‚œ๊ธฐ ๊ฐ€๋“ ํ•œ ์ž‘๊ฐ€๋กœ

ํ–‰๋™์œผ๋กœ ์‹ค์ฒœํ•˜๋ฉด์„œ ์šฐ๋ฆฌ๋ฅผ ์ƒˆ๋กœ์šด

์ƒ๊ฐ ๋  ์ˆ˜๋„ ์žˆ๊ฒ ์ง€๋งŒ ์˜ˆ์ˆ ์— ๋Œ€ํ•œ

์ง€ํ‰์œผ๋กœ ๋‚˜์•„๊ฐ€๋„๋ก ์ด๋ˆ๋‹ค. ์šฐ๋ฆฌ๋Š”

๋ˆˆ๊ธธ์„ ๋„๋Š” ๊ฒƒ์€ ๋˜ ๋‹ค๋ฅธ ์ž‘๊ฐ€์™€์˜

๊ทธ์˜ ์ฒ ํ•™์ด ์ง„์ง€ํ•œ ๊ฒƒ๋งŒํผ ๊ทธ์˜

์ด ๋‘ ๋ช…์˜ ์™ธ๊ตญ์ธ์„ ํ†ตํ•ด์„œ ์šฐ๋ฆฌ๋ฅผ

ํ˜‘์—…์ด๋‹ค. ๊ทธ์˜ ์ž‘ํ’ˆ โ€œ์˜ค๋ž˜๋œ ๋ถ€์กฑโ€

์ž‘ํ’ˆ๋„ ์ง„์ง€ํ•œ ์ด์•ผ๊ธฐ๋ฅผ ํ•จ์˜ํ•˜๊ณ 

๋ฐ˜์„ฑํ•˜๊ฒŒ ๋˜๊ณ  ๋˜๋Œ์•„๋ณด๊ฒŒ ๋œ๋‹ค.

์€ ๋ฏธ๊ตญ ์บ˜๋ฆฌํฌ๋‹ˆ์•„์— ์‚ด๊ณ  ์žˆ๋Š”

์žˆ๋‹ค. ๋งค๋“ญ์ด๋‚˜ ๋„ฅํƒ€์ด๋ฅผ ์ฃผ์ œ๋กœ

์šฐ๋ฆฌ๊ฐ€ ๊ทธ์˜ ์ž‘ํ’ˆ ์•ž์— ๋จธ๋ฌผ์ˆ˜๋ก

์˜๊ตญ์˜ ์˜ˆ์ˆ ๊ฐ€์™€์˜ ํ˜‘์—…์œผ๋กœ

ํ•˜๋Š” ๊ทธ์˜ ์ž‘ํ’ˆ์€ ํŠนํžˆ ๊ทธ๋Ÿฌํ•˜๋‹ค.

๊ทธ๋“ค์˜ ์ž‘ํ’ˆ๋„ ์ ์  ๋‚ด๋ฉด์  ๊นŠ์ด๊ฐ€

์ด๋ฃจ์–ด์กŒ๋‹ค. ์ด ๋‘ ์ž‘๊ฐ€๋Š” ํž™ํ•ฉ

๊ทธ๋Š” ์ด ์ฃผ์ œ๋กœ ์‚ฌ๋žŒ๋“ค์ด ์ž์‹ ์˜

๋”ํ•ด์งˆ ๊ฒƒ์ด๋‹ค. [b]

์Œ์•…์˜ ์• ํ˜ธ๊ฐ€๋กœ ์„œ๋กœ ๊ต๋ฅ˜ํ•˜์˜€๊ณ  ๊ฐฑ

์ผ์— ๊ฐ‡ํ˜€์žˆ๋‹ค๋Š” ๊ฒƒ์„ ๊นจ๋‹ซ๊ฒŒ ํ•˜๊ณ 

์Šคํƒ€(Gang Starr)๊ฐ€ ๋ถ€๋ฅธ ๋…ธ๋ž˜ ๊ฐ€์‚ฌ

์‹ถ์—ˆ๋‹ค๊ณ  ํ•œ๋‹ค. ํ˜„๋Œ€๋ฅผ ์‚ด์•„๊ฐ€๋Š”

๋ฅผ ์‹œ๊ฐ์ด๋ฏธ์ง€๋กœ ํ‘œํ˜„ํ•˜๋Š” ์ž‘์—…์„

์šฐ๋ฆฌ ๋ชจ๋‘๊ฐ€ ์‚ฌํšŒ๋‚˜ ์ž์‹ ์ด ๋งŒ๋“ 

ํ•จ๊ป˜ ํ–ˆ๋‹ค. ์ž์‹ ๋“ค์ด ์ข‹์•„ํ•˜๋Š”

ํ•˜๋‚˜์˜ ํ‹€ ์†์—์„œ ์‚ด์•„๊ฐ€๊ฑฐ๋‚˜ ๊ทธ

๋…ธ๋ž˜ ๊ฐ€์‚ฌ๋ฅผ ์‹œ๊ฐ์ด๋ฏธ์ง€๋กœ ๋ฐ”๊พธ์–ด

์•ˆ์— ์šฐ๋ฆฌ๋ฅผ ๊ฐ€๋‘๊ณ  ์žˆ๋‹ค. ๊ทธ ํ‹€์ด

์ œ์Šค์˜ ๊ฐœ์ธ์ ์ธ ์ž‘์—…์—์„œ


Shim Gyu Ri Whit Altizer Artist Shim Gyu Riโ€™s work is a study in time, persistence and patience. Take a close look at her work, and youโ€™ll certainly appreciate the painstaking detail and labor that went into it. โ€œAlthough the process of completing my work is very hard,โ€ Shim said, โ€œit is worth it because I get a lot of satisfaction when the result is good.โ€ With tiny strokes of her pencil and close attention to detail she makes huge pieces of work that you want to reach out and touch. โ€œThose lines in my work are an accumulation of short lines,โ€ Shim said โ€œlike there are growth rings in a cross section of wood.โ€ Shimโ€™s art feels like a timeline of her artistic growth. Shimโ€™s own personal evolution and artistic journey are marked with the lines made by her pencil. โ€œThrough making my work of art, Iโ€™d like to share my view of the world with others and understand what they think of it,โ€ Shim said. โ€œMaking art is like declaring what I believe.โ€ Her art is usually inspired by beautiful moments in nature. By the natural lines that a blade

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of grass or weeds make all around us. These moments in nature and these natural lines are beautiful to Shim. โ€œI assume that everyone has an experience of having a beautiful moment,โ€ Shim said. โ€œI try to capture the moment and make it universal and permanent by making my work of art.โ€ Shim studied Korean painting and also developed a fascination with Eastern philosophy. She sought out artists who used this philosophy as a foundation for their work.

She learned that in Korean painting, an image should be based on the artistโ€™s spirit, even when making a landscape painting. Art for Shim is as much about what isnโ€™t said as what is. โ€œThe beauty of space in Korean painting, which is considered something that can be filled with human thoughts, has influenced me a lot to make my work simple.โ€ Shimโ€™s exhibition โ€œRecord of Reverberationโ€ captures the duality between the artistโ€™s attention to detail

yet simplistic style as influenced by Korean painting and Eastern philosophy. One piece shows the cross-section of a tree done with such great care the viewer feels like they could reach out and feel each ridge and smell the earthiness of the wood and bark. Another piece, not shown here, is a circle of leaves, branches and other debris that could easily be seen as both detailed and simple. There is plenty of empty space, but the work has plenty to say. It feels

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์‹ฌ๊ทœ๋ฆฌ

Shim Gyu Ri

like art in motion. The circle could represent continuity, growth and a reminder that life goes on. On two other pieces there are soft, hard, and dark, thick, undulating black lines stretching horizontally across hanji paper. Even though there are patterns, no two lines feel identical. There is uniqueness amid the conformity. Like people, a blade of grass or a snowflake, no two natural things can ever completely be the same.

Like the environment, Shimโ€™s work is always moving forward, always growing. โ€œIf I just settle for the present, Iโ€™ll make no progress in creating art,โ€ Shim said. Each year that passes, every new piece of art made is another growth and a new story. โ€œThe art form that I pursue can change as time passes, but I should try to have my own style. If I keep making art with my own style while asking myself questions about it, the whole process can shape my life in the end.โ€ As Shimโ€™s art

continues to move forward, weโ€™ll certainly be following along to see what comes next. [b]


Jung So Hyun An Eun Ji

Jung So Hyunโ€™s work looks at the unfulfilled desires of people whose lives are not as rich and bountiful as they seem. People struggle with their identity in a world where we consume information indiscriminately and unconsciously. The complicated composition of her work and the color red, which dominates the painting, reflects her

own fear and anxiety about consumption and manufactured identities that are projected onto us. Red serves as the dominant color in Jungโ€™s confined setting. The color conveys these feelings of fear, and invokes a sense of isolation and turmoil. Itโ€™s an indicator of how strongly we are affected by color. Itโ€™s usually in one of her

more isolated moments when she is inspired. Alone in her room, Jung can both fantasize about what she wants to have while also satisfying her weariness with consumption. Jung is most bothered by consumersโ€™ uncritical consuming pattern and how people often buy what other people have without thinking. She believes this thoughtless longing for

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์ •์†Œํ˜„

Jung So Hyun

products can fill us with a sense of longing or inadequacy. It is this struggle with omnipresent consumer-inspired media and the programming of the consumer that is illustrated on these canvases. Her canvases show a bedroom filled with various objects that are seemingly mass-produced replicas. It is a world of simulacra. Itโ€™s a

room covered with so much ephemera that it feels hot, crowded and oppressive. The objects stack up like a wall or a chain-link fence. The products in their stoic blackness lose their decorative function and become something restricting. They trap whoever is in it. These alarming and stark paintings raise questions about living in the flood of the mass

media. The standard of beauty that is somehow accepted, the confusion of values caused from imitation and a reckless desire for what other people possess are seen through this red, black and white lens. While arranging desires for superficial things in her room, one omission is curious: there is no window in the bedroom of her canvas. Instead,


20


์ •์†Œํ˜„

Jung So Hyun

there is a mirror in the middle of the room. It reflects her desires, and the reflected images are emphasized more than reality, bringing to light peopleโ€™s greed. As seen in Damien Hirstโ€™s work of art, a skull adorned with diamonds, โ€˜For the love of Godโ€™, Jung tells us that human desire is insatiable, floating in

this world even after death. Jung looks to warn us in her captivating work that desiring and blind consumption will not set us free. [b]


Lee Sang Bong Choi Mi Kyung

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Lee Sang Bong ์ด์ƒ๋ด‰


โ€˜๋ฉ ๋•Œ๋ฆฌ๊ธฐโ€™๋ฅผ ์ฆ๊ธฐ๋Š” ์ž‘๊ฐ€ ์ด์ƒ๋ด‰ : 2015๋…„ 5์›” 12์ผ ์›”์š”์ผ ๊ทธ์˜ ์ผ์ƒ ์—ฟ๋ณด๊ธฐ

7์‹œ 15๋ถ„ 18์ดˆ: ํ•ด๋‹˜๊ณผ ์•„์นจ ์ธ์‚ฌํ•˜๊ธฐ

7์‹œ 24๋ถ„ 39์ดˆ: ๋ˆˆ ๊ฐ๊ณ  ์ƒค์›Œ ํ•˜๋‹ค ๋ˆˆ ๋œจ๊ธฐ

7์‹œ 41๋ถ„ 54์ดˆ: ๋ƒ‰์žฅ๊ณ ์™€ ๋ƒ‰๋™๊ณ  100๋ฒˆ ์—ด์—ˆ๋‹ค ๋‹ซ์•˜๋‹ค ํ•˜๊ธฐ

8์‹œ 3๋ถ„ 8์ดˆ: ์ปดํ“จํ„ฐ ์•ž ๋ถˆ๋Ÿ‰ ์ž์„ธ๋กœ ๋งˆ์šฐ์Šค ๋„์ ๋„์  ํ•˜๊ธฐ

9์‹œ 11๋ถ„ 16์ดˆ: ํ™”๋ถ„์— ๋ฌผ ์ฃผ๋ฉด์„œ ๋‚ด ์ž…์—๋„ ๋ฌผ ์ฃผ๊ธฐ

9์‹œ 28๋ถ„ 19์ดˆ: ํฐ ๋นจ๋ž˜๋Š” ํฌ๊ฒŒ ํ•˜๊ณ  ๊ฒ€์€ ๋นจ๋ž˜๋Š” ๊ฒ€๊ฒŒ ํ•˜๊ธฐ

12์‹œ 6๋ถ„ 38์ดˆ: ํ™”์žฅ์‹ค ๋ณ€๊ธฐ ๋ฌผ ๋‚ด๋ฆฌ๊ธฐ

12์‹œ 17๋ถ„ 41์ดˆ: ํ•ด๋‹˜ ์นœ๊ตฌ, ๊ณต๊ธฐ ์นœ๊ตฌ์™€ ๊ฝƒ ๋ณด๋ฉด์„œ ๋ฐฅ ๋จน๊ธฐ

12์‹œ 52๋ถ„ 27์ดˆ: ์ด๋ฆฌ์ €๋ฆฌ ๊ทธ๋ƒฅ ์™”๋‹ค๊ฐ”๋‹ค ์ข€ ํ•ด๋ณด๊ธฐ

13์‹œ 14๋ถ„ 6์ดˆ: ์—ฌ๋Ÿฌ ๊ฐ€์ง€ ์˜ํ™”์™€ ๋†€๊ธฐ

16์‹œ 21๋ถ„ 15์ดˆ: ํ™œํ™”์‚ฐ์ด ๋˜๋ฉด ์•ˆ ๋˜์ง€ ํŽธ์ง‘ ํ•˜๊ธฐ

18์‹œ 11๋ถ„ 46์ดˆ: ํ™”์ดํŠธ ๋…ธ์ด์ฆˆ ์†Œ๋ฆฌ ๊ท€๋กœ ๋‹ด๊ธฐ

18์‹œ 58๋ถ„ 57์ดˆ: DIF ๋„คํŠธ์›Œํฌ์™€ ํ•˜๋ฃจ ํšŒ์˜ ๋ฉ‹์ง€๊ฒŒ ํ•˜๊ธฐ

19์‹œ 18๋ถ„ 43์ดˆ: ๋‹ฌ๋‹˜๊ณผ ๋ฐฅ ๋จน๊ธฐ

19์‹œ 35๋ถ„ 26์ดˆ: ๊นœ๊นœํ•œ ๊ฑฐ์šธ ์•ž ๋‚ด ์–ผ๊ตด ๋ณด๊ณ  ๋†€๋ผ๊ธฐ

20์‹œ 42๋ถ„ 18์ดˆ: ๋ฌด์—‡์ธ์ง€๋Š” ๋ชฐ๋ผ๋„ ๋ฌด์—‡์ธ๊ฐ€ ๋– ์˜ฌ๋ฆฌ๊ธฐ

1์‹œ 45๋ถ„ 48์ดˆ: ๊ธด ๊ธด ์‹œ๊ฐ„, ์ž‘์—…ํ•˜๊ณ  ๋˜ ์ž‘์—…ํ•˜๊ธฐ

2์‹œ 26๋ถ„ 25์ดˆ: ์ž ์ž๊ธฐ ํ‘œ์ •์ด ์—†์ง€๋งŒ ์–ธ์ œ๋‚˜ ๋ฏธ์†Œ๋ฅผ ์žƒ์ง€ ์•Š์œผ๋ฉฐ, ๋ˆˆ์ด๋ผ๋„ ๋งˆ์ฃผ์น˜๊ฒŒ ๋˜๋ฉด

โ€˜๋ญ ๋„์™€ ๋“œ๋ฆด๊ฑฐ ์—†์–ด์š”? โ€™๋ผ๋ฉฐ ์†Œ๋ฆฌ ์—†์ด ๊ฐ๋™์„ ์ „๋‹ฌํ•˜๋Š” ์ž‘๊ฐ€ ์ด์ƒ๋ด‰. ๊ทธ๊ฐ€ ์†”์งํ•˜๊ฒŒ ๋ณด์—ฌ ์ค€ ํ•˜๋ฃจ ์ผ๊ณผ์˜ ์‹œ๊ฐ„๋“ค๊ณผ ์ž‘ํ’ˆ์ธ ์ƒ๊ฐ์†Œ๋ฆฌ, DREAM, ๋งน์ž์„ธ๋ ˆ๋‚˜๋ฐ์˜ ํ˜•์‹๊ณผ ์ค„๊ฑฐ๋ฆฌ๋Š” ์ธ๊ฐ„์ด ์ง€๋‹Œ ๊ทน์ ์ธ ์†”์งํ•จ์„ ํ‘œํ˜„ํ•˜๊ณ ์ž ํ•˜์˜€์œผ๋ฉฐ ๊พธ๋ฐˆ์—†๋Š” ์ง„์‹คํ•œ ์‚ถ์„ ์‚ด๊ณ ์ž ํ•˜๋Š” ์ž‘๊ฐ€์˜ ์˜์ง€๋ฅผ ๋‹ด๊ณ  ์žˆ๋‹ค.

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๋งน์ž ์„ธ๋ ˆ๋‚˜๋ฐ โ€œ๋์„ ์˜์‹ํ•˜๋Š” ์‚ถ์€ ์•„๋ฆ„๋‹ต๋‹คโ€, ์–ด๋– ํ•œ ์‚ถ์ด ๋ฐ”๋ฅธ ์‚ถ์ธ๊ฐ€? ๋งน์ž๋Š” ์ด๋ ‡๊ฒŒ ์ด์•ผ๊ธฐ ํ•˜๊ณ  ์žˆ๋‹ค. ๋ชจ๋“  ์ด์—๊ฒŒ๋Š” ํ•˜๋Š˜์ด ๋‚ด๋ ค์ค€ ์„ ํ•œ 4๊ฐ€์ง€์˜ ๋งˆ์Œ์ด ์žˆ๋‹ค. ์ด๋Š” ๊ฐ€๋ฅด์นจ์„ ๋ฐ›์•„์„œ ์ƒ๊ฒจ๋‚œ ๊ฒƒ์ด ์•„๋‹Œ ํƒœ์–ด๋‚  ๋•Œ๋ถ€ํ„ฐ ์ด๋ฏธ ๊ฐ–๊ณ  ์žˆ๋Š” ์ธ๊ฐ„์˜ ์„ฑํ’ˆ์ด๋‹ค. ใ€Œ์ธก์€์ง€์‹ฌ ๆƒป้šฑไน‹ๅฟƒใ€,ใ€Œ์ˆ˜์˜ค์ง€์‹ฌ ็พžๆƒกไน‹ๅฟƒใ€, ใ€Œ์‚ฌ์–‘์ง€์‹ฌ ่พญ่ฎ“ไน‹ๅฟƒใ€,ใ€Œ์‹œ๋น„์ง€์‹ฌ ๆ˜ฏ้žไน‹ๅฟƒใ€, ์ด ๋„ค ๊ฐ€์ง€๋ฅผ ํ•ฉ์ณ์„œ ์–‘์‹ฌ์ด๋ผ ๋ถ€๋ฅธ๋‹ค. ๋ˆ„๊ตฌ์—๊ฒŒ๋‚˜ ์–‘์‹ฌ์ด ์žˆ์œผ๋‚˜ ์‰ฝ๊ฒŒ ๋“œ๋Ÿฌ๋‚ด์ง€ ๋ชปํ•˜๋Š” ๊ฐ๋ฐ•ํ•œ ์„ธ์ƒ ์†์—์„œ ์–‘์‹ฌ์— ๋ถ€๋„๋Ÿฝ์ง€ ์•Š์€ ์‚ถ์„ ์‚ด์•„๊ฐ„๋‹ค๋ฉด ๋ฌด์—‡์„ ํ•˜๋”๋ผ๋„ ์šฐ๋ฆฌ๋Š” ํ–‰๋ณตํ•  ๊ฒƒ์ด๋‹ค.๊ทธ๋Ÿฌ๋‚˜ ์–‘์‹ฌ์—์„œ ๋ฉ€์–ด์ง„ ์‚ถ์€ ์Šค์Šค๋กœ๊ฐ€ ๊ฒฌ๋””์–ด ๋‚ด์ง€ ๋ชปํ•˜๋Š” ๋ถˆํ–‰ํ•œ ์‚ถ์ด ๋  ๋ฟ์ด๋‹ค. ๋งน์ž์˜ ์„ธ๋ ˆ๋‚˜๋ฐ๋ฅผ ํ†ตํ•ด ์‚ถ์„ ๋ฐ˜์ถ” ํ•ด ๋ณด๊ณ  ์‹ถ์—ˆ๋‹ค.

์ด์ƒ๋ด‰

1์•…์žฅ : ์ธก์€์ง€์‹ฌ(ๆƒป้šฑไน‹ๅฟƒ) ์–ด๋ฆฐ์•„์ด๊ฐ€ ์šฐ๋ฌผ๊ฐ€๋กœ ๊ธฐ์–ด๊ฐ€ ๋น ์ง€๋ ค๊ณ  ํ•œ๋‹ค๋ฉด ๋ˆ„๊ตฌ์—๊ฒŒ๋‚˜ ๋ณธ๋Šฅ์ ์œผ๋กœ ์•„์ด๋ฅผ ๊ตฌํ•˜๋ ค๋Š” ๋งˆ์Œ์ด ์žˆ๋‹ค. ์ด๊ฒƒ์ด ๋ฐ”๋กœ ์ธก์€์ง€์‹ฌ์ด๋ฉฐ ๊ณง ์‚ฌ๋ž‘์ด๋‹ค. ์„ธ์ƒ ์†์—๋Š” ์šฐ๋ฆฌ์˜ ๋„์›€์„ ํ•„์š”๋กœ ํ•˜๋Š” ์ˆ˜๋งŽ์€ ์‚ฌ๋ž‘์˜ ๋Œ€์ƒ๋“ค์ด ์žˆ๋‹ค. ๊ธฐ์•„๋กœ ํ—ˆ๋•์ด๋Š” ์–ด๋ฆฐ์•„์ด, ์ „์Ÿ๋‚œ๋ฏผ๋“ค, ์ž์—ฐ์žฌํ•ด๋ฅผ ์ž…์€ ์ง€์—ญ ์ฃผ๋ฏผ๋“ค ๋“ฑ. ๊ทธ๋“ค์˜ ๋ชจ์Šต์„ ํ†ตํ•ด ์šฐ๋ฆฌ ์•ˆ์— ์žˆ๋Š” ์‚ฌ๋ž‘์˜ ๋ณธ๋Šฅ์„ ์ผ๊นจ์›Œ ์ค€๋‹ค. 2์•…์žฅ : ์ˆ˜์˜ค์ง€์‹ฌ(็พžๆƒกไน‹ๅฟƒ) ์šฐ๋ฆฌ ์•ˆ์—๋Š” ์˜ณ์ง€ ์•Š์€ ํ–‰๋™์„ ๋ณด๊ฒŒ ๋˜๋ฉด ๋ถ„๋…ธํ•˜๋ฉฐ ์˜ณ์ง€ ์•Š์€ ํ–‰๋™์„ ์ž์‹ ์ด ํ–ˆ์„ ๋•Œ๋Š” ๋ถ€๋„๋Ÿฌ์›Œํ•˜๋Š” ๋งˆ์Œ์ด ๋‚ด์žฌ๋˜์–ด ์žˆ๋‹ค. ์„ธ๊ณ„ ๊ฐ๊ตญ ๋„์ฒ˜์—์„œ ๋ฒŒ์–ด์ง€๋Š” ์ •์˜๋กญ์ง€ ๋ชปํ•œ ์ผ๋“ค์— ๊ณต๋ถ„ํ•ด์•ผ ํ•˜๋ฉฐ ์ด๋ฅผ ํ†ตํ•ด ์šฐ๋ฆฌ ์•ˆ์— ์žˆ๋Š” ์ •์˜๊ฐ์„ ํ™•๋Œ€ ์‹œ์ผœ ๋‚˜๊ฐ€์•ผ ํ•œ๋‹ค. 3์•…์žฅ : ์‚ฌ์–‘์ง€์‹ฌ(่พญ่ฎ“ไน‹ๅฟƒ) ์Œ์‹์„ ๋จน๋‹ค๊ฐ€ ๋งˆ์ง€๋ง‰ ํ•œ ๊ฐœ๊ฐ€ ๋‚จ์•˜์„ ๋•Œ ์šฐ๋ฆฌ๋Š” ์„œ๋กœ์—๊ฒŒ ์–‘๋ณด๋ฅผ ํ•œ๋‹ค. ์Œ์‹์„ ๋จน์„ ๋•Œ๊ฐ€ ์ธ๊ฐ„์—๊ฒŒ์„œ ๊ฐ€์žฅ ์ˆœ์ˆ˜ํ•œ ์ˆœ๊ฐ„์ด๋ผ๋ฉด ์šฐ๋ฆฌ์—๊ฒ ๋ถ„๋ช… ์–‘๋ณดํ•˜๊ณ  ์‚ฌ์–‘ํ•˜๋Š” ๋งˆ์Œ์ด ์žˆ์„ ๊ฒƒ์ด๋‹ค. ์šฐ๋ฆฌ ์ „ํ†ต ์†์— ๋‚ด๋ ค์˜ค๋Š” ์˜ˆ์ ˆ๊ณผ

Lee Sang Bong

์–‘๋ณด์˜ ๋ฏธ๋•์„ ์žฌ๋ฐœ๊ตดํ•˜์—ฌ ํ–‰๋™์œผ๋กœ ํ‘œํ˜„ํ•œ๋‹ค. 4์•…์žฅ : ์‹œ๋น„์ง€์‹ฌ(ๆ˜ฏ้žไน‹ๅฟƒ) ์šฐ๋ฆฌ์—๊ฒŒ๋Š” ๊ฐ€๋ฅด์ณ ์ฃผ์ง€ ์•Š์•„๋„ ์˜ณ๊ณ  ๊ทธ๋ฆ„์„ ์•„๋Š” ๋งˆ์Œ์ด ์žˆ๋‹ค. ๊ธธ๊ฑฐ๋ฆฌ์— ํœด์ง€๋ฅผ ๋ฒ„๋ฆฌ์ง€ ์•Š๊ฑฐ๋‚˜ ์•ฝํ•œ ์ž๋ฅผ ๊ดด๋กญํžˆ์ง€ ์•Š๋Š” ๋งˆ์Œ, ์ž์—ฐ์„ ํ›ผ์†ํ•˜์ง€ ์•Š๋Š” ๋งˆ์Œ, ์“ธ๋ฐ์—†๋Š” ์‚ด์ƒ์„ ํ•˜์ง€ ์•Š๋Š” ๋งˆ์Œ๋“ค์ด ์žˆ๋‹ค. โ€œ๋Œ€์ง€โ€๋ผ๋Š” ์†Œ์„ค์„ ์“ด โ€˜ํŽ„๋ฒ… ์—ฌ์‚ฌโ€™๋Š” ํ•œ๊ตญ์—์„œ ๊นŒ์น˜๋ฐฅ์„ ๋ณด๊ณ  ํฌ๊ฒŒ ๊ฐ๋ช… ๋ฐ›์•„ ํ•œ๊ตญ์—์„œ ๊ณ ์•„์›์„ ์ง“๊ณ  ๋งŽ์€ ํ—Œ์‹ ์ ์ธ ํ™œ๋™์„ ํ•˜์˜€๋‹ค. ๊นŒ์น˜๊นŒ์ง€ ๋ฐฐ๋ คํ•˜๋Š” ์•„๋ฆ„๋‹ค์šด ๋งˆ์Œ์„ ๊ฐ€์ง„ ๋‚˜๋ผ์—์„œ ๋จผ ๋ฏธ๋ž˜์˜ ๋‹ต์„ ์ฐพ์„์ง€๋„ ๋ชจ๋ฅผ ์ผ์ด๋‹ค. [b]


Martyn Thompson Sybille Cavasin

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On the evening of April 15, 2014, more than 450 people, most of them high school students, boarded the Sewol ferry from the west coast of Korea headed toward Jeju Island. The ferry was stocked with cargo four times more than it was capable of carrying. When it made a sharp turn it capsized and slowly began to sink. Many students on board were told over loudspeakers to stay in their cabins. While they waited for further instruction, the captain and many crew members were among the first people to be saved. Many rescue efforts were delayed because the issue was not reported as soon as it should have been. The series of events that led up to the accident, and the way the situation was handled by those in charge angered and alarmed people around the world. Images of the sinking vessel ran in the news for days. The tragedy became not only a source of pain, but also one of embarrassment and anger. As a way to show support and respect for the families and their children, Martyn Thompson has created portraits of the Sewol victims. Through the use of traditional materials like dojang stamps, inju ink, and hanji paper, he has found a way to appropriately broach a subject that is incredibly touchy.


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Thompsonโ€™s use of the dojang stamp is especially interesting because in South Korea it is customary that children receive a stamp as a gift once they reach adulthood. The stamps are made of wood or stone, and are commonly used in Korea on documents the way a signature might be used in western society. Korean and Chinese characters, names, as well as symbols are carved into the stamps. โ€œHistorically, name stamps hold a permanence and dignity that I hope honor the lives of the Sewol students who were unable to reach maturity,โ€ Thompson said. Thompsonโ€™s repetitive application of the stamps has created images that attempt to address the idea of the passing of time. The artist explains that, โ€œinstead of the pieces remaining in a singular time frame, it shows a few fractions of life.โ€ Like many who paid close attention to the Sewol disaster, Thompson is painfully aware of the difficulty of commenting on this tragedy. But he skillfully does so in his process. โ€œSimilar to how photo collages work, using mosaics and built up layers to construct images adds to their complexity, which in turn, is dealing with a complex issue,โ€ Thompson said.


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Martyn Thompson

The pigments of inju inks are limited in variety and as a result much of the work is monochromatic. Not to be limited by the medium, Thompson has experimented with the inks by stamping on top of other colors to form process colors on the portrait. In โ€œThe Studentโ€ (page 30) we see a colorful portrait of a high school boy. The striking hues reach out at the audience and insist to be seen. The sheer number of stamps per piece suggests motion within the work, truly capturing the spirit and energy of a young life.

In times that are bleak it can be easy to forget the most important things. While there has been a lot of mediarelated focus on the details of what happened, the children themselves have not been forgotten. Thompsonโ€™s art seeks to commemorate those who have been lost. His work is a reminder of the energy, complexity, and beauty of each person. He uses the power of art to help us remember those young individuals in a peaceful and positive way. [b]







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