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 ํธ์ง์์ ๊ธ
editor in chief
๋๊ตฌ์ ๋ฌธํ์ก์ง์ธ [b]racket Magazine์ ์ฌ์ฐฝ๊ฐํ๊ฒ ๋์์ต๋๋ค. ๋๊ตฌ์์ ์๋ฏธ๊ฐ ์๊ณ ์ค์ํ ์ด ์ก์ง๋ฅผ ์ ๊ฐ ์ฌ์ฐฝ๊ฐํ๊ฒ ๋์ด ์ฑ ์๊ฐ๊ณผ ๊ฑฑ์ ์ด ์์ญ๋๋ค. ์ด ์ก์ง๋ ๋๊ตฌ๋ก ์จ ์ธ๊ตญ ์์ ๊ฐ๋ค์ ์ํด ์์๋์ด ์ง๋ 2๋ ๊ฐ ์ด์ด์ ธ ์์ต๋๋ค. ์์ด๋ก ๋ฐ๊ฐ๋๋ ์ด ์ก์ง๋ ์ฐ๋ฆฌ์๊ฒ ํ์ด์ด์ ๊ณ ๋ง์ด ์ผ์ด์์ต๋๋ค. ์๋ ์ ํธ์ง์์ธ Jess๊ฐ ์ ์ ์์ ์ค๋ก ์ฐพ์์ [b]racket์ ํ์ ์ ์ด๋ ค์์ ํ ๋กํ์๊ณ ์ ๋ ๊ธฐ์ ๋ง์์ผ๋ก ํจ๊ป ์ผ์ ํ๋์ฉ ํด๊ฒฐํ๋ ๊ณผ์ ์์ ๋ง์ ๋ํ๋ฅผ ๋๋์์ต๋๋ค. ๊ทธ๋ฌ๋ฉด์[b]racket์ ์ ์ ๊ณผ ์์ผ๋ก์ ๋น์ ์ ์ถฉ๋ถํ ๊ฐ๋ ํ ์ ์์์ต๋๋ค. ๋์ด์ผ๋ณด๋ฉด ์ฐ๋ฆฌ๊ฐ ์๋ก ์์ง ๋ชปํ 2013๋ ์ ์ ๋ ์๊ฐ๋ก์ [b]racket์ ํฌ๊ณ ํ์ฌ 9์ํธ ์ปค๋ฒ์ ์ค๋ ธ์ ๋์ ๊ฐ๋์ ๊ธฐ์ตํฉ๋๋ค. ํ์ ํ ๋ถ์ด ์ ์ ์ํ๋ค์ ๋ณด์๊ณ ๋ ์์ ์ ๊ด์ ์ผ๋ก ํ๋ฅญํ ๋ ผํ์ ํด ์ฃผ์ จ์ต๋๋ค. 10๊ถ์ ์ก์ง๋ฅผ ๋ฐ์์์๋ ๋ถ๊ตฌํ๊ณ ์ ๋ ๋ ๋ง์ ์ก์ง๋ฅผ ๊ตฌํ๋ ค๊ณ T-morning๊ณผ I am ํ๋ฐฉ, Havana ๋ฑ์ ๋งค์ผ๊ฐ์ด ์ ์ ํ๋ฉฐ ์ ์ฐฉ๊ฐ์ด ๋ชจ์์ต๋๋ค. ์ ๊ฐ ์ด ์ก์ง๋ก ๊ฒช์ ๊ฐ๋์ ์ฌ๋ฌ ์ ์ง์๊ฐ๋ค๋ฟ๋ง ์๋๋ผ ์์ ์ ํธ๊ฐ๋ค๊ณผ ํจ๊ป ๋๋๊ณ ๋ฌธํ์ ์๋ ๋ฐํด๋ฅผ ํจ๊ป ๊ตด๋ฆฌ๋ ๊ฒ์ด ์ ์ ์ญํ ์ด๋ผ ์๊ฐ๋ฉ๋๋ค. ์ง๊ธ๊น์ง ๊ทธ ์ญํ ์ ๊ฐ๋นํด ์ค ํ์ง๋ค๊ณผ ๋ฒ์ญ ๋ฐ ํ์ ์ง์์๋ค ๊ทธ๋ฆฌ๊ณ ํนํ ํธ์ง์์ธ Jess์ ๋์์ด๋์ธ Chris์๊ฒ ์ง์ฌ์ด๋ฆฐ ๊ฐ์ฌ๋ฅผ ํํ๊ณ ์ถ์ต๋๋ค. ์ ๋ ๋ณธ๊ตญ์ผ๋ก ๋์๊ฐ๊ธฐ ์ ์ก์ง๋ฅผ ๊ทธ๋ง ๋ ์ ๋ฐ์ ์์๋ ๊ทธ๋ค์ ์ํฉ์ ์ถฉ๋ถํ ์ดํดํ๋ฉฐ ์์ผ๋ก๋ ์์ ๊ฐ๋ค์ ๊ด๊ณ๋ฅผ ๋์ฑ
Editorsโ Letters
๋๋ ํ ํ ๊ฒ์ ๋๋ค.
[b]racket Issue 25 July 2015
supported by
๋ณธ ์ฌ์ ์ 2015 ๋๊ตฌ๋ฌธํ์ฌ๋จ ์ฐ์๊ธฐํ์ฌ์ ์ผ๋ก ์ง์๋ฐ์์ต๋๋ค.
์ 5 ๋๊ตฌ๋ฌธํ์ฌ๋จ 2015 ๋๊ตฌ๋ฌธํ์ฌ๋จ ์ฐ์๊ธฐํ์ฌ์ ์ผ๋ก ์ฐ์๊ธฐํ์ฌ์ ์ผ๋ก ์ง์๋ฐ์์ต๋๋ค. ์ง์๋ฐ์์ต๋๋ค.
๋ณธ ์ฌ์ ์ 2015 ๋๊ตฌ๋ฌธํ์ฌ๋จ ์ฐ์๊ธฐํ์ฌ์ ์ผ๋ก ์ง์๋ฐ์์ต๋๋ค.
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
6
์ํค ๋งฅ์ค์ฐ
Antwon Maxwell
Moving to Korea gave Antwon Maxwell a shove into his relatively newfound passion for photography. Though itโs hard to believe, Maxwell wasnโt photographing at all before 2012. โI 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 doesnโt seem at all appealing,
Maxwell canโt curb his desire to photograph. It wasnโt necessarily his new Korean environment that inspired him, but something else. โI 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. โAll 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, โI 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. โI went from shooting
8
์ํค ๋งฅ์ค์ฐ
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 modelโs 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 viewerโs 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 didnโt know they possessed. He wants to give them a photograph that they love. โI want them to say โthatโs me?โ even before I retouch the photo,โ Maxwell said.
Maxwell will be leaving Korea soon and he canโt 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 heโs found in Koreaโs gray weather. โIf my photographs are good here I can only imagine what itโs going to be like at home,โ he said. Even still, Korea has benefited from Maxwellโs keen eye and lens, and now America will too. [b]
Mesh Printing Seo Hee Joo, PhD ์ ์ค ํ์ (Jess Hinshaw /
์ ์ค, ํฌ๋ฆฌ์ค์ ์ธ์ฐ์ ๋งบ๊ฒ ๋์๋ค.
์คํฌ๋ฆฐ์ด๋ ์คํฌ๋ฆฐ ํ๋ฆฐํธ ์์ ์
์ดํ, ์ ์ค)์ ํฌ๋ฆฌ์คํ ํผ ์ฝํธ
๊ทธ๋ฐ ์ด์ ์ธ์ง ๊ทธ๋ค์ ์ํ์ ๋ง์ฃผํ
์ฃผ๋ก ํ๋ ์์ ๋ค์ ์ํ ์ ์
(Christopher Cote / ์ดํ, ํฌ๋ฆฌ์ค)
๋, ๋น๋ก์ ๊ทธ๋ค์ด ์์ ์ธ์ด๋ผ๋
๋ฐฉ์์ ์ง์นญํ๋ค๊ณ ๋ณผ ์ ์์ผ๋ฉฐ ๋
๋ ๋๊ตฌ์์ ํ๋ํ๋ ์์ ๊ฐ์ด๋ค.
์ฌ์ค์ ๋์๊ธฐ๊ฒ ๋๋ค.
๋ฒ์งธ ์๋ฏธ๋ ์ ์ค์ ํฌ๋ฆฌ์ค ์๋ก์
๋ฏธ๊ตญ์์ ๋์์ธ ์์ ์ ํ๋ ๋
์ ์ค์ ํฌ๋ฆฌ์ค๋
ํ์ ๊ณผ ๊ณ ๊ฐ๊ณผ์ ๊ด๊ณ๋ฅผ ์๋ฏธํ๊ณ
์๊ฐ๋ ๋๊ตฌ์์ ์์ ๋์์ธ
2๋ ์ ๋ถํฐ ์์ ์ค์ ํจ๊ป
์๋ค. ๊ณ ๊ธ์์ ๊ณผ ์์ ์์ ์
์์ ๋ณด๋ค ์์ด๋ฅผ ๊ฐ๋ฅด์น๋ ์ผ์ด
์ฌ์ฉํ๋ฉด์ MESH๋ผ๋ ์ด๋ฆ์ผ๋ก
๊ฒฝ๊ณ๋ฅผ ๋๋๋๋ MESH์ ์์ ์์
๋ ๋ง์์ก๋ค. ๊ทธ๋ผ์๋ ๋ถ๊ตฌํ๊ณ
๊ณต๋์ํ์ ๋ฐํํด์ค๊ณ ์๋ค. ๊ทธ๋ค์
๊ณ ๊ฐ๊ณผ ํจ๊ป(together) ์ํ์ด
์์ ๊ฐ๋ก์ ์ง์์ ์ผ๋ก ์ํ์
์ํ๋ฉด, MESH๋ ๋ ๊ฐ์ง ์๋ฏธ๋ฅผ
์์ฑ๋๋ค๋ ๊ฒ์ ์ค์ํ๋ค. ๊ทธ๋ค์
๋ฐํํ๊ณ ์ง์ญ ๋ฏธ์ ์ธ๋ค๊ณผ ๊ต๋ฅํ๊ณ
๊ฐ์ง๊ณ ์๋ค. ํ๋๋ ์คํฌ๋ฆฐ ์์
์ด๊ฒ์ โmeshingโ์ด๋ผ๊ณ ํํํ๋ค.
์๋ค. ๊ทธ๋ค์ ํ๋ฐํ ํ๋ ๊ฐ์ด๋ฐ
์๋ ์ค ๊ฐ๋ฅ์ ์ง์ํ๋ ๋ง์ด๋ฉฐ
์ฐ๋ฆฌ๋ง๋ก ๋ฒ์ญํ์๋ฉด
ํ๋๊ฐ [b]racket์ด๋ผ๋ ์ก์ง
๋ค๋ฅธ ํ๋๋ ํจ๊ป ์์ ํ๋ค๋
โ๋ง๋ฌผ๋ ค ์๋คโ๋ ๋ป์ด๋ค. ์ด๊ฒ์
๋ฐ๊ฐ์ด๋ค. ํ์๋ [b]racket์ ํตํด์
์๋ฏธ์ด๋ค. ์ฒซ ๋ฒ์งธ ์๋ฏธ๋ ์คํฌ
์์ ๋ค์ ์์ ์ ์์ ๊ณผ ๊ณ ๊ฐ
10
์ฌ์ด์ ๊ท ํ์ ์ ์งํ๋ฉด์ ์์ ์
์ ๋ช ํ ์ฅ์๋ก ๋ง๋๋๋ฐ ๊ธฐ์ฌํ๋ค.
์์ ์ ์์ ์ด์ ํผ๋์ด ๋ด์ฌ๋์ด
ํ๋ค๋ ๊ฒ์ด๋ค. ๋ค์ ๋งํ์๋ฉด,
์ด๋ ๋ฏ MESH์ ์์ ์ ์ผ์์
์๋ ๊ฒ์ด๊ธฐ๋ ํ๋ค. ์ค์ํ ์ ์
์์ ๊ฐ๋ก์ ์์ ๊ณผ ๊ณ ๊ฐ์ด ์ํ๋
์ถ๊ณผ ์น๋ฐํ๊ฒ ๋ค๊ฐ๊ฐ๋ค. ๊ทธ๋ค์
์์ ๊ฐ์ ์๋๊ฐ ๊ทธ ๋ฐํ์ ์๋ค๋
๊ฒ๊ณผ์ ์ํต์ธ ๊ฒ์ด๋ค. ๊ทธ๋ฌํ
์์ ๊ฐ๋ค์ ํ์ผํ๋ ๋ฐฉํฅ์ผ๋ก๋ถํฐ
๊ฒ์ด๋ค. ํฌ๋ฆฌ์ค๋ ๋๊ตฐ๊ฐ๊ฐ ๋๋ผ๋
๋ํ์ ์ธ ์์ ์ด ๋ถ์ฐ์ ๊ฐ๋งค๊ธฐ
๋ฒ์ด๋ ์์ ๋ก์ด ์ฐฝ์กฐ๊ณผ์ ์ ํตํด
๊ฒ์ ํํํ ์ ์๋ ๋ฐฉ๋ฒ์ด
๋ธ๋ฃจ์์ด๋ค. ๊ฐ๋งค๊ธฐ ๋ธ๋ฃจ์์ ๋ถ์ฐ
์ํ์ ์ผ์์ ์ธ ์ถ์ ๊ณต๊ฐ์ผ๋ก
์์ ์ด๋ผ๊ณ ์๊ฐํ๋ค. ๊ทธ๋ฆฌ๊ณ
์ง์ญ ์ ์์ด๋ค ์ฌ์ด์ ์ ์๋ ค์ ธ
ํ์ฅ์ํจ๋ค. ์ด๋ฐ ์ ์์ MESH
์์ ์ด ๋ฌด์์ธ๊ฐ๋ฅผ ํํํ๋ ํ,
์๋ ๋งฅ์ฃผ ํ์ฐ์ค์ด๋ค. MESH
๋ผ๋ ๋ช ์นญ์ ์์ ๋ค์ ์์ ๋ฐฉ์๊ณผ
์ณ๊ณ ๊ทธ๋ฆ์ผ๋ก ์ด์ผ๊ธฐ ํ ์ ์๋ค๊ณ
๋ ์ด๊ณณ์ ๋์์ธ ์์ ์ ๋งก์๋ค.
๊ณต๋ ์์ ์ ๋ํ ์๊ฐ์ ๊ณ ์ค๋ํ
์๊ฐํ๋ค. ๋ ์ฌ๋์๊ฒ ์์ ์ ๊ทธ
๊ณ ๊ฐ์ด ์ํ๋ ๊ฒ๊ณผ ์์ ๋ค์
๋ด๊ณ ์๋ค.
์ด๋ ๊ฒ์๋ ์๋ฐ๋์ง ์์ ๊ฒ์ด๋ฉฐ
Mesh Printing
๋ฉ์ฌ ํ๋ฆฐํ
์์ ์ ์์ ์ด ์ ์กฐํ๋์ด
๊ทธ๋ค์ ์์ ์ ๋ํ ์ฒ ํ๋
์ณ๊ณ ๊ทธ๋ฆ์ ํ๋จํ๋ ๊ทธ ๋ฌด์๋
ํฌ์คํฐ, ๊ฐ ๊ฐ์ ๋งฅ์ฃผ์ ๋ง๋ ์ฌ๋ฌ
๊ฐ์ ๊ณณ์ ํฅํ๋ค. ์ ์ค๋ ์์ ์
์๋ ๊ฒ์ด๋ค. ์์ ๋ก์ด ์๊ฐ์
์ด๋ฏธ์ง ๋ฑ์ ์ ์ํ์๊ณ ์ด๊ณณ์
์ฃผ๊ด์ ์ธ ๊ฒ์ด๋ผ ์๊ฐํ๋ค. ๋์์
๋ด์๋ด๊ณ ์์ ์ ์ด์์ ํผ์น๋
The Grover
Home to bellรข€™s First auto Exchange
12
๋ฉ์ฌ ํ๋ฆฐํ
๊ฒ์ด ๋ฐ๋ก ์์ ์ ์ธ๊ณ์ธ ๊ฒ์ด๋ค.
์ฌ๋๋ค์๊ฒ ๊ทธ ๊ฐ์ฌ๋ฅผ ์ ๋ฌํ๊ฒ ๋ค๋
์ผ์ด ๋ ์๋ ์๊ณ ์ฐ๋ฆฌ๋ฅผ ์ฅ์ฃ๋
๊ทธ๋ค์ ์์ ์ฒ ํ์ด ํ ๊ณณ์ ํฅํ๋
๋ฐ์์ ์ฌ๋ฏธ์๋ ์ํ์ ๋์ถํ๋ค.
์ถ์ ๋ฌด๊ฒ์ผ ์ ์๋ค. ๊ทธ๋ฐ๋ฐ
๊ฒ์ ์๋ก์ ์์ ์ ํตํด์ ์์ ๊ด๊ณผ
์ด๋ ๊ฒ ์์ ์ ์์ ์์ ๊ฐ์ธ์
์ฐ๋ฆฌ๋ ์ด๊ฒ์ ๊นจ๋ซ์ง ๋ชปํ ๋๊ฐ
์ํ์ ๋ํ ๊ต๊ฐ์ ์ถ์ ํด ์๊ธฐ
์ผ์๊ณผ ์์ ์ด ๊ฐ๋งํ๋ ์ธ๊ณ๋ฅผ
๋ง๋ค. ํฌ๋ฆฌ์ค๋ ๊ทธ๋ฐ ์ฐ๋ฆฌ์ ๋ชจ์ต์
๋๋ฌธ์ผ ๊ฒ์ด๋ค. ์ ์ค์ ํฌ๋ฆฌ์ค๋
์ ์ํจ์ผ๋ก์จ ์ฐ๋ฆฌ๋ ๊ทธ์ ์ํ์
์๊ฐ์ ์ผ๋ก ํํํ๋ค. ์ฐ๋ฆฌ๋ ๊ทธ๋ฐ
์๊ฐ์๊ฒ๋ ์์ ์ ์์ ์ ์ด์ผ๊ธฐํ
ํตํด์ ์ธ์์ ๋ฐ๋ผ๋ณด๋ ๋ ๋ค๋ฅธ
๊ทธ์ ์ํ ์์์ ๋นํฉํด ํ๋ค๊ฐ
์ ์๋ ์ฌ๋๋ค์ด ์กด์ฌํด์ผ ํ๋ค๋
์์ ์ ๋ง๋๊ฒ ๋๋ค.
์ด๋ด ์๊ฐ์ ์ ๊ธด๋ค.
Mesh Printing
์๊ฐ์ ๊ฐ์ง๊ณ ์๋ค. ๋ค์ ๋งํ๋ฉด,
ํฌ๋ฆฌ์ค์ ์ต๊ทผ ์์ ๊ฒฝํฅ์
๊ณ ๊ธ์์ ๊ณผ ์์ ์์ ์
์์ ๊ณผ ๋ค๋ฅธ ์๊ฒฌ์ ๊ฐ์ง ๋๊ตฐ๊ฐ์
โํ์ด๋(Hound)โ์์ ๋ณผ ์ ์๋ค.
๊ฒฝ๊ณ๋ฅผ ๋๋๋๋ ์ ์ค์ ํฌ๋ฆฌ์ค๋
๊ด์ ์ด ํ์ํ๊ณ , ๊ทธ๋ ์ง ๋ชปํ
๊ทธ๋ ์์์ ํ๋ฆ์ ๋ฐ๋ผ๊ฐ๋ฉด์ ๊ธ์
์์ ๋์์ธ์์ ์๋์ ๊ณ ๋ฏผ๊ณผ
๊ฒฝ์ฐ, ์์ ์ ์ํ์ ์ฝ๊ฒ ๋งค๋ชฐ๋์ด
์ฐ๊ณ ๊ทธ๊ฒ์ ํ ๋๋ก ์ํํํ๊ณ
์ฌํ์ ๋ฐ์ฑ์ ๋ด์ ์ํ๊น์ง
๋ฒ๋ฆฐ๋ค๋ ๊ฒ์ด๋ค. ๊ทธ๋ค์ ๊ณต๋์์ ์
์๋ค. ์ด๋ฐ ์ํ๋ค์ ์์ ์ ์๋ฑํ
ํญ๋์ ๋ฒ์ฃผ๋ฅผ ๋ณด์ฌ์ฃผ๊ณ ์๋ค.
ํ๋ ๊ณต๋์ฒด์ธ ๋์์ ์๋ก์ ์์ ์
์๊ฐ์ด ์ฃผ๋ก ํํ๋๋ค. ์ฌ๋๋ค์
์ฃผ์ ๋ ์ง์งํ์ง๋ง ํํ์ ๊ฐ๋ณ๊ณ
๋ํ ๊ฐ์ฅ ๋ ์นด๋ก์ด ๋นํ๊ฐ์ธ
๊ทธ๋ฐ ์ํ ์์์ ๋นํฉํด ํ๊ฑฐ๋
์ ์พํ๊ฒ ๊ทธ๋ค ํน์ ์ ์ฌ์น๋ฅผ
๊ฒ์ด๋ค. ๋ ์ฌ๋์ ๊ต๋ฅ์ ๊ต๊ฐ์
์ด์ฉ ์ค ๋ชฐ๋ผ ํ๊ธฐ๋ ํ๋ค. ์ฌ์ค
๋ด์์ ์ฐ๋ฆฌ์ ํ์ค์ ๋ง์ฃผํ๊ฒ
๊ถ๊ทน์ ์ผ๋ก ๊ฐ์ธ์ ์์ ์ ๋ฐ์ ๋
ํฌ๋ฆฌ์ค๋ ๊ด๋๊ฐ์ ๊ทธ๋ฐ ํ์ ์
ํ๋ค. ๊ทธ๋ค์ ์ํ์ผ๋ก ํํํ๊ณ
๊ฐ์ ธ์จ ์๋๋ ฅ์ด๋ผ๊ณ ํ ์ ์๋ค.
์ข์ํ๋ค. ์ฅ๋๊ธฐ ๊ฐ๋ ํ ์๊ฐ๋ก
ํ๋์ผ๋ก ์ค์ฒํ๋ฉด์ ์ฐ๋ฆฌ๋ฅผ ์๋ก์ด
์๊ฐ ๋ ์๋ ์๊ฒ ์ง๋ง ์์ ์ ๋ํ
์งํ์ผ๋ก ๋์๊ฐ๋๋ก ์ด๋๋ค. ์ฐ๋ฆฌ๋
๋๊ธธ์ ๋๋ ๊ฒ์ ๋ ๋ค๋ฅธ ์๊ฐ์์
๊ทธ์ ์ฒ ํ์ด ์ง์งํ ๊ฒ๋งํผ ๊ทธ์
์ด ๋ ๋ช ์ ์ธ๊ตญ์ธ์ ํตํด์ ์ฐ๋ฆฌ๋ฅผ
ํ์ ์ด๋ค. ๊ทธ์ ์ํ โ์ค๋๋ ๋ถ์กฑโ
์ํ๋ ์ง์งํ ์ด์ผ๊ธฐ๋ฅผ ํจ์ํ๊ณ
๋ฐ์ฑํ๊ฒ ๋๊ณ ๋๋์๋ณด๊ฒ ๋๋ค.
์ ๋ฏธ๊ตญ ์บ๋ฆฌํฌ๋์์ ์ด๊ณ ์๋
์๋ค. ๋งค๋ญ์ด๋ ๋ฅํ์ด๋ฅผ ์ฃผ์ ๋ก
์ฐ๋ฆฌ๊ฐ ๊ทธ์ ์ํ ์์ ๋จธ๋ฌผ์๋ก
์๊ตญ์ ์์ ๊ฐ์์ ํ์ ์ผ๋ก
ํ๋ ๊ทธ์ ์ํ์ ํนํ ๊ทธ๋ฌํ๋ค.
๊ทธ๋ค์ ์ํ๋ ์ ์ ๋ด๋ฉด์ ๊น์ด๊ฐ
์ด๋ฃจ์ด์ก๋ค. ์ด ๋ ์๊ฐ๋ ํํฉ
๊ทธ๋ ์ด ์ฃผ์ ๋ก ์ฌ๋๋ค์ด ์์ ์
๋ํด์ง ๊ฒ์ด๋ค. [b]
์์ ์ ์ ํธ๊ฐ๋ก ์๋ก ๊ต๋ฅํ์๊ณ ๊ฐฑ
์ผ์ ๊ฐํ์๋ค๋ ๊ฒ์ ๊นจ๋ซ๊ฒ ํ๊ณ
์คํ(Gang Starr)๊ฐ ๋ถ๋ฅธ ๋ ธ๋ ๊ฐ์ฌ
์ถ์๋ค๊ณ ํ๋ค. ํ๋๋ฅผ ์ด์๊ฐ๋
๋ฅผ ์๊ฐ์ด๋ฏธ์ง๋ก ํํํ๋ ์์ ์
์ฐ๋ฆฌ ๋ชจ๋๊ฐ ์ฌํ๋ ์์ ์ด ๋ง๋
ํจ๊ป ํ๋ค. ์์ ๋ค์ด ์ข์ํ๋
ํ๋์ ํ ์์์ ์ด์๊ฐ๊ฑฐ๋ ๊ทธ
๋ ธ๋ ๊ฐ์ฌ๋ฅผ ์๊ฐ์ด๋ฏธ์ง๋ก ๋ฐ๊พธ์ด
์์ ์ฐ๋ฆฌ๋ฅผ ๊ฐ๋๊ณ ์๋ค. ๊ทธ ํ์ด
์ ์ค์ ๊ฐ์ธ์ ์ธ ์์ ์์
Shim Gyu Ri Whit Altizer Artist Shim Gyu Riโs work is a study in time, persistence and patience. Take a close look at her work, and youโll certainly appreciate the painstaking detail and labor that went into it. โAlthough the process of completing my work is very hard,โ Shim said, โit 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. โThose lines in my work are an accumulation of short lines,โ Shim said โlike there are growth rings in a cross section of wood.โ Shimโs art feels like a timeline of her artistic growth. Shimโs own personal evolution and artistic journey are marked with the lines made by her pencil. โThrough making my work of art, Iโd like to share my view of the world with others and understand what they think of it,โ Shim said. โMaking 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. โI assume that everyone has an experience of having a beautiful moment,โ Shim said. โI 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 artistโs spirit, even when making a landscape painting. Art for Shim is as much about what isnโt said as what is. โThe 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 Shimโs exhibition โRecord of Reverberationโ captures the duality between the artistโs 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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์ฌ๊ท๋ฆฌ
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, Shimโs work is always moving forward, always growing. โIf I just settle for the present, Iโll 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. โThe 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 Shimโs art
continues to move forward, weโll certainly be following along to see what comes next. [b]
Jung So Hyun An Eun Ji
Jung So Hyunโs 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 Jungโs confined setting. The color conveys these feelings of fear, and invokes a sense of isolation and turmoil. Itโs an indicator of how strongly we are affected by color. Itโs 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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์ ์ํ
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. Itโs 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,
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์ ์ํ
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 peopleโs greed. As seen in Damien Hirstโs work of art, a skull adorned with diamonds, โFor 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 ์ด์๋ด
โ๋ฉ ๋๋ฆฌ๊ธฐโ๋ฅผ ์ฆ๊ธฐ๋ ์๊ฐ ์ด์๋ด : 2015๋ 5์ 12์ผ ์์์ผ ๊ทธ์ ์ผ์ ์ฟ๋ณด๊ธฐ
7์ 15๋ถ 18์ด: ํด๋๊ณผ ์์นจ ์ธ์ฌํ๊ธฐ
7์ 24๋ถ 39์ด: ๋ ๊ฐ๊ณ ์ค์ ํ๋ค ๋ ๋จ๊ธฐ
7์ 41๋ถ 54์ด: ๋์ฅ๊ณ ์ ๋๋๊ณ 100๋ฒ ์ด์๋ค ๋ซ์๋ค ํ๊ธฐ
8์ 3๋ถ 8์ด: ์ปดํจํฐ ์ ๋ถ๋ ์์ธ๋ก ๋ง์ฐ์ค ๋์ ๋์ ํ๊ธฐ
9์ 11๋ถ 16์ด: ํ๋ถ์ ๋ฌผ ์ฃผ๋ฉด์ ๋ด ์ ์๋ ๋ฌผ ์ฃผ๊ธฐ
9์ 28๋ถ 19์ด: ํฐ ๋นจ๋๋ ํฌ๊ฒ ํ๊ณ ๊ฒ์ ๋นจ๋๋ ๊ฒ๊ฒ ํ๊ธฐ
12์ 6๋ถ 38์ด: ํ์ฅ์ค ๋ณ๊ธฐ ๋ฌผ ๋ด๋ฆฌ๊ธฐ
12์ 17๋ถ 41์ด: ํด๋ ์น๊ตฌ, ๊ณต๊ธฐ ์น๊ตฌ์ ๊ฝ ๋ณด๋ฉด์ ๋ฐฅ ๋จน๊ธฐ
12์ 52๋ถ 27์ด: ์ด๋ฆฌ์ ๋ฆฌ ๊ทธ๋ฅ ์๋ค๊ฐ๋ค ์ข ํด๋ณด๊ธฐ
13์ 14๋ถ 6์ด: ์ฌ๋ฌ ๊ฐ์ง ์ํ์ ๋๊ธฐ
16์ 21๋ถ 15์ด: ํํ์ฐ์ด ๋๋ฉด ์ ๋์ง ํธ์ง ํ๊ธฐ
18์ 11๋ถ 46์ด: ํ์ดํธ ๋ ธ์ด์ฆ ์๋ฆฌ ๊ท๋ก ๋ด๊ธฐ
18์ 58๋ถ 57์ด: DIF ๋คํธ์ํฌ์ ํ๋ฃจ ํ์ ๋ฉ์ง๊ฒ ํ๊ธฐ
19์ 18๋ถ 43์ด: ๋ฌ๋๊ณผ ๋ฐฅ ๋จน๊ธฐ
19์ 35๋ถ 26์ด: ๊น๊นํ ๊ฑฐ์ธ ์ ๋ด ์ผ๊ตด ๋ณด๊ณ ๋๋ผ๊ธฐ
20์ 42๋ถ 18์ด: ๋ฌด์์ธ์ง๋ ๋ชฐ๋ผ๋ ๋ฌด์์ธ๊ฐ ๋ ์ฌ๋ฆฌ๊ธฐ
1์ 45๋ถ 48์ด: ๊ธด ๊ธด ์๊ฐ, ์์ ํ๊ณ ๋ ์์ ํ๊ธฐ
2์ 26๋ถ 25์ด: ์ ์๊ธฐ ํ์ ์ด ์์ง๋ง ์ธ์ ๋ ๋ฏธ์๋ฅผ ์์ง ์์ผ๋ฉฐ, ๋์ด๋ผ๋ ๋ง์ฃผ์น๊ฒ ๋๋ฉด
โ๋ญ ๋์ ๋๋ฆด๊ฑฐ ์์ด์? โ๋ผ๋ฉฐ ์๋ฆฌ ์์ด ๊ฐ๋์ ์ ๋ฌํ๋ ์๊ฐ ์ด์๋ด. ๊ทธ๊ฐ ์์งํ๊ฒ ๋ณด์ฌ ์ค ํ๋ฃจ ์ผ๊ณผ์ ์๊ฐ๋ค๊ณผ ์ํ์ธ ์๊ฐ์๋ฆฌ, DREAM, ๋งน์์ธ๋ ๋๋ฐ์ ํ์๊ณผ ์ค๊ฑฐ๋ฆฌ๋ ์ธ๊ฐ์ด ์ง๋ ๊ทน์ ์ธ ์์งํจ์ ํํํ๊ณ ์ ํ์์ผ๋ฉฐ ๊พธ๋ฐ์๋ ์ง์คํ ์ถ์ ์ด๊ณ ์ ํ๋ ์๊ฐ์ ์์ง๋ฅผ ๋ด๊ณ ์๋ค.
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๋งน์ ์ธ๋ ๋๋ฐ โ๋์ ์์ํ๋ ์ถ์ ์๋ฆ๋ต๋คโ, ์ด๋ ํ ์ถ์ด ๋ฐ๋ฅธ ์ถ์ธ๊ฐ? ๋งน์๋ ์ด๋ ๊ฒ ์ด์ผ๊ธฐ ํ๊ณ ์๋ค. ๋ชจ๋ ์ด์๊ฒ๋ ํ๋์ด ๋ด๋ ค์ค ์ ํ 4๊ฐ์ง์ ๋ง์์ด ์๋ค. ์ด๋ ๊ฐ๋ฅด์นจ์ ๋ฐ์์ ์๊ฒจ๋ ๊ฒ์ด ์๋ ํ์ด๋ ๋๋ถํฐ ์ด๋ฏธ ๊ฐ๊ณ ์๋ ์ธ๊ฐ์ ์ฑํ์ด๋ค. ใ์ธก์์ง์ฌ ๆป้ฑไนๅฟใ,ใ์์ค์ง์ฌ ็พๆกไนๅฟใ, ใ์ฌ์์ง์ฌ ่พญ่ฎไนๅฟใ,ใ์๋น์ง์ฌ ๆฏ้ไนๅฟใ, ์ด ๋ค ๊ฐ์ง๋ฅผ ํฉ์ณ์ ์์ฌ์ด๋ผ ๋ถ๋ฅธ๋ค. ๋๊ตฌ์๊ฒ๋ ์์ฌ์ด ์์ผ๋ ์ฝ๊ฒ ๋๋ฌ๋ด์ง ๋ชปํ๋ ๊ฐ๋ฐํ ์ธ์ ์์์ ์์ฌ์ ๋ถ๋๋ฝ์ง ์์ ์ถ์ ์ด์๊ฐ๋ค๋ฉด ๋ฌด์์ ํ๋๋ผ๋ ์ฐ๋ฆฌ๋ ํ๋ณตํ ๊ฒ์ด๋ค.๊ทธ๋ฌ๋ ์์ฌ์์ ๋ฉ์ด์ง ์ถ์ ์ค์ค๋ก๊ฐ ๊ฒฌ๋์ด ๋ด์ง ๋ชปํ๋ ๋ถํํ ์ถ์ด ๋ ๋ฟ์ด๋ค. ๋งน์์ ์ธ๋ ๋๋ฐ๋ฅผ ํตํด ์ถ์ ๋ฐ์ถ ํด ๋ณด๊ณ ์ถ์๋ค.
์ด์๋ด
1์ ์ฅ : ์ธก์์ง์ฌ(ๆป้ฑไนๅฟ) ์ด๋ฆฐ์์ด๊ฐ ์ฐ๋ฌผ๊ฐ๋ก ๊ธฐ์ด๊ฐ ๋น ์ง๋ ค๊ณ ํ๋ค๋ฉด ๋๊ตฌ์๊ฒ๋ ๋ณธ๋ฅ์ ์ผ๋ก ์์ด๋ฅผ ๊ตฌํ๋ ค๋ ๋ง์์ด ์๋ค. ์ด๊ฒ์ด ๋ฐ๋ก ์ธก์์ง์ฌ์ด๋ฉฐ ๊ณง ์ฌ๋์ด๋ค. ์ธ์ ์์๋ ์ฐ๋ฆฌ์ ๋์์ ํ์๋ก ํ๋ ์๋ง์ ์ฌ๋์ ๋์๋ค์ด ์๋ค. ๊ธฐ์๋ก ํ๋์ด๋ ์ด๋ฆฐ์์ด, ์ ์๋๋ฏผ๋ค, ์์ฐ์ฌํด๋ฅผ ์ ์ ์ง์ญ ์ฃผ๋ฏผ๋ค ๋ฑ. ๊ทธ๋ค์ ๋ชจ์ต์ ํตํด ์ฐ๋ฆฌ ์์ ์๋ ์ฌ๋์ ๋ณธ๋ฅ์ ์ผ๊นจ์ ์ค๋ค. 2์ ์ฅ : ์์ค์ง์ฌ(็พๆกไนๅฟ) ์ฐ๋ฆฌ ์์๋ ์ณ์ง ์์ ํ๋์ ๋ณด๊ฒ ๋๋ฉด ๋ถ๋ ธํ๋ฉฐ ์ณ์ง ์์ ํ๋์ ์์ ์ด ํ์ ๋๋ ๋ถ๋๋ฌ์ํ๋ ๋ง์์ด ๋ด์ฌ๋์ด ์๋ค. ์ธ๊ณ ๊ฐ๊ตญ ๋์ฒ์์ ๋ฒ์ด์ง๋ ์ ์๋กญ์ง ๋ชปํ ์ผ๋ค์ ๊ณต๋ถํด์ผ ํ๋ฉฐ ์ด๋ฅผ ํตํด ์ฐ๋ฆฌ ์์ ์๋ ์ ์๊ฐ์ ํ๋ ์์ผ ๋๊ฐ์ผ ํ๋ค. 3์ ์ฅ : ์ฌ์์ง์ฌ(่พญ่ฎไนๅฟ) ์์์ ๋จน๋ค๊ฐ ๋ง์ง๋ง ํ ๊ฐ๊ฐ ๋จ์์ ๋ ์ฐ๋ฆฌ๋ ์๋ก์๊ฒ ์๋ณด๋ฅผ ํ๋ค. ์์์ ๋จน์ ๋๊ฐ ์ธ๊ฐ์๊ฒ์ ๊ฐ์ฅ ์์ํ ์๊ฐ์ด๋ผ๋ฉด ์ฐ๋ฆฌ์๊ฒ ๋ถ๋ช ์๋ณดํ๊ณ ์ฌ์ํ๋ ๋ง์์ด ์์ ๊ฒ์ด๋ค. ์ฐ๋ฆฌ ์ ํต ์์ ๋ด๋ ค์ค๋ ์์ ๊ณผ
Lee Sang Bong
์๋ณด์ ๋ฏธ๋์ ์ฌ๋ฐ๊ตดํ์ฌ ํ๋์ผ๋ก ํํํ๋ค. 4์ ์ฅ : ์๋น์ง์ฌ(ๆฏ้ไนๅฟ) ์ฐ๋ฆฌ์๊ฒ๋ ๊ฐ๋ฅด์ณ ์ฃผ์ง ์์๋ ์ณ๊ณ ๊ทธ๋ฆ์ ์๋ ๋ง์์ด ์๋ค. ๊ธธ๊ฑฐ๋ฆฌ์ ํด์ง๋ฅผ ๋ฒ๋ฆฌ์ง ์๊ฑฐ๋ ์ฝํ ์๋ฅผ ๊ดด๋กญํ์ง ์๋ ๋ง์, ์์ฐ์ ํผ์ํ์ง ์๋ ๋ง์, ์ธ๋ฐ์๋ ์ด์์ ํ์ง ์๋ ๋ง์๋ค์ด ์๋ค. โ๋์งโ๋ผ๋ ์์ค์ ์ด โํ๋ฒ ์ฌ์ฌโ๋ ํ๊ตญ์์ ๊น์น๋ฐฅ์ ๋ณด๊ณ ํฌ๊ฒ ๊ฐ๋ช ๋ฐ์ ํ๊ตญ์์ ๊ณ ์์์ ์ง๊ณ ๋ง์ ํ์ ์ ์ธ ํ๋์ ํ์๋ค. ๊น์น๊น์ง ๋ฐฐ๋ คํ๋ ์๋ฆ๋ค์ด ๋ง์์ ๊ฐ์ง ๋๋ผ์์ ๋จผ ๋ฏธ๋์ ๋ต์ ์ฐพ์์ง๋ ๋ชจ๋ฅผ ์ผ์ด๋ค. [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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Thompsonโs 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. โHistorically, 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. Thompsonโs repetitive application of the stamps has created images that attempt to address the idea of the passing of time. The artist explains that, โinstead 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. โSimilar 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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๋งํด ํฐ์จ
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 โThe 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. Thompsonโs 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]