[b]racket October 2014
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Editorโs Letter The art we make is not something we can take sole credit for. Everything weโve ever experienced has had a hand in making us who we are, as well as what we create. Every friend weโve made, every book weโve read or song weโve heard โ theyโve all played a role in shaping our tastes and how we express ourselves. Perhaps one of the biggest influences on any form of self-expression is the environment in which we live. In Karl Ove Knausgaardโs autobiographical novel My Struggle, the writer admits that he has always desired to move from his home in Norway to Japan for the sole purpose of surrounding himself with the โforeignnessโ of the country. He wants to observe how the complete change of environment and way of life might influence his writing. It got me thinking about how many [b]racket artists are expats whose art has undoubtedly been influenced by simply being in Korea. I consider myself lucky to be able to witness work by these talented artists who have brought themselves to a foreign country and allowed the environment to permeate their artistic style, intentionally or otherwise. Korean born artists who fill the pages of [b]racket also bring with them a style that has been shaped in part by their homeland. No matter how much we want to believe that we are steadfast in our respective identities, they are probably more malleable than weโd like to admit. Thatโs why the [b]racket team thought the theme of Circumstantial Identity would be fitting for our second annual [b] list exhibition (which wraps up on October 2nd at Keimyungโs Daemyeong-dong campus). While the theme could mean something different from one person to the next, to me it most strongly represents the idea of how we express ourselves based on where we live. Location is circumstantial, and can change with frequency. As an artist I think thatโs exciting โ that a change in your surroundings can lead to experiences that will enhance and develop your creativity. Seeing these affectations manifest themselves in an artistsโ work has interesting results, from Van Goghโs insertion of African masks to Weiweiโs comments on western influence. If youโre an artist working in Korea, allow where you live to influence what you create. Absorb and internalize what you glean from being in a different place. Youโll never have the chance to make what you do here in any other place in the world. Lisa Highfill Digital Editor
4โ [b]racket October 2014
LEE YOON KYEONG *cover image
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JESSICA MONTGOMERY
PRETTYLINEZ
LEE JAE HO
20
24
28
GOO HYUN SUNG
OTAKI
9 16
5
Issue 22 October 2014
[b]racket Jess Hinshaw [editor in chief] Christopher Cote [design editor] Sybille Cavasin [words editor] Lisa Highfill [digital editor]
Chung Se Yong [advocacy director] Jacob Morris [digital developer] Lee Ryoon Kyeong [advertising manager]
artists Kim Nam Jin ~ nklingkk@gmail.com Whit Altizer ~ wpaltizer@gmail.com Seo Hee Joo, PhD ~ artnphil@hanmail.net John Shrader ~ ioannes.shrader@gmail.com Evgeniia Karmanova ~ evgeniia@naver.com
contact Support for [b]racket magazine is provided by B Communication
staff Lee Jae Ho ~ behance.net/monstart Yoon Kyeong Lee ~ ameamanda.com Otaki ~ arihureta@gmail.com Jessica Montgomery ~ jmontgomeryart. carbonmade.com/ PRETTYLINEZ ~ prettylinez@naver.com Goo Hyun Sung ~ ghs999@naver.com
writers bracketmagazinekorea.com bracket.magazine@gmail.com facebook.com/bracketMagazine
support รข€‚7
Jeng iy Since 1994
Live performances Local rock musicians Relaxing atmosphere
Jeng Iy
N Bangwoldang
bus stop < namseong ro
Banwoldang Banwoldang Station
๋๊ตฌ ์ค๊ตฌ ๋์ฑ๋ก3๊ฐ 8-8 010.8594.5011 010.8594.5011 facebook.com/Jeng-iy facebook.com/Jeng-iy (๋์ฑ๋ก ์์ด)
OTAKI
T
he subjects of Otakiโs work havenโt lived easy lives. They have labored, struggled, loved and lost. Yet their struggles arenโt overt and their faces donโt ooze with emotion -- itโs their stoicism that makes them authentic. Otaki lets their bodies, wrinkles and eyes tell a story. He lets his art and his subjects speak for themselves. Working with pencil, most of Otakiโs art is black and white. The cover of his graphic novel, BULSUNMUL, has black printing on black stock. This color scheme (or lack thereof) almost makes the pieces feel dark by default. The subjects donโt necessarily lighten the mood either. Their faces, realistic and stoic, betray what the subject is feeling. They are people who seem to have been photographed when they were at their most emotionally hungry and tired. They are desperate and dark with nothing to hide the fear and hardships in their lives. It may take time for viewers to feel the emotions being expressed in Otakiโs illustrations. Seeing his work is similar to hearing an album for the first time; listen once and you miss its depth. Listen again and a bigger picture comes into focus. The beat and rhythm stand out at first, but further exploration leads to more understanding of what the artist is actually saying. This is especially apt because Otaki draws a lot of his artistic inspiration from music. His hand drawn images can be traced back to the rhythms, beats and lyrics of hip hop and jazz which are his primary musical passions. In BULSUNMUL (where some of these
drawings are borrowed from) the main character is constantly picking through his extensive collection of LPโs. An array of jazz and hip hop album sleeves are found in his hands as he sifts through his existence. These styles of music evoke chaos and darkness, complexities and history. They were created to express the emotional and difficult history of African Americans for the world to know, and Otakiโs artwork echoes such themes. Otakiโs restraint in style actually makes his subjectโs emotions more palpable. Their eyes, faces and postures convey what they canโt or wouldnโt say. In one piece, titled โHip Hop Portraitโ (page 11), a man looks out toward the horizon. His mouth is neutral. His beard is neatly trimmed. His eyes, half-open, look tired. Though exhausted, he doesnโt look defeated. There is still strength and pride in his gaze. In glaring contrast, Otaki also strips human relationships bare. In another piece, โUndergroundโ (page 10) there are two men sitting in a cluttered room. At first glance it looks like an unorganized radio station. Then you notice a DJ glaring back at you, with a cigarette between his lips and an automatic weapon slung over his shoulder. Posters and art clutter the floors and walls of the room. Above him prayer flags hang from the ceiling, and a poster reading โWhere there is love there is life.โ These are reminders that we all seek love and take pleasure in art, but violence still somehow permeates our best intentions and separates us in spite of our similarities. Looking at Otakiโs subjects is like meeting a โ9
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stranger for the first time. There is a wall between you and their thoughts. But if you look harder, at the lines on their faces, the tiredness in their eyes and the environment they are in, you can begin to see a story. It is to our detriment that we usually fail to take time to learn more about other
people and truly look them in the eye. But Otakiรข&#x20AC;&#x2122;s work can remind us of the stories worth seeking, and that art helps aid us in understanding each other. [b] Whit Altizer
October 2014 [b]racketรข&#x20AC;&#x201A; 11
LEE YOON KYEONG
A
mutual friend introduced me to Lee Yoon Kyeong earlier this year as a possible assistant for [b]racket magazine. I had no idea what an integral part of the magazine she would become. Her tireless help with translation and her dedication to finding support for us is a big part of why we are where we are. Possibly her greatest talent though is her work with the camera. Yoon-Kyeong, who also goes by Amanda, recently chatted with me about her work and thoughts on the photographic medium. Jess Hinshaw What was your first camera? Lee Yoon Kyeong My first camera was a Nikon film camera, which was my fatherโs. He bought it
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when he went on a business trip in Japan. Later when I was a high school student I used my homeroom teacherโs camera. I finally bought a DSLR Canon D500 and a 18-55mm lens when I was a freshman. For this body of work I used a Canon D500 and a 24-70mm lens I rented from a friend. JH You werenโt always going down the path of art. What were you originally studying? LYK I started to take photos when I was a high school student but at that time I wasnโt thinking about my future. My homeroom teacher gave me a chance to take some photos. He suggested that I take the photos for the class photo album. I didnโt have my own digital camera so he lent me his. For the
project, I took photos of classmates and other school events. When I began university I still wasnโt sure that I wanted to do photography, so I entered Keimyung University as a general major. In my second semester as a freshman I took darkroom and color photo classes. By the time I decided to choose Photography as my major it was too late. I wasnโt sure what photos I wanted to take and I had other problems because of the Korean system of entering an art program. When I was a sophomore, I had to decide on my major but I could only choose from the social and science areas. I figured Journalism was the most closely related to Photography so I chose that. Even though I was a Journalism student I kept taking Photography classes, finally gradu-
ating with a double major. JH What is it about photography that intrigues you? LYK The moment I release the shutter, time stops... to me that is very attractive. The picture, which in that instant in time is also deep inside of me, is what attracts me about photography. What I keep to myself and the things I want to hide are reflected in my pictures. I want to show myself through my photos, and by doing this I expect others will understand my thoughts. JH So you see the camera as a way to get an idea of an
individualโs โtrue self.โ I guess still life photography canโt do that. LYK I thought I loved still life photos. But when I started photographing people last year, I fell in love with portraiture. In the future I want to focus more on peopleโs dreams and nude photography. JH Tell me about the Overlap body of work. How did you start overlapping images, and using duplicates? LYK I actually got the idea from a Maroon5 album image and I wanted to take a photo like it. I was thinking about how to take the photo and I was looking for nude photo books and trying photoshop. Iโd like to
LYK Life turns into non-stop creation. JH What do you think a camera can do that other art mediums canโt? LYK I think a photo is the best tool to remember a moment. Photos are able to archive memories. JH Doesnโt video do that too? LYK Video is good too, but it doesnโt capture a specific moment the way a photo does. JH Though your other photographic work has both men and women, the Overlap work focuses on the female form. Why is that? LYK I always want to try something new, and Iโd never done nude photography. When I started the Overlap series I was taking a portrait seminar class. I decided to try it out after looking through some photography books. In university there werenโt that many students that were willing to try nude photos. JH So the female in the pictures is you? LYK Yes, they are nude self portraits. It was difficult to do. At that time I didnโt have much experience with the technical aspects of such a project. But it turned out to be fun! JH What do you do when you arenโt feeling creative? How do you start your process? LYK I usually draw something or note something that Iโve done creatively. I try to think about how my work can be interesting to the viewer. I want them to look at my work and wonder how I did it.
try various way to express the body. JH Did you know the album cover was done by an amateur photographer (Rosie Hardy)? The band just found her work on Flickr.
JH You seem to value the emotive side of photography as well as the technical. LYK I think the emotive side is much more important. The technical side is important too though. The technical side helps or gives the photographer a chance to make creative things, but to me the emotive can bring my inner feelings out. [b] Jess Hinshaw
LYK No, I didnโt know that. At the time I started this body of work I didnโt know about sites like Flickr. JH There is so much to know about and see as far as art goes. I think itโs a lot more work than it used to be to get your stuff out there. What is the hardest thing about being an artist?
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GOO HYUN SUNG
W
ith contemporary styles and influences emerging from every corner of the world, comics have become a more compelling, influential and respected form of art. They are not solely for entertainment value, but also powerful implements for broadcasting social problems in a very artistic but readable manner. Comic book artist Goo Hyung Sung reveals a modern style of illustration which he uses as a tool to draw attention to societal issues around the world. Goo has been interested in manhwa (a Korean term for comics and cartoons), and Japanese style comics since he was a child. His practice has also been greatly influenced by Umezu Kazuo, an artist whose work is famous for the sense of horror it evokes. Kazuo is known for experimenting with different styles and techniques, creating pulp images that are haunting and provocative. Gooโs affinity for Kazauโs imagery has forced him to challenge himself and push the boundaries of his own work. He explores different approaches, color palettes and materials to make work that can reach and hold on to audiences at first glance. 16
This drive to illustrate can only lead to one path. Instead of dedicating his time to a mundane desk job, Goo has chosen to devote his life to drawing. He started creating manhwa illustrations one year ago, and from that time comics and illustrations have become his chief focus and enjoyment. His professionalism has led to him being picked up by Quang, a Korean comic publishing house. He spends most of his time making art or contemplating new approaches for his next piece. Like most artists, Goo draws for enjoyment, but also as a way to communicate his own personal experiences and ideas of the world. A spectatorโs first impression of Gooโs work might be that it is a bit gloomy, but his work strives to serve as a sort of springboard for discussion. One of his pieces titled โPersonality Godโ (page 18) can come off as negative, maybe even demonic, upon first glance. However, the tentacles peeling out of the eye sockets are in actuality social commentary. There are many different ideas of God and worship, making religion a heated topic and something many people are happy to avoid. Religion may lead some to peace, while taking others to war. Gooโs approach with this work was to
October 2014 [b]racketรข&#x20AC;&#x201A; 17
represent all of the conflicting emotions that are a result of so many different spiritual views. Another work titled โHell Raiserโ (page 16) portrays a robot designed to harmonize hostile countries. We are taught by the actions of our governments that the only chance to preserve peace among mighty nations is for each one to own powerful weapons of mass destruction. While this subject matter might not be new to comic books, it begs to become a catalyst for discussion on a very relevant topic: the ironic and terrifying idea that deadly weapons make people safe, and nuclear weapons will make them even safer. It isnโt all doom and despair though. Aesthetically contrasting his other works, โIn Space Tonightโ projects a more positive vibe to Gooโs audience. He employs bright, saturated colors that feel more at home in a coloring book than in reality. This light
hearted image of extra terrestrial musicians takes us to a different place. It serves as a welcome distraction from reality and is an example of Gooโs work that is more in line with the traditional playfulness that is often associated with comic art. Goo Hyun Sung uses his work to observe the problems that exist in modern society (and sometimes give us relief from that reality). He illustrates his views on current events and social mores in a playful yet intentional manner. On the surface they are comics, plain and simple, but there is more there if one wants to take a closer look. This affords the viewer the option of engaging with the issue at hand, or sidestepping it altogether. In the world of comics whatโs more important, the idea or the execution? [b] Evgeniia Karmanova
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T
he first thing Jessica Montgomeryโs work brings to mind is water โ or the memory of water. Not a trickle, not a drop, but the very teaming, churning depths of it. The oeuvre of this Michigan native celebrates the majesty and power of our oceans and also warns us of our impact on a seemingly unassailable entity. Montgomery creates ink and oil washes over mylar to achieve different water-like effects. She says she loves โdrawing on mylar because of its smooth texture and the beating it can take with multiple materials.โ The aqueous nature of applying fluid mediums to plastic lends itself to the subject matter. The layers of her work add an extra visual depth, hinting to viewers that there is great power deep under the surface of each piece. Spectators are greeted by the raw primeval force of the ocean in Montgomeryโs emerald piece โSea Cosmos IIIโ (page 22). The title reminds us that bodies of water are whole worlds in and of themselves, exotic and mysterious to those of us who have adapted to land. The powerful representation of the ocean and its depths is offset by the artistsโ green hues, which could be a reference to the greenery we see on land. The duality of the roles of the ocean, both mother and provider, come to light in โSea Cosmos IIIโ . While terrifying in her anger, the ocean gives us whatever bounty we need. The artist also tackles issues of greed in her work. The wet aesthetic of โRoeโ (page 23) seems to suggest water, but instead of brimming with life looks something more akin to the Martian landscape -- a barren land with mere memories of water. Viewers of this piece take on the roll of planetary
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JESSICA MONTGOMERY
October 2014 [b]racketโ 21
The wet aesthetic... seems to suggest water, but instead of brimming with life looks something more akin to the Martian landscape... explorers, tracing desiccated ocean beds. Montgomery shows us that although we are destructive, somewhere life will lie in wait to spring up again without us, adapted to new conditions. Here the landscape is void of its previous vegetation, but brimming with the beginnings of new life. โPier Crabโ (page 20-21) on the other hand feels much more ominous. โPier Crabโ shares the tonality and palette of โRoeโ but with one addition: a charcoal drawn crustacean. Through a pessimistic lens, this crab represents a distant memory of our future ancient seas. Like the caves of Lascaux, one of our descendants will want to keep alive a memory of the sea that was important to her. Through earthtones and seafoam, Montgomery paints a beautiful disaster. As waves crash and waters vanish, sea-life is threatened. Many wonder what will happen if the human race continues down this path of disregard towards our oceans. Our responsibility to it is to respect its power and fear its absence. This is the poignant message that Montgomery wants us to leave with. [b] John Shrader
October 2014 [b]racketโ 23
PRETTYLINEZ
์ธ
ํฐ๋ทฐ๋ฅผ ์์ฒญ ํ ๋ฉ์ผ์ ๋ณด๋ด๊ณ ์ผ๋ง ์ง๋์ง ์์์
๋ถ๋๋ฌ์๋ ๋จ์ณ๋ด๊ฒ ํ๋ ์ปค๋ค๋ ๋ฌด๊ธฐ๊ฐ ๋๊ธฐ ๋๋ฌธ์ด๋ค. ๋ง์ฝ ์ด
ํํต์ ๋ฉ์ผ์ด ์๋ค. ๊ทธ๋ฆฌ๊ณ ๊ธ์ ์ฝ์ด๋ด๋ ค๊ฐ๋ ๋ด
์ ์ด ์ด๋ช ๊ณผ ๋ง๋๋ค๋ฉด ๊ทธ ์๋์ง๋ ์์ฒญ๋๊ฒ ์ปค์ง ๊ฒ์ด๋ค. ์ง๊ธ
๋จธ๋ฆฌ์์๋ โ์ด์ โ์ด๋ผ๋ ๋จ์ด๊ฐ ๋ ๋์ง ์์๋ค. ์
ํ๋ ์ด ์ด์ผ๊ธฐ๋ ์น๊ตฌ์ ์น๊ตฌ์ด์ผ๊ธฐ๊ฐ ์๋๋ผ ๋ฐ์ ํ ์๊ฐ์ ์ด
์ ์ ์์ ์ ์ฌ๋ํ๊ณ ์๋ก์ด๊ฒ์ ์ข์ํ๊ณ ์ด์ฌํ ๋ณด๊ณ ๋ฃ๊ณ ๋
์ผ๊ธฐ๋ผ๊ณ ๋ณด๋ฉด ๋๊ฒ ๋ค.
๋ผ๊ณ ํํํ๋ ๋ชจ์ต์ โ์ด์ โ์ด๋ผ๋ ๋จ์ด ์ง๊ฟ๊ฐ์ ํํ ์ผ์ง๋
์์ ์ ์ข์ํด ์๋ฆฌ๋ฅผ ์๊ฐํ ํ๊ธฐ๋ ํ๊ณ ๊ณต์์ ์ธ ์ฅ๋ฉด๋ค
๋ชจ๋ฅธ๋ค. ์ฌ๋์ ์ข์ํ๊ณ ํธ๊ธฐ์ฌ์ด ๋ง๊ณ ์์ ์ ์ฌ๋ํ๋ ๋ฐ์
์ ๋จธ๋ฆฟ ์์ผ๋ก ๊ทธ๋ ค์๋ ๋ฒ๋ฆ๋ค์ด ๊ณ ์ค๋ํ ์์๋ ฅ์ด ๋์ด ์์
ํ์๊ฐ๋ โ์ฆ๊ฑฐ์ด ๊ฒฝํฅ, ๋ ธ์ โ ์ด๋ผ๋ ์๋ฏธ๋ฅผ ๋ด์ โPRETTYLI-
์ ๋ฐ์๋์ด์ก๋ค. ์ด๋ฐ ์์๋ ฅ์ ๊ณ ์ค๋ํ ์์ ๋ฐฉ๋ฒ์๋ ๋ค์ด๋
NEZโ (ํ๋ฆฌํฐ๋ผ์ธ์ฆ)๋ผ๋ ์ด๋ฆ์ผ๋ก ํ๋์ ํ๊ณ ์๊ณ ์ฌ๋๋ค๊ณผ
๋ค. ์์๋ฏธ์ ์ ์ ๊ณตํ ์๊ฐ์ด์ง๋ง ๊ทธ๋ํฝ ๋์์ธ์๋ ๊ด์ฌ์ ๋ง
์ ์ํต์ ํญ์ ์๊ฐํ๊ณ ์๋ค. ์ฌ๋๊ณผ ์ฌ๋ ๊ทธ๋ฆฌ๊ณ ๊ทธ ์์์ ๋
์ด ๊ฐ์ง๊ฒ ๋๊ณ ํํ์ ์ธ ๋๋๊ณผ ๊ทธ๋ํฝ์ ์์๋ฅผ ํผํฉํ๋ ค๋ ์
๊ปด์ง๋ ๋ ๋ค๋ฅธ ์๋์ง๋ค์ ์๊ฐ์๊ฒ ์๊ฐ์ ์ฃผ๊ณ ์์๋ ฅ์ ์ผ์ผ
๋๋ฅผ ์ง๊ธ๋ ๊ณ์ ํ๊ณ ์๋ ์์ ์ค์ ํ๋๋ค. ์๊ฐ์ ์์ ์ ํฌ
ํจ๋ค. ๊ทธ๋ฆฌ๊ณ ๊ทธ ์์๋ ฅ์ โ๋ฏธ์ โ์ด๋ผ๋ ์ฆ๊ฑฐ์์ผ๋ก ํํ๋๋ค. ๊ทธ
๊ฒ ๊ทธ๋ํฝ ์ฝ๋ผ์ฃผ, ํ์ธํ , ์์ ์์ ์ผ๋ก ๋๋์ด ์ง๋ค. ์์ฆ์ ์ฃผ
๋ฆผ์ ๊ทธ๋ฆฌ๋ ์น๊ตฌ๋ค์ ๋ง๋๋ฉด ํํ๋ค ๋ฃ๋ ์ด์ผ๊ธฐ๊ฐ ์๋ค. ์ด๋ฆด๋
๋ก ๊ทธ๋ํฝ ์ฝ๋ผ์ฃผ ์์ ๋ค์ด ๋ง์ด ๋ณด์ฌ์ง๊ณ ์๋ค. ๊ทธ๋ํฝ ๊ผด๋ผ์ฃผ๋
๋ถํฐ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ฉด ํญ์ ์นญ์ฐฌ์ ๋ฐ๊ณ ๊ทธ๋ฆผ์ด ๋น์ฐ์ ๋๊ปด์ง๊ณ ์ด
๊ณผ๊ฑฐ์ ์ฌ์ง์ ํ์ฌ์ ์ด๋ฏธ์ง์ ์ ๋ชฉ์์ผ ์ค๋ฌํ๊ณ ์ผ์ค์๋ ๋ชจ
๋ ์๊ฐ๋ถํฐ ์ด๋ช ์ผ๋ก ๋ฐ์๋ค์ฌ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ์ฌ๋์ผ๋ก ์ด์๊ฐ
์ต์ผ๋ก ๋ํ๋๋ค. ์ปฌ๋ฌํํ ์์ํฌ์ธํธ๋ค๊ณผ ์ค์ ์ ์ด๋ฏธ์ง๋ค์
๋ ์น๊ตฌ๋ค์ ๋ํ ์ด์ผ๊ธฐ๋ฅผ ๋ง์ด๋ค. ํ์ง๋ง ์ด ํํ ์ด์ผ๊ธฐ๋ ๋ฏธ
์ฝ๋ผ์ฃผ ํจ์ผ๋ก์จ ๋นํ์ค์ ์ด๋ฉฐ ๊ฟ๊ฐ์ ์ด๋ฏธ์ง๋ค์ด ํ์ํ๋ค. ๊ณผ
์ ์ ์ฌ๋ํ๋ ์ฌ๋์๊ฒ๋ ๊ต์ฅํ ํน๋ณํ ์ด์ผ๊ธฐ๊ฐ ๋๋ค. ์ด๋ช ์ผ
๊ฑฐ์ ์ค์กดํ๋ 1900๋ ๋ ์ธ๋ฌผ๋ค์ ์ฌ์ง๋ค์ ์ค์กดํ๋ ํ์ค์ ํ
๋ก ๋ฐ์๋ค์ธ ์์ ๋ถํฐ โ๋ฏธ์ โ์ด๋๊ฒ์ ์ ์ ์ฒญ์ถ๋ค์๊ฒ ๋๋ ค์๋
์๋ค์ ํฌ์ฌํ์ฌ ๊ฐ๊ณต๋ ํ์๊ณผ ํ์์ ์ํฉ๋ค๋ก ์ฌ๊ตฌ์ฑํจ์ผ๋ก์จ
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26รข&#x20AC;&#x201A; [b]racket October 2014
์ฌ๋๊ณผ์ ์ํต, ๊ด๊ณ์ ์์, ์ถ์๋ํ ๋ฌผ์ ๊ทธ๋ฆฌ๊ณ ์๊ฐ ์กฐ๊ฐ์
๋ผ๊ฒ ๋๋ค. ๊ทธ๋ฆฌ๊ณ ๋ณด๋์ด๋ค์๊ฒ๋ ์๊ฐ์ ๊ฐ์ ๊ธฐ์จ์ด ์ ๋ฌ๋๊ธฐ
์ฌ๋ฐฐ์ด์ ๋ณผ ์ ์๋ค. ๊ฐ๋ณ๊ณ ์ ํฌ์ ์ธ ์ํฉ๋ค์ด ๊ณผ๊ฑฐ์ ์กด์ฌ ํ
๋ฅผ ๋ฐ๋ผ๋ฉฐ ์ฌ์ ํ ๋ค์ํ ๊ฟ๊ณผ ์ฆ๊ฑฐ์ด ์์์ ์ธ๊ณ๋ฅผ ์กด์ฌํ๋ค๋
์๊ณ ์กด์ฌ์ ์ฆ๊ฑฐ์ธ ์ฌ์ง๋ค์ ์กฐ๊ฐ๋ค์ ํ์ฌ์ ์ปฌ๋ฌํํ ์ด๋ฏธ์ง
๋ณด์ฌ์ฃผ๊ธฐ์ํด ๋ ธ๋ ฅํ๊ณ ๊ณ ๋ฏผํ๊ณ ์๋ค. ์๊ฐ์๊ฒ ๋ฏธ์ ์ ํ์ค์
๋ค๊ณผ ์ ๋ชฉ๋๋ฉด์ ์๊ฐ์๊ฒ์ ์ง๊ธ์ ์ฌ๋ผ์ง ๊ณผ๊ฑฐ์ ์ฌ๋๋ค์ด ํ
๊ณ ๋จํ ์ผ์์ ์น์ ํด ์ค ์ ์๋ ์๊ฐ์ ์ฆ๊ฑฐ์์ด ํฌ๊ฒ ์ฐจ์งํ๊ณ
ํธ์ผ๋ก๋ ์ ์ถ์ ๋ถ์ฌํ๋ ๊ฒ ๊ฐ์ ๋๋์ ์ฃผ๊ธฐ๋ ํ๋ค. ๋ฌด์ฑ์
์๋ค. ํํธ์ ์ฆ๊ฑฐ์ด ํํ์ง์ํ๋ฅผ ๋ณธ๋ฏํ ๋๋์ด ์๋ง ์๊ฐ๊ฐ ์ถ
์ ๊ณผ๊ฑฐ์ ์ปฌ๋ฌํํ ํ์ฌ๋ ์ด์ฉ๋ฉด ํ๋ฌ๊ฐ๋ ์ฐ๋ฆฌ์ ์๊ฐ์ ๋ํ
๊ตฌํ๋ โ๋ฏธ์ โ์ด๋ผ๋ ์ฅ๋ฅด๊ฐ ์๋๊น ํ๋ค. ํธ๊ธฐ์ฌ ๋ง๊ณ ํญ์ ์ด์
์๊ฐ์ ์ด์ผ๊ธฐ๊ฐ ์๋๊น. ์ง๊ธ๋ ํ๋ฌ๊ฐ๋ ์๊ฐ์ ๊ณ์ํด์ ๊ณผ๊ฑฐ
์ด ๋์น๋ ์๊ฐ๋ ์ง๊ธ๋ ์๋ก์ด ๋์ ์ ๋ฉ์ถ๊ณ ์์ง ์๋ค. ์๊ฐ
๋ฅผ ๋ณ๊ณ ํ์ฌ๋ ์ง๋๊ฐ๊ณ ์๋ค. ๋ค๊ฐ์ค๋ ๋ฏธ๋๋ ์ปฌ๋ฌํํด ๋ณด์ด์ง
์ 20๋ ์ด๋ฐ์ ๋ฌด๊ฑฐ์์ด ์ง๊ธ์ ์ฆ๊ฑฐ์ด ์์๋ค๋ก ์นํ๋์๋ฏ์ด
๋ง ์ก์ ์ ์๋ ๋ฏธ๋ก๊ฐ์ ์กด์ฌ๋ค. ๊ทธ๋์ ์ผ๊น ๋ฐ์ ํ์๊ฐ์ ๊ทธ
์๊ฐ์ ์์ ์ ๋ณด๋ ๋ง์ ์ฌ๋๋ค์ด ์ ์พํด์ง๊ณ ์์ ์์์ ์์
๋ฆผ์ ๊ณผ๊ฑฐ์ ์ฌ๋๋ค์ด ์ก์ง ๋ชปํ ๋ฏธ๋์ ์ ๊ธฐ๋ฃจ์ ํจ๊ป ํ๊ณ ์๋
๋ฐ๊ธฐ๋ฅผ ์๊ฐ๋ ๋ฐ๋ผ๊ณ ์๋ค. ์ ์พํ ์์์ ์ด๋ฏธ์ง๋ก ํจ๊ป ๊ฐ ๋ณด
๋ชจ์ต์ฒ๋ผ ๋ณด์ฌ์ ๊ธฐํํ์ ์ผ๋ก ๋ณด์ด๊ธฐ๋ ํ์ง๋ง ํํธ์ผ๋ก ๊ฟ์ฒ๋ผ
๋๋ก ํ์ ๋ด๊ฐ ๋๊ปด๋ ์ด์ ์ ์ฌ๋ฌ๋ถ๋ค๋ ์ถฉ๋ถํ ๋๋ ์ ์์๊บผ
์์ ๋ก์ ๋ณด์ด๊ธฐ๋ํ๋ค.
๋ผ๊ณ ๋ ๋ํ ๋ฏฟ๊ณ ์๋ค.
์ด์ํ ์ด๋ฆฐ๋์ด๋ถํฐ ํ์ง์ํ์ ์์ํ ์๊ฐ๋ ์ฌ๋๊ณผ์ ๊ด ๊ณ์ ๊ด์ฌ์ด ๋ง์์ง๊ฒ ๋๋ค. ํ์ค์ ๋ํ ๋ฌด๊ฑฐ์์ ๋ฐ๋ํธ์ ์์
[b] Kim Nam Jin
์ ์ธ๊ณ๋ฅผ ๋ ํฌ๊ฒ ๋ง๋ค์๊ณ ๊ทธ ์ธ๊ณ๋ฅผ ์๊ฐํ ํ๋ฉด์ ๊ธฐ์จ์ ๋
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LEE JAE HO
๋ชฝ
์ค๋ชฝ์คํ ๋ชธํต, ๊ฐ์์ง ๊ฐ๊ธฐ๋ ํ๊ณ ์ฅ ๊ฐ๊ธฐ๋ ํ ์ผ
์ ๊ดด๋ฌผ์ด๋ผ๋ ๋จ์ด๋ก ์ง์นญํ๋ค. ๊ฒฝ์ฐ์ ๋ฐ๋ผ์๋ ์ธ๊ฐ ์กด์ฌ ์์ฒด
๊ตด, ๋ถ์์ด ์ผ๊ตด์ ๋๋ฌผ์ ๋ชธ์ ํ ๊ธฐ๊ดดํ ์๋ช ์ฒด, ์ฐ
๊ฐ ์ด ์ง๊ตฌ์์์ ๊ดด๋ฌผ์ด๊ธฐ๋ ํ๋ค. ๋ฌด๋ถ๋ณํ ์์ฐ๊ฐ๋ฐ, ์ ์, ํญ
๋ฆฌ๊ฐ ์๊ณ ์๋ ์ด๋ค ๋๋ฌผ์ ํ์๊ณผ๋ ์ ์ฌํ์ง๋ง ๊ทธ
๋ ฅ, ์ 3์ธ๊ณ ๋ฏธ์ฑ๋ ์ ๋ ธ๋๋ ฅ ์ฐฉ์ทจ ๋ฑ ํ๋์ธ๋ค ์ค์ค๋ก๊ฐ ๊ดด๋ฌผ์ด
๋ ๋ค๊ณ ํน์ ๋๋ฌผ๊ณผ ๋ฎ์๋ค๊ณ ํ ์ ์๋ ํ์์ ํ ์๋ช ์ฒด๊ฐ ํ
๋๊ณ ์์์ง ๋ชจ๋ฅธ๋ค. ์ด์จ๋ ์ฐ๋ฆฌ์ ์ผ์์์ ๋ง๋๊ฒ ๋๋ ๊ดด๋ฌผ๋ค
๋ฉด ๊ฐ๋ ์์ ์ ์กด์ฌ๋ฅผ ๋๋ฌ๋ธ๋ค. ์ด ํน์ดํ ํ์๋ค์ ์ฐฝ์กฐ์์ธ
์ ์ด์ผ๊ธฐ ์์์๋ณด๋ค ์ ๋ฌธ์ด๋ ๋ฐฉ์ก์์ ๋ ๋ง์ด ์ ํ๊ฒ ๋๋ ๊ฒ
์ด์ฌํธ ์๊ฐ๋ ์ด๊ฒ๋ค์ ๋ชฌ์คํฐ(monster)๋ผ๊ณ ์๊ฐํ๋ค. ๋ชฌ์คํฐ
๊ฐ๋ค. ์ธ๊ฐ์ด ๋ง๋ ์์์ ์กด์ฌ๋ ์๋์ ํ๋ฆ์ ๋ฐ๋ผ ์์ ์ ํ
๋ ์ฐ๋ฆฌ ๋ง๋ก ํํํ์๋ฉด ๊ดด๋ฌผ์ด๋ ๊ดด์์ด๋ค. ์ด ๊ดด๋ฌผ์ด๋ ๊ดด์๋
ํ์ ๋์์ด ๋๋ฉด์ ์ด์ผ๊ธฐ ์์ ์กด์ฌํ๋ ๊ณตํฌ์ ๋์์ด ์๋๋ผ
๋์์์์ ์ ์ฌํ ์๋ฏธ๋ก ์ฌ์ฉ๋๋ค. ๋ฌผ๋ก ๊ทธ ํ์์ ๊ฐ๊ธฐ ๋ค๋ฅด์ง
ํ์ค์๋ ์กด์ฌํ๋ ๊ณตํฌ์ ๋์์ด ๋ ๊ฒ์ด๋ค.
๋ง ์ ์ธ๊ณ์ ๊ณ ๋ ์ ์ค์ด๋ ์ ํ์์ ๊ดด๋ฌผ์ ์์ ๊ณผ ๋๋ฆฝ์ ์ธ ์กด
๊ทธ๋ ๋ค๋ฉด ์ด์ฌํธ์ ์ํ์ ๋ฑ์ฅํ๋ ๊ดด๋ฌผ์ ๋ฌด์์ ์๋ฏธํ๋
์ฌ๋ก ๋ฑ์ฅํ๊ณ ์๋๋ฐ ์ด ๊ดด๋ฌผ๋ค์ ์ธ๊ฐ ๋ด๋ถ์ ํญ๋ ฅ์ฑ๊ณผ ๋๋ฌผ์
๊ฒ์ผ๊น? ๊ดด๋ฌผ์ด ์ํ์ ๋ฑ์ฅํ๋ค๊ณ ์ด์ผ๊ธฐํ๋ฉด ๋ค์์ ์ฌ๋๋ค์
ํํ๊ฐ ๊ธฐ๋ฌํ๊ฒ ๊ฒฐํฉ๋์ด ๋ํ๋๋ค. ์๋๊ฐ ๋ณํ๋ฉด์ ์ ํ์๋
๋ถ์ ์ ์ธ ์๋ฏธ๋ฅผ ๊ฐ์ง ๋์์ ์์งํ๋ ๋ฌด์์ ๊ทธ๋ ธ์์ ๊ฒ์ด๋ผ
์ ๊ดด๋ฌผ๋ค๊ณผ ํ๋์ ๊ดด๋ฌผ๋ค์ ๋ค๋ฅธ ํ์์ผ๋ก ๋ฑ์ฅํ๋ค. ์ ์ค๊ณผ ์
๊ณ ์๊ฐํ๋ค. ๊ทธ๋ฌ๋ ๊ทธ์ ์ํ์์ ๊ดด๋ฌผ์ ์ฐ๋ฆฌ๊ฐ ์ผ๋ฐ์ ์ผ๋ก ๋
ํ์ ๊ดด๋ฌผ๋ค์ด ๋๋ฌผ๊ณผ ์ธ๊ฐ์ ๊ฒฐํฉ์ ํตํด์ ์ธ๊ฐ์ด ๊ฐ๊ณ ์๋ ๋
์ฌ๋ฆฌ๋ ๊ดด๋ฌผ์ฒ๋ผ ๋ณด์ด์ง ์๋๋ค. ์ ๋๋ฉ์ด์ ์ ์ฆ๊ธฐ๋ ์ฌ๋์ด๋ผ
๋ฌผ์ฑ์ ์ด๋ฏธ์งํ๋์๋ค๋ฉด ํ๋์ ๊ดด๋ฌผ๋ค์ ์ธ๊ฐ์ด๋ค. ํ๋ ์ฌํ
๋ฉด ์ผ๋ณธ ๋งํ โ์ด์์ง ํ ํ ๋ฅดโ์ ์์ํ ๋ง์์ ๊ฐ์ง์ง ์์ผ๋ฉด ๋ง
์์๋ ์ผ๋ฐ์ ์ผ๋ก ์์ ๋ฌด๋ํ ์ธ๊ฐ์ด๋ ์ฒ๋ฅ์ ์ด๊ธด ์ฌ๋๋ค ๋ฑ
๋ ์ ์๋ ์ฒ์ ์ ๋ น(ํ ํ ๋ฅด)์ ๋ ์ฌ๋ฆฌ๊ฒ ๋๋ค. ์ฝ๋ฏน ์ ๋๋งค์ด์
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์ ์ฆ๊ธด๋ค๋ฉด ๋์ฆ๋ ์ ๋๋ฉ์ด์ โ๋ชฌ์คํฐ ์ฃผ์ํ์ฌโ์ ๋ฑ์ฅํ๋ ์ค
์ด๊ฒ์ ๊ทธ๊ฐ ์์ ๊ฐ๋ก ์ฑ์ฅํ๊ฒ ๋ ์๋๋ ฅ์ด ๋์๊ณ ์ง๊ธ์ ์ด
๋ฆฌ๋ผ๋ ๋ชฌ์คํฐ๊ฐ ๋จธ๋ฆฌ ์์ ๊ทธ๋ ค์ง ๊ฒ์ด๋ค. ์ด์ฌํธ์ ์ํ์ ๋ฑ์ฅ
๋ชฌ์คํฐ๋ฅผ ํตํด์ ์์ ์ ์กด์ฌ ํ์ธ์ ๋์ด์ ์ฌํ์ ๊ด๊ณ๋ง์์
ํ๋ ๊ดด๋ฌผ๋ค์ ์ด๋ฐ ์บ๋ฆญํฐ์ ์๋นํ ์ ์ฌํ๋ค. ๊ทธ๋์ ์ธ์ง ๊ทธ๋
๊ฐ์ธ์ ์กด์ฌ์ ๋ํ ํ์ฅ๋ ๊ฐ๋ ์ผ๋ก ์์ฉํ๊ณ ์๋ค. ์ด๋ฆฐ ์์ ์
์์ ์ด ์ฐฝ์กฐํ ์๋ช ์ฒด๋ค์ ๊ดด๋ฌผ์ด๋ ๊ดด์๋ผ๋ ์ฐ๋ฆฌ๋ง๋ก ์ง์นญํ์ง
๋งํ์ ์ด๋ฏธ์ง๊ฐ ์์ ์ ์ฑ์ฅ๊ณผ ํจ๊ป ์์ ์ ์ฃผ์ ๋ก์ ์ฑ์ฅํ ์
์๊ณ ๋ชฌ์คํฐ๋ผ๋ ์์ด๋ฅผ ์ฌ์ฉํ๋ค. ๊ทธ ์ด์ ๋ ๊ดด๋ฌผ์ด๋ ๊ดด์๋ ์ฐ
์ด๋ค. ๋ค์ ๋งํ์๋ฉด, ๊ทธ๋ ๊ทธ๋ฆผ์ ํตํด์ ์ด๋ฆด ์์ ์์ ์ ์์ฒ
๋ฆฌ์ ์ ์๋ ์ธ์ด์ ํํ์์ ์ํ์ ์ด๊ณ ๋๋ ค์ด ๋์์ผ๋ก ๋๊ปด
๋ฅผ ์ค์ค๋ก ์น์ ํ๊ณ ๊ทน๋ณตํ๋ฉด์ ๊ทธ๋ฆผ๋ ๊ฐ์ด ์ฑ์ฅํ ๊ฒ์ด๋ค. ๊ทธ๋ฌ
์ง์ง๋ง ๋ชฌ์คํฐ๋ ์ฌ๋ฌ ์ ๋๋ฉ์ด์ ์์ ์ฌ๋๋ค์ ๊ดด๋กญํ์ง๋ง ๊ฒ์ด
๋ ๊ทธ์ ๋ชฌ์คํฐ๋ ์ฌ์ ํ ์๊ทน์ ์ธ ์ด๋ฏธ์ง๊ฐ ์ ์ฌ๋์ด ์๋ค. ๊ทธ
๋ง๊ฑฐ๋ ๋ฏธ์ํ ์ ์๋ ๋์์ผ๋ก ๊ทธ๋ ค์ ธ ์๊ธฐ ๋๋ฌธ์ด๋ค. ๋ฐ๋ผ์
๊ฒ์ ์ฑ์ธ์ด ๋์ด์๋ ์ฐ๋ฆฌ๋ ํ๊ต๋ ๋๋ ์ง๋จ๋ณด๋ค ๋ ํฌ๊ณ ํ
๊ทธ๊ฐ ์์ ์ด ์ฐฝ์กฐํ ๊ฒ๋ค์ ๋ชฌ์คํฐ๋ผ๊ณ ํํํ๋ ์ด์ ๋ ์๋ง๋
๋ ์ฌํ์ ๊ด๊ณ ์์์ ์ด์๊ฐ๊ณ ์๊ธฐ ๋๋ฌธ์ด๋ค. ์ด์ฌํธ์ ๋ชฌ์คํฐ
์ฐ๋ฆฌ๊ฐ ๊ฐ์ง๊ณ ์๋ ์ธ์ด์ ํํ์ ๋๋ ๋๋ฌธ์ด๋ผ๊ณ ์๊ฐ๋๋ค.
์๋ ๊ทธ๋ฐ ํ๋์ธ์ ๋ชจ์ต์ด ๋ณด์ธ๋ค. ๊ทธ๋ฆผ์ ๋ฐฐ๊ฒฝ์์ ์ด์ง ์ผ๊ตด์
์ด์ฌํธ์ ๊ทธ๋ฆผ์ ๋ฑ์ฅํ๋ ๋ชฌ์คํฐ๋ค์ ์ด๋ฆด ์ ์์ ์ด์ ์ค๋
๋ด๋ฐ๊ณ ์์ ์ ์กด์ฌ๋ฅผ ๋๋ฌ๋ด๊ธฐ ํ๋ค์ดํ๋ ๋ชฌ์คํฐ, ์ ๋ฉด์ ์ผ๊ตด
์ ์์ ์ด๋ค. ๊ทธ๋ฆฌ๊ณ ์ฐ๋ฆฌ ์์ ์ด ๋ ์๋ ์๋ค. ๊ทธ์ ๋ชฌ์คํฐ๊ฐ ์ฐฝ
์ ๋ค์ด ๋ด๋ฐ๊ณ ์ํ์ ์์ ๊ณผ์ํ๋ ๋ชฌ์คํฐ, ์์ํ๊ณ ์ฌ๋์ค๋ฝ
์กฐ๋ ๊ฒ์ ์ด๋ฆด ์ ์์ ๋ก ๊ฑฐ์ฌ๋ฌ ์ฌ๋ผ ๊ฐ๋ค. ๊ทธ๋ ๋ด์ฑ์ ์ด๋ผ ์น
๊ฒ ๋ณด์ด๋ ๋ชฌ์คํฐ ๋ฑ ํ๋์ธ์ ๋ค์ํ ๋ชจ์ต์ ๋ด์๋ด๊ณ ์๋ค. ๊ทธ
๊ตฌ๋ค๊ณผ ์ด์ธ๋ ค ๋ ธ๋ ๊ฒ์ด ํ๋ค์๋ค๊ณ ํ๋ค. ์ฐ๋ฆฌ๊ฐ ์ฝ๊ฒ ์์ํ
์ ๊ทธ๋ฆผ์ ๋ฑ์ฅํ๋ ๋ชฌ์คํฐ์ ์์ ์ ๋นผ์๊ฒผ๋ค๊ฐ ์ฐ๋ฆฌ๋ ๊ทธ๋ฆผ์
์ ์๋ฏ์ด ์ด๋ฐ ์ฑ๊ฒฉ์ ์์ ์๋ค์ ํ๊ต๋ ๋๋ ์ง๋จ์์ ์ธํจ์ด
์ ๋ ๋ค๋ฅธ ๋ชจ์ต์ ๋ฐ๊ฒฌํ๊ฒ ๋๋ค. ๊ทธ๊ฒ์ ๋ฐ๋ก ๋ชฌ์คํฐ๋ฅผ ์ฐฝ์กฐํ
๊ฑฐ๋ ๋ฐ๋๋ฆผ ๋ฐ๊ธฐ ์ฌ์ด ์์ด๊ฐ ๋๋ค. ๊ทธ๋ฆฌ๊ณ ํผ์ ๋ ์ ์๋ ์์
์๊ฐ์ด๋ค. ์บ๋ฒ์ค์์ ๋ํ ๋ฒฝํ๊น์ง ์์ ์ ์ด์ ์ ์์๋ด๋ ๊ทธ
๋ง์ ๋์ด ๋ฐฉ๋ฒ์ ์ฐพ๊ฒ ๋ง๋ จ์ด๋ค. ์ด์ฌํธ์ ๊ฒฝ์ฐ, ๊ทธ๊ฒ์ ๊ทธ๋ฆผ์ด
์ ์์ ์ ๊ทธ๋ ค์ง ๋ชฌ์คํฐ์ ์กด์ฌ๋ณด๋ค ๊ฐํ๊ฒ ๋๋ฌ๋๊ธฐ๋ ํ๋ค. ์
์๋ค. ์ฒ์์๋ ์ฅ๋๊ฐ, ๋งํ์ํ, ๋งํ์ฑ ์ด ์น๊ตฌ๊ฐ ๋์๊ณ ์กฐ๊ธ์ฉ
์ ๋ก์ด ํํ ๋ฐฉ์๊ณผ ๋ค์ํ ์์ฑ ํํ์ ๊ฐ์์๋ฅผ ์๋ํ๊ธฐ์ ์ถฉ
์ด ์ด๋ฏธ์ง๋ฅผ ๊ทธ๋ฆฌ๊ฒ ๋์๋ ๊ฒ์ด๋ค. ์น๊ตฌ์ ๋ถ์ฌ ๋์ ๊ทธ๋ ํฅ๋ฏธ
๋ถํ๋ค. ๊ทธ๋์ ์ฐ๋ฆฌ๋ ๊ทธ์ ๊ฐํ ๋ด์ ์ธ ํ์ ์ํ์์ ๋๋ผ๊ฒ
์ง์งํ ์ด๋ฏธ์ง๊ฐ ๊ฐ๋ํ ์น๊ตฌ๋ฅผ ๋ฐ๊ฒฌํ ๊ฒ์ด๋ค. ๊ทธ๋ฐ๋ฐ ๊ทธ๊ฐ ๋งํ
๋๋ค. ๊ทธ์ ๋ชฌ์คํฐ๋ค์ ํ๋์ธ์ ๋ค์ํ ๋ด์ ๋ชจ์ต์ ๋ํ ์์ ์
์ฑ ๋ฑ์์ ๋ณธ ๋ชฌ์คํฐ ์บ๋ฆญํฐ๋ ์ผ๋ฐ์ ์ผ๋ก ์๊ฐ ์์ ๊ณผ๋ ์์ ํ
ํํ์ด๋ผ๋ฉด ๊ทธ์ ์์ ๋กญ๊ณ ๊ณผ๊ฐํ ๋๋ก์๊ณผ ์์ฑ๋ ๋ด์ ์ธ ํ์
๋ฐ๋์ ์ฑํฅ์ ๊ฐ์ง๊ณ ์๋ค. ๋งํ์ฑ ์ ๋ฑ์ฅํ๋ ๋ชฌ์คํฐ๋ค์ ๊ณตํฌ
๋ฐ์ฐ์ ๋๋ฌ๋ธ๋ค. ๊ทธ์ ์ํ์ด ๊ฐ์ง๊ณ ์๋ ์ด๋ฌํ ๋ด์ฉ๊ณผ ํ์์ด
์ ๋์์ด๊ฑฐ๋ ์ฌ๋์ ๊ดด๋กญํ๋ ์ง๊ถ์ ์กด์ฌ์ด๋ค. ๊ทธ๊ฐ ์์ ๋ง์
์ฐ๋ฆฌ๋ฅผ ์ฌ๋ก์ก๋ ๋งค๋ ฅ์ผ๋ก ์์ฉํ๋ ๊ฒ ๊ฐ๋ค.
๋ชฌ์คํฐ๋ฅผ ์ฐฝ์กฐํ ๊ฒ๋ ์ด๋ฌํ ์ด์ ์ผ ๊ฒ์ด๋ค. ์๊ทน์ ์ด๊ณ ๋ ํผ์ ์๋ ์์ ๊ณผ๋ ๋ฐ๋์ ์ด๋ฏธ์ง๋ฅผ ๊ฐ์ง ๋ชฌ์คํฐ์ ์กด์ฌ๋ ์ด๋ฆฐ ์ด์ฌ ํธ์ ๊ด์ฌ์ ์ถฉ๋ถํ ๋์์ ๊ฒ์ด๋ค. ๊ทธ๋ ๊ฒ ๋ชฌ์คํฐ ๊ทธ๋ฆฌ๊ธฐ๋ ๋์ด ์ด์ ์ธํจ์ด์ธ ์์ ์ ์กด์ฌ๊ฐ์ ํ์ธํ๊ณ ์์๋ฐ์ ์ ์๋ ํ์ ๊ฐ ๋์๋ ๊ฒ์ด๋ค.
[b] Seo Hee Joo, PhD
gallery [t.] parkdongseok
OCTOBER 4 - DECEMBER 6 opening reception october 4 7pm - 10pm
DIRECTIONS AND DETAILS bracketmagazinekorea.com/gallery-t/
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