수집된욕망의랩소디

고연수 (평론)

"특정세계를 설정하고 가정하여 만드는 작업을 진행한다. 동·식물의 습식생활에 맞게 만들어진 수족관처럼 가상의공간을 구성한다. 인간의 끝없이 펼쳐진 욕망의 공간을 나타내기에 파란빛으로 채워진 수족관이 상징적이라고 생각되었다. (중략)현실의 환경을 살아가면서 동시에 논리의구조로 만들어진 가상의환경을 함께 살아가고있는 현시대의 모습을 투영하는데 목적이있다. 합리화된 구조로 이루어졌지만 가상의 구조가가지고 있는 모순적인 현실을 회화에 담고자한다. ……실제로 경험한장소와 경험하지않은 공간이 연결되어 경계가 모호해지고 복잡하게 뒤엉키는 모습을 표현하고자한다."

-작가김효숙작업노트중에-

 

어떻게든 억압, 억제하고 가능만하다면 조절하거나 이도 여의치않으면 화해(?)를 통해 어르고 달래어여 하튼 최대한자극하지 않고 진정시키려고 하는것이 우리안의 욕망이다. 이것은 애초에 부족과 결핍이 낳은, 좀처럼 건강하게 만족될 수 없다는 전제로 감싸서 감추고 금기시하면서 인간의 본능적속성으로 치부해왔다.  프로이트 SigmundFreud는 갖지 못하는것에 대한 즉 '이미지', '환상', '재현'으로 욕망을 정의한반면, 들뢰즈GillesDeleuze는 일단 욕망하는 주체자체를 부정하면서 모든 생명의 창조적흐름에는 차이와 흐름을 생산하는 욕망의 흐름만이있다고 보았다. 식물은 태양을 향하고 벌레는 식물을 향하며 인간은 동·식물을 향하듯. 대상적 세계에서 부재하는 주체에 대해 설정된 욕망이란것은 없는것이고, 욕망으로서 생명의 내재면이 있을뿐이다. 그래서 들뢰즈의기계적인 욕망은 생산을 창조하기위한 자연스러운 흐름이며 접속接續성을 동반한다. 그리고 오로지 그 흐름을 지속-생산-하기위한 욕망이있을뿐이다.

 

적정거리를둔 편집된 욕망

작가김효숙은 주변에서 일어나는 일련의 사건과 사고들 그리고 공간을 이동하며 기록하고 모은 여러이미지들을 집적시켜 페인팅작업을 한다. 2008년~2010년에 보여진 작품안에 도시의형상은 채완공되지않은 건물의 구조물과 같은 파편들이 픽셀처럼 정리되어 뭉쳐져있다. 개개의 형상들이 모아져 큰 흐름을 만들어 빠르게 변화하며 완성되어질것같은 건물과도시의모습, 그러나 그보다 더빠르게 버려지고 황폐화되어지는 공간들과 그안의 편린들이 작가에의해 한화면안에 빼곡히 서술된다. 보아왔던것, 경험된과거와 현재, 두서없이 쏟아지는 사건들과 이미지들은 작가의 시·공간을 뒤섞는 초월적조형 의지와 기계적인 욕망에의해 응집되고 구축되고있다. 2011년도부터 시작된 작업안에 도시모습은 좀더 유기적인 형태의밀도 높은단위들로 변모하는듯 보이고, 2015년 이후 '파란방'(여행자들과 가상수족관) 시리즈들은 비현실적 환타지가 더해진환경이 설정되어 시선이 이동된다.

부유하는도시의 모습이나 가상수족관의 파란방시리즈 모두 작가시선의 이동일뿐 맥락은 동일하게 이어지고있다. 현실에서 보여지는것들, 현실에서는 보기힘들거나 보길희망하는것들, (인간의욕망으로) 잘보여지기위해 감추어져있는 것 들을 모두 타래처럼 뭉쳐 제시하고있다. 이는 시각예술창작자로서의 기계적인 욕망에서 비롯된 행위로 해석 되어질수있다.

이렇게 편집된 욕망은 그것이 조합되기전 철저히 구분·해체·재조합한 작업의과정을 모두 여실히 함유한채 재구축된 가상공간의 낯선분위기와 흐름을 풍기며 작가 김효숙만의 색으로 우리에게 다가온다. 창백하고 건조한도시의 가상적얼굴로, 환상적인 가상적 인공수족관의 공간으로 재현되는데 억지스러운 인위적 (욕망의)접속과 접합이라기보다 잘 버무려지고 섞어떠낸 근사한 마블링의 단면처럼 보인다. 치유되기 힘든상처와 아픔, 좀처럼 채울수없는 결핍과부족, 혹은 대상에서 기인한 주체를 향한 욕망은 분명 아닌듯보인다. 시각예술 창작자로서의 예민하게 체화된경험과 시각적재현의 욕구에서 촉발된 적정거리를 둔작가 김효숙의 내재된 욕망의 발현인것이다. 

 

수집된 욕망이 자유로이 부유하는 가상공간

일본 애니메이션감독 미야자키하야오宮崎駿의 작품<천공의성라퓨타天空の城ラピュタ>에라퓨타는 누구에게는 마음깊이 품고있는 꿈이었고, 누군가에게는 엄청난 보석들이 숨겨져있어 부를축적해줄 자원의 땅이었으며, 어떤이에게는 권력욕을 채워줄 세계를 지배하기 위한 전략적으로 정복해야하는 땅이었다. 실제존재하는 지조차 검증이안된 천공의 성이었음에도 불구하고. 그것이 실제로 있다고 믿는 이들에게 각자의꿈을 실현시켜 줄 욕망들이  투영된 일종의 보물섬이었다. 결국 그곳을 소유한자는 꿈꾸는자의 것이었다.

작가 김효숙의 작품들에서 반복해서 보여지는 시각적형식의 맥락은 부유浮遊에있다. 땅에 기반을 두지 않은채, 한곳에 정착하지 않은채 떠다니는 구축물들은 기반이 현실에 있지않음을 분명하게 입증하고있다. 작가에의해 재구조화된 낯선형체들은 각각 다른프레임에서 각기 다른형상들로 부유하고있다. 거대한 몸체는 비현실적임을 시사하지만 구성하고있는 픽셀형태들과 얽혀있는 가는선으로 보이는 최소단위의 세포들은 모두 현실적이다. 천공에 떠있는 라퓨타이지만 결국 그것을 지탱하고 끌고있는것은 자연의나무(뿌리)인것처럼, 작가 김효숙의 작업속 서로를 단단하게 엮고있는 요소들은 모두 현실적 형상들이다. 작가의 과거작업들에서는 파편들이 집약적으로 응축된 거대한 흐름속에서도 속속들이 내재한 인간의 형상들이 숨을쉬며 현실과 연결시켜주었다. 작품속 얽히고 설켜있는 구조물들은 작가에의해 완벽히 제어되고 연출되어 재현된 가상의공간이지만, 근래 작업에서는 작가의 조형적언어로서 현실을잇는 혈관과같은 연결고리가 보인다. 좀더 유연해진 부유하고 있는편집된욕망이 혈관처럼 유기적으로 얽혀 현실과 가상을 밀도있게 연결시키고 있는것이다.

작가 김효숙의 시각적편린들을 수집하고자하는 욕구와 자신의 조형적세계의 한 프레임 안에 모두 조합하여 구축하려는 욕망은 앞으로도 시선을 옮기며 다양한 모습으로 표출될듯 아니 흐를듯 보인다. 그의 욕망은 빼곡히 채워지는 파편화된 현실적 이미지들에 있는것 이 아니기때문에. 그리고 스스로 지속되기위한 생산을 욕망하는 내재적공간이 비워져있는 한, 끊임없이 수많은것들이 채움과 비움을 반복할것이기 때문에.

 

 

Rhapsody of Collected Desire

Ko yeon soo (art critic)

Trying to suppress and repress anyhow, controlling if possible or coaxing and soothing through reconciliation if this does not work, and trying to calm down without stimulating as much as possible are desire inside us. These have been regarded as instinct human nature by covering, hiding, and tabooing it under the premise that these were born by deficiency and deprivation and cannot be satisfied healthily. While Sigmund Freud defined desire as an ‘image’, ‘fantasy’, and ‘recreation’ of what cannot be attained, Gilles Deleuze saw that there is only the flow of desire producing differences and flow in the creative flow of all living things by denying the subject of desire itself. As plants face the sun, bugs face plants, and humans face animals and plans, there exists no set desire on a subject that is absent in the objective world and there is only internalized side of living things as desire. As a result, Deleuze’s mechanical desire is a natural flow to create production and accompanies connectivity. And there exists only desire to continue and produce the flow.

"I set a certain world, assume it, and create it. Like an aquarium created to fit the wet life of animals and plants, I constitute a virtual space. I felt that an aquarium filled with blue light was symbolic to represent the space of human desire that endlessly unfolds (omitted) The objective is to illustrate the present era in which people are living with a virtual environment made of logical structure while living in the present environment. I seek to portray in my painting a virtual structure that is made of rationalized structure but has ironic reality. In fact, I want to express boundaries becoming blurred and complexly entangled through the connection of an experienced place and an unexperienced space.”

-From  Kim Hyo Sook’s Note-

Compiled Desire with an Adequate Distance

Kim Hyo Sook ‘s works on painting by accumulating various images she has recorded and collected in a series of accidents and incidents around her and while travelling spaces. The city in her works shown during 2008~2010, fragments like the structures of incomplete buildings are organized like pixels and clumped together. A screen becomes jam-packed by the artist with individual forms that seem to gather, create a huge flow, and change fast to complete buildings and the city, spaces that are abandoned more quickly and becoming desolated, and glimpse inside them. Things that were seen, experienced past and present, and accidents and images that fall in ramshackle are cohered and built by a mechanical desire and transcendental motivation of creation that mix the artist’s time and space. The city in the work that started from 2011 seems to be transforming into highly dense, organic units, and the ‘Bleu Room’ (Travelers and Virtual Aquarium) series after 2015 have an environment added with unrealistic fantasy, changing the scene.

Both the affluent city and the Blue Room series of virtual aquarium are change of scenes from the artist’s view, and yet the context is the same. It is suggesting what are shown in the, what are difficult or hope to be seen in reality, and what are hidden to show well (by human desire) by lumping it like a bunch. This can be interpreted as a behavior derived from the visual art creator’s mechanical desire. Such compiled desire comes to us with Kim Hyo Sook’s own color by emitting the unfamiliar atmosphere and flow of rebuilt virtual space, while clearly containing all processes of thoroughly dividing, dismantling, and recombining it before it is combined. Rather than a virtual face of a pale and dry city and the access and connection of artificial desire which is forced to recreate a fantastic virtual artificial aquarium, it looks like a cross-section of great marbling that is mixed and coated well. It definitely does not seem to be a desire that is toward a subject arising from the object, unhealable wound and pain, deficiency and deprivation that cannot be filled. It is an expression of  Kim Hyo Sook’s internal desire that an experience sensitively accumulated as a visual art creator and the adequate distance triggered from the desire of visual recreation.

 

A Virtual Space where Collected Desire Float Freely

In <Castle in the Sky> by Japanese animated film director Hayao Miyazaki, Laputa was a dream that some people have had deep inside their heart, a land of resources buried with tremendous jewelry to accumulate wealth for some, and a land to conquer strategically for some to rule the world and fulfill their ambition for power. Although it was a castle in the sky without verification on its existence, it was a kind of treasure island reflecting the desires of people who believed its existence to realize their dreams. In the end, the land belonged to the dreamers.

The context of visual form shown repeatedly in Kim Hyo Sook’s work is in floating. Structures that are floating around and not settling in one place, without a base on the ground, clearly prove that the basis is not in the reality. Each of the unfamiliar forms restructured by the artist are floating as different forms in different frames. While the huge body implies its unrealistic nature, the smallest unit cells that look like thin lines entangled with pixel forms that constitute the body are all realistic. Like the fact that Laputa is in the sky but what supports and drives it is the trees (roots) in nature in the end, all elements weaving each other firmly inside Kim Hyo Sook’s work are all realistic forms. In the artist’s pas works, human forms internalized thoroughly amidst the enormous flow with an intense cohesion of fragments breathed and connected them to reality. Although structures entangled and intertwined in the work are virtual spaces that are perfectly controlled, expressed, and recreated by the artist, recent works show links like blood vessels to connect reality as a formative language of the artist. The compiled desire that is more flexible and floating are organically weaved like blood vessels, densely connecting reality and the virtual space.

Kim Hyo Sook’s desire to collect visual glimpse and the desire to combine and build everything inside a frame of her own formative world seem to be expressed in various ways or flow by changing scenes from now on. It is because her desire is not on fragmented realistic images that are densely filled, and because many things will endlessly repeat filling up and emptying as long as an internal space that desire production to continue itself is empty.

 

 

Trying to suppress and repress anyhow, controlling if possible or coaxing and soothing through reconciliation if this does not work, and trying to calm down without stimulating as much as possible are desire inside us. These have been regarded as instinct human nature by covering, hiding, and tabooing it under the premise that these were born by deficiency and deprivation and cannot be satisfied healthily. While Sigmund Freud defined desire as an ‘image’, ‘fantasy’, and ‘recreation’ of what cannot be attained, Gilles Deleuze saw that there is only the flow of desire producing differences and flow in the creative flow of all living things by denying the subject of desire itself. As plants face the sun, bugs face plants, and humans face animals and plans, there exists no set desire on a subject that is absent in the objective world and there is only internalized side of living things as desire. As a result, Deleuze’s mechanical desire is a natural flow to create production and accompanies connectivity. And there exists only desire to continue and produce the flow.

"I set a certain world, assume it, and create it. Like an aquarium created to fit the wet life of animals and plants, I constitute a virtual space. I felt that an aquarium filled with blue light was symbolic to represent the space of human desire that endlessly unfolds (omitted) The objective is to illustrate the present era in which people are living with a virtual environment made of logical structure while living in the present environment. I seek to portray in my painting a virtual structure that is made of rationalized structure but has ironic reality. In fact, I want to express boundaries becoming blurred and complexly entangled through the connection of an experienced place and an unexperienced space.”

-From  Kim Hyo Sook’s Note-

Compiled Desire with an Adequate Distance

Kim Hyo Sook ‘s works on painting by accumulating various images she has recorded and collected in a series of accidents and incidents around her and while travelling spaces. The city in her works shown during 2008~2010, fragments like the structures of incomplete buildings are organized like pixels and clumped together. A screen becomes jam-packed by the artist with individual forms that seem to gather, create a huge flow, and change fast to complete buildings and the city, spaces that are abandoned more quickly and becoming desolated, and glimpse inside them. Things that were seen, experienced past and present, and accidents and images that fall in ramshackle are cohered and built by a mechanical desire and transcendental motivation of creation that mix the artist’s time and space. The city in the work that started from 2011 seems to be transforming into highly dense, organic units, and the ‘Bleu Room’ (Travelers and Virtual Aquarium) series after 2015 have an environment added with unrealistic fantasy, changing the scene.

Both the affluent city and the Blue Room series of virtual aquarium are change of scenes from the artist’s view, and yet the context is the same. It is suggesting what are shown in the, what are difficult or hope to be seen in reality, and what are hidden to show well (by human desire) by lumping it like a bunch. This can be interpreted as a behavior derived from the visual art creator’s mechanical desire. Such compiled desire comes to us with Kim Hyo Sook’s own color by emitting the unfamiliar atmosphere and flow of rebuilt virtual space, while clearly containing all processes of thoroughly dividing, dismantling, and recombining it before it is combined. Rather than a virtual face of a pale and dry city and the access and connection of artificial desire which is forced to recreate a fantastic virtual artificial aquarium, it looks like a cross-section of great marbling that is mixed and coated well. It definitely does not seem to be a desire that is toward a subject arising from the object, unhealable wound and pain, deficiency and deprivation that cannot be filled. It is an expression of  Kim Hyo Sook’s internal desire that an experience sensitively accumulated as a visual art creator and the adequate distance triggered from the desire of visual recreation.

 

A Virtual Space where Collected Desire Float Freely

In <Castle in the Sky> by Japanese animated film director Hayao Miyazaki, Laputa was a dream that some people have had deep inside their heart, a land of resources buried with tremendous jewelry to accumulate wealth for some, and a land to conquer strategically for some to rule the world and fulfill their ambition for power. Although it was a castle in the sky without verification on its existence, it was a kind of treasure island reflecting the desires of people who believed its existence to realize their dreams. In the end, the land belonged to the dreamers.

The context of visual form shown repeatedly in Kim Hyo Sook’s work is in floating. Structures that are floating around and not settling in one place, without a base on the ground, clearly prove that the basis is not in the reality. Each of the unfamiliar forms restructured by the artist are floating as different forms in different frames. While the huge body implies its unrealistic nature, the smallest unit cells that look like thin lines entangled with pixel forms that constitute the body are all realistic. Like the fact that Laputa is in the sky but what supports and drives it is the trees (roots) in nature in the end, all elements weaving each other firmly inside Kim Hyo Sook’s work are all realistic forms. In the artist’s pas works, human forms internalized thoroughly amidst the enormous flow with an intense cohesion of fragments breathed and connected them to reality. Although structures entangled and intertwined in the work are virtual spaces that are perfectly controlled, expressed, and recreated by the artist, recent works show links like blood vessels to connect reality as a formative language of the artist. The compiled desire that is more flexible and floating are organically weaved like blood vessels, densely connecting reality and the virtual space.

Kim Hyo Sook’s desire to collect visual glimpse and the desire to combine and build everything inside a frame of her own formative world seem to be expressed in various ways or flow by changing scenes from now on. It is because her desire is not on fragmented realistic images that are densely filled, and because many things will endlessly repeat filling up and emptying as long as an internal space that desire production to continue itself is empty.

 

 

 파란 방-가상수족관-안, 2016, oil, acrylic on canvas, 227 × 726 cm

 

 

파란 방, 2015, acrylic on canvas, 130 × 162 cm