자연 이미지의 유기적 추상표현 연구

Abstract

Nature has existed with humans since ancient times, and has been understood as the source of all life and art. This is because nature itself has meaning only in its purity and autonomy, and it gives sensibility and enlightenment to humans in the form of creation and extinction. The researchers are producing paintings based on this nature. In particular, we aim to represent abstract or semi-abstract natural images in a two-dimensional planar space. Most of all, there are many organic images that seem to resemble the biological forms that we commonly see in nature in the works of researchers who contemplate and express about nature. However, the image is not a reproduction of the biological form of nature, but a self-image created by the inner necessity of the researcher. Organic means that each part of a living organism constitutes a whole is closely related to each other. Organic natural forms have consistently been represented in art as organic images since the murals of the Paleolithic Age. By the 19th century, organic images were revealed by recreating many natural forms with free curves, while from the late 19th century, organic and geometric images were revealed in complete abstractionism or abstract expressionist paintings that had no reproduction object or were not reproduced through strong colors and simple forms of expressionism.

Organic forms and structures, which are the source of abstract painting, have a living "life" characteristic of an organism and a changing "sustainability" while steadily preserving its value, triggering "self-reliance" in which the artist exerts creativity on his own without external influences. These characteristics include life and sustainability, and the interrelated organic order. These organic features are closely related to the work of researchers. According to Worringer, humans feel a certain desire to escape from time due to their lack of existence and coincidence. This claim by Boringer was understood as a demand for abstract and geometric art of modern people, and after gradually going through the abstraction process in Europe, abstract art emerged in the early 20th century. Kandinsky was the first artist to explore the world of pure abstraction, influenced by Boringer's aesthetics, and also the theorist of abstract painting, which published two books, "On the Spirit of Art" in 1912 and "On the Moon" in 1926. According to Kandinsky, art is not an 'external thing' but an expression of 'mental things' such as the mind and the idea, such as human emotions. This is why he and many contemporary artists turned their attention from external to internal for fear of shrinking human existence and identity amid the widespread material civilization. Kandinsky justified the abstract expression by saying that the image with "internal inevitability" is art. Kandinsky said that inner necessity is the mental power of the object in art, and this power makes you feel emotional similarity to the object. Just as any melody in music makes us feel joy and sorrow, there is a similarity in our inner world like music. In other words, various sculptural elements such as shapes, lines, and colors are harmonized like music, creating rich emotions by coordinating with the inside. In the United States, art theorists who greatly contributed to the conversion of abstractionist paintings from Europe into abstract expressionist paintings include Alfred Barr, Clement Greenberg, Harold Reenberg, and Leo Steinberg. In particular, Greenberg argued that the intrinsic value of painting, such as form, color, and flatness, was the basis for determining the value of painting, especially by emphasizing the "unique speciality of painting art" and supporting abstract expressionism of New York painters as the enemy of modernist art. Researchers sympathize with abstractionism or abstract expressionism as a "meaningful form" advocated by Bell and followed by Greenberg and Rosenberg. And they are constantly striving for meaningful forms. Above all, the color-exposed form is a meaningful form as an internal necessity defined by Kandinsky. To create this meaningful form, researchers are looking for meaningful forms while directly observing and contemplating nature. Wassily Kandinsky (1866–1944) was one of the most important artists of the 20th century, along with Henri Matisse, Pablo Picasso and Marcel Duchamp, who pioneered modern painting in the 20th century. Above all, he is a great artist who has established a perfect abstraction from all subjects. In particular, it is an abstract painting that expresses the rhythm of music with dots, lines, faces, and colors on the canvas, and expresses the inside in organic and geometric forms. Kandinsky thought that above all, nature has an abstract and creative spirit hidden, and that the spirit inherent in nature appeals to the human soul through matter. Kandinsky's organic image was largely divided into two periods and proceeded in different forms. The first is the early abstract painting of the 1910s, and the second is the geometric and organic abstract painting of the 1930s, which was influenced by surrealist artists Arf and Miro. The first organic image is a rather chaotic image that transforms natural form, while the second organic image is a neat image reminiscent of a circular biological form due to the influence of surrealism. Arshile Gorky (1904–1948) was an Armenian immigrant from Turkey who pioneered American abstract expressionism. Gorky developed his style by absorbing the post-impressionist, three-dimensional, and surrealist painters of Europe. In particular, he evaluated Cezanne as the best painter, analyzed nature in the way she expressed it, and transformed it into a pictorial structure. In 1939, Gorky met and interacted with Chilean surrealist painter Roberto Mata, who was influenced by him to build his own style of painting. The composition of the screen shown in Sousal Gorky's work depicts lines drawn between the drawing of black lines and the organic side of black and the collection of unorthodox sculptural images represented by primary colors. The researcher's organic abstractions were heavily influenced by the organic abstractions shown by Kandinsky in Europe in the 1910s and 1920s and by Gorky of the United States in the 1930s and 1940s. And in content, it relies heavily on the idea of life and the organic invincibility of nature. However, the researcher induced changes in the autonomous order of the surface and various refraction of the space by presenting different textures in the necessary positions on homogeneous screens, a trait of modernism, and elicited natural affinity in a calm sense. By using objects such as hanji and stone dust to give the screen a variety of changes, and by adding different meanings and feelings that cannot be expressed on the existing screen, we pursued a shift in sensory thinking to the repeated order. The characteristics shown in the researchers' organic abstractions include organic forms and spaces, biological images, non-representational forms and spaces, overlapping spaces, musical rhythms, atypical properties, autonomous lines, accidental effects, planal spatial composition, and unnatural colors. Through this study, the researchers analyzed the process of organic abstraction of natural images and attempted a theoretical and morphological check of the researchers' paintings. This allowed researchers to identify several important facts. First of all, it was understood that the meaning of nature means that in the East, but in the West, the East and West paintings, which express nature as sanctions, were essentially different. In the East, there was a tradition that humans pursued painting emphasized as the center of nature, while in the West, humans sought harmony by adapting to the order of nature's natural order. Researchers are pursuing abstractions of organic images among these conflicting abstract painting developments of Kandinsky and Gorky. Above all, organic abstraction is based on the organic and organic order of nature, which is directly related to the paintings of researchers. Therefore, the researcher's study of the expression of organic abstraction in this study focused on the works of its pioneers Kandinsky and Gorki, and found that Kandinsky's early abstract paintings and later abstract paintings had a lot to do with the researcher's paintings. However, the researcher's work did not follow Kandinsky's content and attitude. Above all, Kandinsky and Gorki's organic abstractions revolved around memories of their culture rather than entirely targeting nature. This is very different from the researchers' consistent observation and drawing of nature, representing the thoughts and feelings with organic abstractions. Naturally, researchers' organic abstractions are not intentionally imitated, but are caused by latent memories of their works and by the researchers' sensory expressions. Through this study, the researchers understood that images are implemented with continuous observation and experience accumulation, internal reflection, and infinite imagination of nature, and thus provided theoretical and geometric basis for the organic abstract expression of natural images that the researcher has pursued. We will continue our sincere research on how the expression of sculpture images is autonomously implemented from the mental elements of natural observation and reflection in the creative expression of the nature of life, circulation, and autonomy, the nature of painting. To this end, the researchers want to design the theory of sculpture with the study of new aesthetics and build their own unique painting world.