Sound from a Distant Space

 

 

Sound from a Distant Space
2015. 12. 03 - 12. 13
Cheongju Art Studio
Written by Voc Sou Kim (Curator, Cheongju Museum of Art)

Han Jin suggests a rather unique question regarding the already familiar form-painting. Among many artists advocating the form of painting, Han Jin’s perspective regarding painting is synesthetic. Painting aims at not just reproducing something visually to obtain questions about the vision, but rather aims at discussing why one chooses to speak in the language of painting.

Han Jin’s paintings are thick temporal bearings of ‘something’. The paintings depict ‘somewhere’ where a realistic landscape and inherent landscape coexist, the flow of ‘time of singularité’, and a body’s movement striving to gain more detailed sight. Perhaps, it is owing to the coexisting nature of it that the painting encompasses both physical and metaphysical landscape. Also, it focuses more on micro-level perspective that lies behind the macro-level perspective, rather than macro-level perspective itself.

‘Somewhere’
The place where the realistic and inherent landscape coexist, eventually connects the threads of undisclosed time by exposing the existence of the location which had not been focused on nor even named in the form of the images contained within. The images being created by the prolonged cycle of creation and dissipation expose the presence of the existence which was yet to exist through the workings of the mixture of paint by paint, and multiple layers of pencil strokes. This attitude evinces that the painting is not a mere representation of visual perception. This is a ‘place’ of at-last depicted image, while also being a ‘place’ of imposing a novel approach toward the form of painting.

‘Time’ of singularité
Deleuze speaks that the dual aspect of time or resonance occurs under the interaction between past-present-future. The time of singularité, which makes its visit to the place where the conventional boundary of human’s time no longer exists, is also evident in Han Jin’s painting. It no longer is the familiar landscape of the nature that one once knew of, when one is confronted with the overlap of the landscape of reality with that of the collected, categorized, and determined inherent landscape. It is the thickness of the prolonged time, exposed by interactive images of time.

Body ‘Movement’
One should do his best to strive to find the exit in the maze. Even amid the confusion, one should breathe in calmly once more, and continue the movement towards the exit. It certainly requires the use of a different type of sense, which is clearly distinguished from the sense one needs when merely walks on a straightened road. The image of multi-layered lines resembling those of the threads in the landscape of Han Jin is essentially the endless journey of transferring the fine movements and the resulting aural texture into painting, just like the very act of threading the time.

Perhaps the landscape of Han Jin, where a landscape is being drawn while at the same time the landscape is omitted from the drawing, ultimately is questioning ‘how we understand the subject (nature, self, time)?’ or ‘what is the representation of the subject (nature, self, time)’.

---

아득한 울림
2015. 12. 03 - 12. 13
청주미술창작스튜디오

글. 김복수 (청주시립미술관 학예연구사)

한진은 그간 회화에 대한 색다른 물음을 제시하는 작가다. 많은 회화를 추구하는 작가들 중 특히 회화성에 대한 한진의 시각은 공감각적이다. 회화란 시각적 물음을 얻기 위해 시각만을 재현하기 보다는 왜 시각으로 얘기하는가에 목적이 있다.

한진의 회화는 어떤 두툼한 시간의 담지체다.
현실적인 풍경과 잠재된 풍경이 공존하는 어떤 ‘곳’과 ‘ 특이성의 ‘시간’이 흐르고, 더 섬세히 보려는 몸의 ‘움직임’이 그려져 있다. 어쩌면 그 동시적 공존의 성격 때문에 물질적이면서 비물질적인 풍경을 담아내고 있는지 모른다. 또한 거시적인 시선 보다는 그 이면에 담긴 미시적인 시선에 집중하고 있다.

어떤 ‘곳’
현실적인 풍경과 잠재된 풍경이 공존하는 그곳은 오랜시간 주목받지 못하고 명명되지 않는 장소에 담긴 이미지들로 존재를 드러내며 그 보이지 않는 시간의 실타래를 잇는다. 오랜시간 생성과 소멸을 반복하며 그려낸 이미지들은 물감과 물감이 섞이고 연필의 다층적인 섞임을 통해 이미지와 이미지들 사이로 부재했던 존재에 대한 존재감을 드러낸다. 이와같은 태도는 회화가 단순한 시각의 재현이 아님을 보여준다. 이는 비로소 드러난 이미지의 ‘곳’인 동시에 회화에 대한 새로운 접점을 시도하려는 ‘곳’이기도 하다.

특이성의 ‘시간’
들뢰즈는 시간의 양면성 혹은 공명은 과거-현재-미래 시간의 상호작용 아래 일어난다고 말하고 있다. 인간의 시간에 대한 관습적 경계가 사라지고 난 자리에 찾아오는 특이성의 시간이 한진의 회화 안에서도 일어나고 있다. 기록자(archivist)로 자신의 잠재된 풍경을 수집, 분류, 결정하여 그것과 오버랩되는 현실의 풍경을 마주했을 때 그것은 이미 친히 알고 있는 자연의 풍경이 아니다. 시간의 상호적 이미지로 드러난 오랜 시간의 두터움이다.

몸의 ‘움직임’
미로 안에서는 부지런히 몸을 이동해 출구를 찾아야 한다. 방황하는 사이에도 잠시 숨을 고른 후 출구를 향한 움직임을 지속해야 한다. 분명 그곳에서는 곧게 뻗은 길을 걷는 것과는 다른 감각을 요구한다. 한진의 풍경에서 실타래와 같은 중첩된 선들의 모습은 시간의 실타래를 잇듯이 미세한 움직임과 그로인한 소리의 질감을 회화적으로 변환하기 위한 끝임없는 여정이다.

어쩌면 매번 풍경을 그림에도 불구하고 그 풍경이 부재한 한진의 풍경은 마치 우리가 ‘어떻게 대상(자연, 자신, 시간)을 이해하는가’ 또는 ‘무엇이 대상(자연, 자신, ,시간)의 재현인가’를 그 회화안에서 자연스레 질문하는 것이다.