형상을 향한 갈구 (KR)

 

계속 새로운 형상을 만들고 싶다.  어디서도 보지못한 나만의 형상을. 

강렬하고 아름답고 신비롭게 만들고 싶다.
내가 오래 살았던 그곳에서의 생활과 그 공기의 경험은, 존재하지만 어디서도 존재하지 않는것 같은 '부재'에 대한 생각을 불러 일으켰다.
원초적이지만 낯선 ‘존재’에 대한 사색들이 나만의 시적인 조형적 언어로 발전해 나갔다. 국적이 다른 이방인을 의미하는 것이 아닌 우리 모두의 내적 자아존재에 대한 성찰과 질문들이다. 내가 만드는 작품들은 멜랑콜릭하고 때론 강한 이미지이지만,
작품의 재료인 부드러운 흙과 같이 상처를 주지 않고, 형상으로 속삭이고 있는 나만의 완벽한 상상의 세계가 된다. 그것은 또한 당신의 삶의 이야기일 수도 있다.


+ Artist note (KR) >> 
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Fascination with shapes (EN)

 

I love to create objects and characters situated between the bright and darke sides of life. Fragile like their substance, these sculptures don’t have a fixed meaning but they inspire. These unending metamorphoses originate from my emotions at every moment of life in this strange as well as melancholic world.

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Figure Désir (FR)

 

J’aime créer des personnages et des objets entre la lumière et l’ombre de la vie.

Fragile comme leur matière, mes sculptures ne se définissent pas mais s'inspirent.

Ces métamorphoses incessantes proviennent de mes émotions de chaque instant de vie dans ce monde insolite et mélancolique.
 

Besoin de créer mes propres paysages:

J'envisage paysage

 

Ouvrir un Paysage

 

Visage:

Mutation-mouvement d'intériorité

 

Modeler ce qu'il y a à l'intérieur de moi n'est pas facile.

Partir rien que de mes émotions; je descends dans moi; une aventure, le combat spirituel.

 

Silence.

 

Créer le paysage d'intériorité, c'est une grande écoute et concentration et aussi l'abandon et la joie.

 

Paysage est devant nous.

mais c'est déjà perdu, c'est un souvenir de l'image; un regard égaré, une pensée, un pays inconnu. (2014)

 

Lumière Silencieuse
 

Cette oeuvre est la première pièce que j'ai faite après mon retour en Corée ( au ClayArch Gimhae Museum )

Un mass compacte pur d'émotions où il y a la douleur et la souffrance en même temps qu'une belle sensation sereine règne. Le Silence.

Son visage en train d’ecrouler ou descendre vers le bas en même temps qu'il monte vers le haut où la lumière l’oriente, cette dernière se met debout comme le couronne.

D'avoir vécu tant de choses de la vie, touchée par du temps passé et la présence vive du moment, j'ai presque pleuré en créent cette pièce ; elle est faite avec ma sincérité.

Ses yeux clos n'ont pas l'air de rouvrir tout de suite, fermés serrés paisible ou douloureux, le Chaos .

J’ai un peu pensé à la tête Jésus je sais pas, car cette tête est dignement intériorisé, faite par le coeur. (2020)

Mon art est l'empreint de ma vie.

 

Quant on sort de mélancolie on commence à pouvoir créer.

 

Il y a quelque chose de très fragile.

 

Il y a le sensation de merveille en même temps que la peur. (2019)

 

I like images that are melancholy yet dream-like, and beautiful.

Things that are melancholy...not simply feelings of gloom and depression, but things felt deep inside, like loss and questions about your existence over the course of time, lost time, a sort of incoherence, and lost memories of a childhood you yourself don’t know of...these are the deepest, most honest emotions that arise from self-reflection.

Questions about existence extend to our lives, continuing even further to all the suffering, passion, relationships, and love that occur within it. Within such reflection, thoughts naturally turn to the sacred and a sort of religious domain. So, existence cannot be defined in terms of “if A, then B.” Rather, it has certain mystical aspects which awaken inspiration.

But I don’t always just search for such things. I have found the colors and undertones of my mind, but if I kept that up at every moment, I would quickly become completely burned out, mentally.
When I try to make a drawing, I look to see what forms and lines are being drawn by my emotions at any given moment.

While doing so, I find myself pulled towards certain accidental images that appear in sculptural form, getting a flutter of feeling along with the impulse to create them in three- dimensional form. At other times, conversely, an image arises which I try to render as a drawing.

When I create things this way, most of the time they don’t turn out like the drawing.
That’s exactly when I really have to concentrate on making my hands and heart keep holding onto the line being drawn without letting go, consistently following the improvisational impulse in expressing the inspiration.

That moment is the most exciting, and requires intensive concentration.
Even now, I constantly exert myself to allow my hands to be free, and with clay as the medium, making my heart and my hands one to create a language of my own. (2015)

 

© 2021 by Myung-joo KIM