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[b]racket November 2014

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Editor’s Letter Have you ever wondered why or what makes one artist more successful than another? I have. Recently my wife recommended an article in The New York Times titled, “What if the Secret to Success Is Failure?” While reading this article I began thinking of how this could affect artists. In this article two teachers began questioning what makes one student more successful than another. These teachers are highly qualified in successful, progressive charter schools so they realized “more successful” meant students who excelled at accomplishing great things rather than having exceptional standardized test scores. They wanted to prove that this success lay in an individuals character more than I.Q., and they began digging deeper. To do this, they found someone to help them in their endeavor, a graduate student named Angela Duckworth. She researched what set students apart and realized I.Q. and self-control were important, but those who had the most outstanding achievement had a special ability; to bounce back after they had failed. Duckworth concluded that these particular students “often combined a passion for a single mission with an unswerving dedication to achieve that mission, whatever the obstacles and however long it might take.” She named this ability “grit.” “Grit” is defined and measured by those who have “exceptional optimism, resistance, and social intelligence.” These findings are similarly related to what Steven Pressfield defines in The War of Art. Pressfield says artists face resistance from every direction, inward and out. And this resistance never goes away. It is a constant battle. He explains that this resistance only understands absolute power: work. Professionals fail over and over, day in day out but they come back ready to try again the next day. Amateurs don’t. [b]racket magazine provides a platform for those artists are willing to battle day by day and have that special “grit.” The artists we feature are accomplished – and we have seen many in the past two years. They prove their grit to themselves and others by putting in all the effort and overcoming the obstacles that so many artists face. With [b]racket we hope to assist artists so that they can obtain that reward of professionalism. Our goal is to encourage [b]racket artists to bounce back, push forward and continue towards success. Christopher Cote Design Editor

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Issue 23 November 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] Meryl Booth [gallery [t.] coordinator] Lee Ryoon Kyeong [advertising manager] Lee Ji In [translation] Lee Hae Eun [translation]


Kim Nam Jin ~ Whit Altizer ~ Seo Hee Joo, PhD ~ Lisa Highfill ~

contact Support for [b]racket magazine is provided by B Communication

staff Shim Yun ~ The Bite Back Movement ~ Albert Che ~ Kim Dong Hee ~ Woo Youn Sik ~ Kim Sang Duck ~


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s humans we are in a constant state of attempting to understand what is around us. We crave certainty and will go to great lengths to make sense of our surroundings and prepare for what is to come. Most of us feel more at ease when we are able to recognize what is happening, where we’re headed, when we will get there, and what we can expect when we arrive. Being able to map and follow a path with certainty provides us with the comfort and confidence we often need to move forward.

We search for answers in our physical surroundings and also in our own lives. If given the opportunity, some of us would certainly choose to scan a map of our potential futures in order to prepare for the tough times ahead or find contentment in knowing that we will make the “right” choices in our careers, relationships, or financial decisions. Korean artist Shim Yun has always had an interest in humans as a subject matter as well as the mapping of their lives and surroundings. While perhaps not ap 9

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parent at first, the artist has handed us a map with his large-scale painting titled Big Head (Page 10) . Paired with a written account of one man’s journey of discovery, the 7m x 7m gridded canvas is actually a pictorial map of a woman’s face, and the setting of his exploration. When reading Big Head’s accompanying work, 49 Maps, the viewer begins to understand that the explorer within the text is trudging through the various terrains of Big Head. Like all great adventures, “the journey begins with a walk,” the description starts. “After passing through a mountain covered with black grass, he discovers dry land.” Shortly after, the traveler arrives at the eyes; “There are two large and clear lakes in front of [a] forest. Reeds are growing around the lakes. The center of the lakes look fathomlessly deep, dark, and shiny.” The text goes on to explain the man’s entire journey across Big Head, which ends with the solo wanderer’s demise by being “drawn into the darkness” of the woman’s mouth. It becomes “darker and darker until there is no trace of light.” Shim Yun’s large-scale portraiture might be giving a nod to American painter Chuck Close who is known for using various techniques to create enormous and often hyper-realistic human portraits. Like Close, Shim outlines a grid before beginning a piece. Painting within a grid system aids in the creation of such large and realistic pieces, adding a sort of mathematical component to the work. This gridding is also what is used to bring order to a map, as corresponding numbers and letters tell us where to look. Shim Yun highlights instead of hides this grid system with this piece. Shim Yun enriches his work with the inclusion of text, which reads like a foreboding, dark fairytale and creates a realm for the viewer to enter. He allows us to experience the voyage of the traveler without ever leaving sight of the piece. With Big Head, Shim Yun uses a descriptive story to help us fully understand the finished product. Yet, neither the painting nor the text necessarily need to be paired together to be individually appreciated. In this way, the artist reminds us that a journey without the use of a map should also be rewarding. A hedge maze would lose its appeal if there were clear directions at every corner. Our lives would lose their beauty if we had a map to constantly show us what was coming next. While we can appreciate the usefulness of maps as potential guides, we should forge our own routes within our lives and see what wonders there are to discover in the terrain. [b] Lisa Highfill



Alexander Augustus and Lee Seung Youn prefer to keep the origins of their name, The Bite Back Movement, a mystery; but it is clear that their artwork has teeth and their themes leave a mark. These artists share a keen eye for what is going on around them and use their many artistic talents to collaboratively comment on various issues. Augustus and Lee met during graduate school in London. They began working on each other’s projects and soon found themselves arranging international shows between London and Seoul. After finding some success in London, they have come to Korea to put their talents to the test in Lee’s home country. With exhibits that include an academic research book, fashion design, installation design, illustration, film and product design, it seems as though their talents are endless. Lee’s art experience includes large scale public installation, theatre design, acting and product design. Augustus has academic and fine art experience; he has worked as a researcher for museums and publishing companies in the UK and US, and is also a freelance illustrator and sculptor. “We are a wide-ranging studio, us-

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ing a range of artistic and industrial processes, as well as frequent collaboration,” they said. Sometimes they even involve the audience in their art. In Democratic Pressure (Page 14) spectators become an integral part of the piece. The viewer climbs to the top of a 5-meter tower where, with voice recognition and pulse sensor technology, they can change the lighting and color of the piece. This participatory form of art opens the door for democratic experimentation. Essentially, The Bite Back Movement’s work comes to fruition in this way, with the environment guiding it. “All our projects are socially-charged. It is always about people, observing their activities, talking to them, and re-imagining them.” It’s artistic democracy at its best. Recently, the pair explored Christianity in Korea with a project called, OH MY GOD: What you believe in 2100 AD. For this work, Lee and Augustus created the futuristic Church of Chonsa. More for individual practice, it is essentially a hodgepodge of many of the eastern world’s religions. One piece they created for this work looks like a burka in the form of a skate fish (홍어) (Page 12). The other church is more evangelical and called The Church of the Red Cross (not pictured), a reference to the crosses adorning steeples throughout Korea. For this piece they created a jacket with the red omnipresent cross emblazoned on the back. Amazingly, these two pieces just barely begin to illustrate the project as it also includes a film, paintings, drawings

and a room full of art that one person described to be very akin to a place of worship. So what is their favorite part, and the driving force behind of all of this art? “Influence. When our work is able to bypass political structures and make a change,” they said. Their piece A Dangerous Figure: Young and Unemployed in the UK (not pictured), did just this. This is an algorithm which was custom made for the project to combine photos submitted by thousands of young and unemployed people. This huge project helped abolish a number of unpaid internships at major UK institutions. Augustus and Lee’s collaboration has helped them maintain an outsider’s perspective in both the UK and Korea, which only does their artwork favors. What we see is a confluence of perspectives and an artistic reimagining of reality. With a seemingly endless supply of talent and skill, what emerges from these two artists is something that seems so obvious but is incredibly profound. They allow us a new way to see, feel and explore what is happening right under our noses. The Bite Back Movement is paying attention and urging us to do the same. [b] Whit Altizer


ALBERT CHE In the middle of Lars Von Trier’s Antichrist, a fox speaks to a frightened man (played by Willem Dafoe) in dark, damp, deep woods. The tangerine pelt of the animal is split open. It is in the process of pulling its own innards out. In the midst of this disemboweling, its blood soaked face turns to Dafoe’s character and coldly says “Chaos Reigns.” Von Trier created a truly harrowing film, and Albert Che’s drawings offer the same chilling effect. His work is the essence of what Von Trier was going for with Antichrist. The title is certainly apt for the subject matter that Che deals with. Pious skeletons, demons on winged horses, and piles of skulls are all commonplace in his illustrations. Gore and the fantastic are laid to paper. Che shows us a multitude of imagined deaths. He shares darkness, and the result is pure evil. What you see here are pieces from the body of work that the artist has dubbed Cosmic Occult. Though Che sites H.P. Lovecraft (an American author who was well known for his horror fiction) as the initial impetus for his work, the aesthetic of Cosmic Occult is undeniably tied to the musical genre of metal. Steeped in legend and lore, metal bands have always employed a very specific type of artwork to adorn their album covers. This trend started in 1970 with Black Sabbath, the first true metal band. Their eponymous album cover conveys the eerie, with LSD stained colors surrounding


an ominous figure passing through overgrowth. The artwork sets a specific tone for an album with tracks like “Wicked World” and “Warning,” a visual accompaniment to a foreboding soundtrack. As the church bells ring on the first track to crackling thunder, it’s clear that the coming death Ozzy sings of is one that should be feared. This sense of helplessness is what Che has manifested in his drawings. Through tortured skulls and rotting carcasses, Che visually translates all the grit and pain that is conveyed in albums like Black Sabbath. His hellish landscapes and demonic figures are very much in keeping with what has come to be associated with metal music. While Black Sabbath shares an aesthetic with Che, his illustrative technique has much more in common with Pushead (an artist, record label owner, and writer within the hardcore punk and heavy metal field.) Che’s work has its own voice, but Pushead’s creations are impossible to ignore when working in such a narrow cannon. Best known for his Metallica and Zorlac Skateboard designs, Pushead’s unraveling and decaying figures are echoed in Cosmic Occult. Albert Che acknowledges this artist, as well as others like Ed Repka to be great influences on his work. Pushead and Repka, both seminal artists who have worked with some of the biggest acts in metal, have been able to give bands a clear visual identity. Repka’s portrayal of “Vic” became an integral part of Megadeth’s image, a figure that for a decade seemed to be as essential to the band as the guitarist Dave Mustaine. Like these artists, Che works in tandem with bands, integrating his art into theirs. In New York he was imbedded in the local punk scene, doing work for bands like Relinquish Hope and Bloodcount 666. He has a very clear idea of what he wants his work to do, and has identified his audience. This is no small feat for an artist. Deciding on where you want your work to be and who will see it is something all artists grapple with. Che wants his work to be viewed and appreciated by fans of metal. Focusing on such a definite audience is an intriguing choice. Where does one find the metal fans in South Korea? Outdoor speakers installed in storefronts blast what is the antithesis of metal. Music stores are flooded with pre-pubescent girls buying empty pop music. Coffee shops prefer the singer/ songwriter variety. Even rock clubs typically play the middle of the road, booking acts that can be loud without being dark. Che’s decision to work in a scene that is so abysmally small (in Korea) means that there is no guarantee as to how many people will see his work. The number of metal acts to work with must be, at most, in the dozens. However, there can’t be too many other artists working in Korea that can do what

Che does as well as he does. In some ways, working with such a specific audience is freeing. It allows the artist to concentrate on honing his technical abilities and building a unified portfolio. Che is a specialist, and for those who appreciate the visual vocabulary he uses Che is invaluable. As sinews tear and skulls are impaled, snakes writhe and spirits are conjured. A demonic priest sits upon a throne of skeletons. The undead are in places of power. The Cosmic Occult is the “exploration of the macabre and the darkness of humanity” according to Che. Chaos certainly reigns. [b] Jess Hinshaw



카오 톡으로 집 짓는 건축가, 그림 그리는 건축가, 목 조 건축물을 짓는 건축가 등의 수식어는 단 한 명을 지칭한다. 이러한 여러 별칭으로 불리는 이는 바로

김동희 건축가이다. 여러 별칭에서 짐작할 수 있는 듯이 그는 목 조 건축물을 주로 디자인하고 카카오 톡으로 건축주(建築主), 시 공 담당자들과 소통하고 가끔 그림도 그린다. 본인은 여러 가지 일을 하는 사람이라고 자신을 소개하지만 그의 다양한 활동은 모 두 건축과 연결되어 있다. 어린아이 같은 상상의 구조물을 드로 잉하고 만드는 미술 작업은 건축물로 실현하기에는 무리가 있을 듯 보이지만 그의 이런 예술적 상상은 건축 작업의 창의성으로 이 어진다. 예술적 상상은 건축물에서 정제되고 거주자의 생활 방식 에 적합한 합리적 공간으로 재탄생 되면서 그만의 건축 세계가 구 축되는 것이다. 또한 SNS의 유용한 활용은 그가 다른 건축가들과 확실히 구별되는 부분이기도 하다. 건축이라는 것은 사람들의 거 주나 활동을 위한 공간을 창출하는 것이라는 생각은 건축에서의 미학적 측면에 대한 고려보다 기능적인 측면에 대한 요구가 보편 화되어 있는 우리 사회에서 보편적인 생각이다. 따라서 건축은 미 적인 대상으로 감상되는 것이 쉽지가 않은 현실이다. 건축과 대 중과의 거리 좁히기 내지 벽 허물기의 시도가 바로 김동희 SNS이 다. 그는 SNS를 통해서 대중과 소통하고 건축을 알리기에 바쁘다. 사실 그가 SNS를 활용하기 시작한 것은 바로 ‘이보재(二輔齋)’ 때 문이었다. 이보재(二輔齋)는 일명 땅콩집으로 불리는 주택으로 한 필지에 건물을 붙여 두 가구 이상이 함께 살 수 있도록 지은 작 은 집을 말한다. 그는 이 집을 바로 카카오 톡으로 지었다. 엄밀히 말해서, 한국에 살지 않는 건축주(建築主)와 소통을 위해서 SNS 를 이용했고 이것은 주택을 완성하는데 아주 효과적인 소통의 수 단이 되었던 것이다. 그 후로 그는 SNS를 건축주(建築主)와의 소 통뿐만 아니라 건축을 알리는 수단으로 활용하게 된 것이다. SNS 의 소통으로 완성된 이보재(二輔齋)는 건축계에서 그를 주목하게 한 작품이다. 그래서 이 작품은 그의 가장 대표적인 작품이기도 하다. 그는 이 작품에 자신의 건축 철학뿐만 아니라 건축주(建築 主)가 가지고 있는 집에 대한 이상과 철학을 잘 녹여내고 있다. 건

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축물은 건축가의 작품이지만 건축주(建築主)의 철학을 담아 멋진 작품을 탄생시키기도 한다. 이보재(二輔齋)는 건축가와 건축주 (建築主)의 철학을 잘 담은 작품인 것이다. 건축가 김동희는 건축을 삶과 죽음이 내재되어 있는 공간이라 고 이야기한다. 이 간결한 정의는 너무나도 보편적이다. 사실 건 축에 대한 관심을 가지고 있는 사람이라면 건축에 대한 이런 명 제를 되뇔 것이다. 건축학 개론 첫 장에 언급되는 듯한 이런 생각 은 어쩌면 건축에 대한 기본을 지켜야 한다는 생각의 출발에서 비 롯된 것일지도 모른다. 건축물에서 살게 될 사람들의 생활을 고려


하여 설계한다는 것은 건축설계의 기본이다. 그러나 우리의 건축

적으로 자연을 느끼게 할 뿐만 아니라 우리의 정서적 감각을 부드

현실에서 이 기본을 실현하기가 얼마나 어려운 일 인가. 단순하

럽고 따뜻하게 하여 작품에서의 미적 가치가 상승되도록 하고 있

지만 기본에 충실한 건축에 대한 그의 생각은 건축물에서 살아가

다. 이것은 곧 주택은 삶이자 곧 살아가는 사람들의 이야기를 담

게 될 사람들의 생활방식을 반영하고 사람과 호흡하는 가장 자연

는 공간이라고 생각하는 그는 예술적 상상으로 건축에 대한 미학

적이 재료인 목재를 이용해서 공간의 따뜻함을 부여하는데 그 의

적 측면을 부여하여 자신의 건축적 이상을 실현하는 것이기도 하

도가 있다. 그리고 여기에 예술적 상상이 만나고 건축주가 원하는

다. 끝없는 미술적 작업을 통해서 자신의 예술적 감각을 쉴새 없

바를 가장 이상적으로 실현시켜 아름다운 건축물이 우리 앞에 놓

이 일깨우면서 이것을 어김없이 건축 설계에 반영하고자 하는 그

여지게 되는 것이다. 이것은 건축에서의 환경적, 사회적, 미학적

의 이러한 집념은 미적인 작품으로 도출되고 있다. 그의 작품이

측면을 실현하는 것이다. 그리고 이것이 건축가의 일이기도 하다.

세간의 주목을 받는 것은 아마도 이러한 그의 작업 태도 때문이라

그러므로 김동희는 이런 기본을 철저히 지키고 있다고 할 수 있을

고 짐작해 본다. 그러므로 예술적 호기심이 많은 건축가 김동희는

것이다. 그의 작품은 이러한 점에서 소통과 상생의 구조를 가지고

우리 시대의 건축적 미감을 고양시키고 있음에 분명하다.


있다. 다시 말하자면 건축, 건축가, 건축주(建築主)와의 소통과 건 축물 주변의 환경, 사회적 환경 그리고 미학적 측면에 대한 사유

Seo Hee Joo, PhD

를 통해서 미적 상생을 가져오는 것이다. 여기에 목재라는 물성은 건축물 내부에 자연을 자연스럽게 끌어들이게 되고 이것은 시각

November 2014 [b]racket  23


Woo Youn Sik’s illustrations are like an art experiment you’ve never seen. His dark and imaginative style is a combination of comic strips and fine art prints. Instead of constructing stories of fictional characters in fantastical places, many of his pieces are abstract and the majority of work he creates are metaphors for what is happening in the real world. Woo boasts a vast amount of work from his career as an artist. A few years ago, he had the opportunity to share his collection while applying to school. But with so many different concepts being presented simultaneously, it was difficult for people to form a clear opinion about his art. He was given the advice to slow down and “go back to basics.” Putting all of his creative energy into one body of work has allowed Woo, and others, to experience his art on a new level. “Taking this advice lightened my footsteps, and felt like a release,” he says. Woo developed a fresh approach to creating which has led him to where he is today; in the world of animation and comic illustration. With all of that in mind, the nature of Woo’s art 24 

might be clearer for some to understand. Looking at his work, especially Landscape (Page 27) and the cover of his book Cubic (above), is like witnessing two different worlds of art collide.The staples and typicalities that you might expect to see in a comic book do not exist here. In fact, many of his pieces don’t resemble comic illustrations at all. Some are devoid of people and text, relying on kaleidoscopic landscapes and layers of lines to form a setting and a narrative. He has not always considered himself a comic book artist, and it’s still a relatively new concept for him. Creating work in a comic book format allows him to focus on different images, while ultimately working towards one body of work. He says that his illustrations begin as separate ideas, (some abstract and some pertaining to a specific storyline), but eventually come together like the pieces of a puzzle. As for written content, it is rarely present. “Language can limit us,” he says. He believes that images alone communicate with others on a deeper level and can make sharing ideas much more interesting. Woo’s work does not stray from a specific color

26â&#x20AC;&#x201A; [b]racket November 2014

palette. Many of his images are black and white, sometimes including only 오방색 (a Korean term used to describe 5 colors which symbolize 5 different directions.) Being raised in Korea, he says he was surrounded by these primary hues in traditional ceremonies and practices. He wants to learn more about the history of these colors because he feels as though they have been subconsciously imprinted in his mind and artistic practice. Woo gets motivation from public places, it is also where he typically creates his work. He carries a notebook to jot down ideas or make sketches whenever he feels inspired, and enjoys drawing in the crowded spaces of subways and coffee shops. The noise and energy of a congested environment make him feel comfortable and the disorder of these spaces is often reflected in the patterns of his work. While observing the world that surrounds him, Woo spends a lot of time thinking about social systems. His opinions on this topic are an important element in understanding his more comic-like work. He says his viewpoints may come off as cynical, but are honest. He thinks a lot of collective societal energy is wasted on the wrong things and as a result, people are not dealing with issues at hand. In Cubic he tells the story of a family and uses each member to represent a different group or class in society. In the story a

mother, father and daughter each battle difficulties in their own way. He uses their contrasting viewpoints, ages and gender to represent how people with different backgrounds can overcome issues together. It may come as no surprise that in Korea, the comic world has a bigger presence online than in the pages of a book. You can look to 웹툰 (webtune) to check out Woo’s work along with a plethora of comics being shared daily from all over the country. You can also refer to Woo’s website for more information about his process and where to get your hands on a hard copy of his work. “Comics are a humble form of art,” says Woo. They are everywhere and for practically everyone. They don’t need to tell a whimsical story, they don’t need a narrative to convey an idea, and they don’t need to be in a gallery for you to see them. Woo has managed to push the boundaries of what is expected from the comic genre. Creating work this way may not have been what this artist had originally intended for his career, but it is definitely working for him. Sometimes it just takes a change of pace to uncover all that is awaiting us in the next chapter. [b] Sybille Cavasin


KIM SANG DUCK 욱 작업을 하고 있어요. 아, 그 전에는 넥 타이를 매고 있는 인체를 그렸어요. 대학 에서 교직이수를 할 수 있어서 4학년때 교 생 실습을 나가게 됐는데, 그때 맸던 넥타 이가 참 거추장스럽다는 생각이 들었어요. 내 목을 조여오는 넥타이가 졸업후의 삶을 보여주는 것 같았어요. 직업을 구해서 우 선 먹고사는 일에 신경 써야하는지, 작업 을 우선적으로 해야 하는지. 그런 고민 속 에서 넥타이를 매고 있는 목이 답답하기만 했죠. 그런데도 아름답게 디자인되어 있는 넥타이가 제게 어떤 함정처럼 느껴졌어요. 졸업후에 작업의 길을 선택하면서 자연스 레 관심사가 옮겨지고 넥타이를 맨 인체는 그리지 않게 되더라구요. 음, 서울에는 한 4년 정도 있다가 작년에 고향 선배 소개로 부안에 있는 미술관 레지던시에 입주하게 돼서 지역으로 다시 내려왔어요. 지금은 군산에 있는 ‘창작문화공간 여인숙’에 레 지던시 입주 작가로 있고요. 올해는 지금 까지 해오던 작업은 잠시 멈추고, 그 동안 바라보지 않았던 주변에 눈을 돌리고 있어 요. 어느 시점에 오니까 억지로 그리고 있 는 느낌이 들기 시작하더라구요. 그래서 그런지 그 이후에 완성된 그림들이 답답하 다는 생각도 들고, 군산에서는 그런 부담 감(?)없이 작업하고 있어요. 가볍게 주변 Kim Nam Jin 어린시절이나 자라온 배경

겠다 싶은 마음에 아무것도 없는 상태에

풍경을 그리기도 하고, 이 지역의 역사를

또는 가족에 대해서 간단히 이야기 해 주

서 무조건 서울로 갔어요. 그래야 할 것 같

리서치하면서 작업하기도 해요. 이곳 프로


았어요, 그냥 막연하게. 그런데 졸업한 직

그램이 알차서 많이 배우고 있어요. 이곳

후라 돈이 있을 턱이 없고, 그래서 맘 맞

여인숙 큐레이터 서진옥 선생님이 많은 자

Kim Sang Duck 우선, 저는 전라북도 부안

는 친구 셋이서 상가건물을 숙소겸 작업실

극을 주고 계셔서 작가적으로 성장하고 있

에서 어릴적부터 쭈욱 살아왔어요, 가족

로 활용하면서 지냈어요. 그렇게 지내면서

다는 느낌이 들어요. 함께 하고 있는 작가

중에 형이 그림을 잘 그렸어요. 형의 영향

작업하는데, 음. 뻥 뚫린 곳에서 생활하다

분들이 워낙에 좋은 작업을 하고 계셔서

때문에 그림을 시작하게 됐다가 지금까지

보니 서로의 행동이 노출되고 개인의 사생

거기에 자극받기도 하고요. 올해는 이렇게

그림을 그리고 있어요. 형은 장남이라 부

활이 보호가 안되잖아요. 그게 좀 피로 했

다양한 작업적인 시도를 해보려고 해요.

모님의 반대가 컸고, 지금은 다른 일을 하

어요. 그 곳에서 유일하게 혼자 있을 수 있

그리고 12월에 결과 보고전 식의 개인전이

고 있어요. 형과 저 사이에 누나 둘이 있어

는 곳이 욕실이었어요. 그때부터 그 공간

있고 그 이후로는 부족했던 이론적인 공부

요. 4남매죠. 여하튼, 대학은 익산에 있는

에 애착이 갔던것 같아요. 욕실안에서 어

를 하려고요.

원광대학교에 서양화전공으로 학업을 마

떤 장면등을 통해서 뭔가를 전달할 수 있

쳤어요. 졸업하고서는 지방에 있으면 안되

을 것 같다는 생각이 들었고, 그 이후로 쭈


도 챙겨보는 편인데 올해는 레지던시 프로 그램 일정만 소화해도 빠듯한 상황이라 못 보고 있네요. 그리고 자전거 타는 것도 좋아해요, 접 을 수 있는 미니벨로를 타고 다니는데, 이 걸 타고 미국, 유럽등지를 일주하는게 목 표에요, 그래서 우선 국내부터 돌자고 2년 전에 혼자서 텐트치면서 전국일주를 했어 요. 일본까지 건너가려고 출발전에 여권도 만들었는데, 계획에 차질이 생기는 바람에 일본까지는 못 가고 돌아왔어요. 혼자 있 는 걸 좋아하는 편이라 자전거 여행도 혼 자 다녔었는데, 처음에만 좀 외롭지 갈수 록 더 외롭더라구요. 혼자하는 것도 좋지 만 둘이서 가는게 좋겠더라구요. 이제 유 럽을 도는 일만 남았는데, 좀 처럼 실행에 안 옮겨져서 이렇게 몇년이 흐르고 있어 요. 기억에 남는 여행은 군대 전역후에 친 구랑 둘이서 다녀온 인도여행이 참 기억에 많이 남아요. 처음 하는 해외여행이고, 그 때 당시 알바해서 받은 얼마 안되는 돈으 로 한달 반을 돌아다녔거든요. 그러다보니 몸으로 부딪히면서 그곳 문화에 더 가깝게 다가갈 수 있었던 것 같아요. 다시 간다면 그때처럼은 못 할 것 같네요. 군대 전역후 얼마 안되었던 때라 험하게 다녔거든요. 그래서 더 재밌었지만요. KNJ 좋아하는 화가나 영향을 준 화가가

을 느꼈어요. 작업을 하면서 어느 선에서

KNJ 기억에 남을 만한 어린 시절은 어떤것


타협을 보기도 하거든요. 누군가의 시선이

이 있나요?

아닌 자기의 시선에서 만족할때까지, 몇일 KSD 베이컨과 자코메티에요. 베이컨의 작

동안 그려낸 것을 뒤덮어 버리고 다시 시

KSD 성격이 조용조용한 편이라서 크게 기

품은 너무 좋아해서 색감이며 공간적인구

작하는 것은 쉬운 일이 아니에요. 그리고

억에 남을 만한 어린 시절을 보내진 않았

도를 많이 보고 연구했었어요. 그 요소를

스스로에게 솔직하지 않고서는 힘든 일이

던 것 같아요. 그냥 착실하게 학교 생활하

제 작품에 넣기도 했어요. 그래서 베이컨

고요. 그런 모습에서 반해버렸죠.

는 말 잘 듣는 학생이었어요. 남들의 시선

의 냄새가 난다고 지적받기도 해요. 이제 는 그것들을 하나씩 제거해 내야죠. 자코

으로는 그런 착한 사람이라고 보여질 거에 KNJ 취미나 특기는 어떤것들이 있나요?

메티는 작업하는 방식때문에 좋아하게 됐

요. 크게 문제 일으킨 적도 없고, 좋은게 좋 은 거라 그냥 ㅎㅎ 거리면서 넘어가는 편

어요, ‘작업실의 자코메티’라는 책을 읽고

KSD 작업 안한는 시간에 주로 영화를 봐

그가 회화작업을 할때, 대상을 자신이 보

요. 좀비나오는 영화를 좋아해서 웬만한건

는대로 캔버스에 그리기 위해서 수십번을

다 찾아서 봤어요. 멀쩡한 사람이 좀비 분

다시 그리기를 멈추지 않았다는 것을 알게

장을 하고 엉기적 거리는 모습들이 재미

됐어요. 그 과정동안 스스로를 책망하면서

있어요. 다급한 상황의 장면인데도 그걸

천국과 지옥을 맛보면서 완성해 가는 모습

보며 웃고 있으면 같이 보는 사람이 이상

에서 그건 용기가 있어야 가능하다라는 것

한 눈으로 쳐다봐요. 싸이코 같다고, 미드


[b] Kim Nam Jin

November 2014 [b]racket  29

gallery [t.] parkdongseok

OCTOBER 4 - DECEMBER 6 7pm - 10pm


mobile. 010 2879 7936 e-mail.

November 2014  

Shim Yun, The Bite Back Movement, Albert Che, Kim Dong Hee, Woo Youn Sik, Kim Sang Duck

November 2014  

Shim Yun, The Bite Back Movement, Albert Che, Kim Dong Hee, Woo Youn Sik, Kim Sang Duck