flutter

 

  flutter,pigment on silk, 39.5_32cm, 2014 rgbsmallflutter,pigment on silk, 13_20cm, 2014rgb   

smallflutter,pigment on silk, 15_14cm, 2014(rgb)

flutter,pigment on silk, 37_32cm, 2014

smallflutter,pigment on silk, 13_20cm, 2014

smallflutter,pigment on silk, 15_14cm, 2014

 

빌리할리데이 듣다가 생각나서 flutter 로 작업 해봤어요

 

What a little moonlight can do

 

 

Ooh, ooh, ooh
What a little moonlight can do
Ooh, ooh, ooh
What a little moonlight can do to you
You in love
Your heart's fluttering all day long
You only stutter cause you for sure
Just throw that out of the way
I love you
Ooh, ooh, ooh
What a little moonlight can do
Wait a while
Till a little moonbeam comes peepin' through
He'll get bored
You can't resist him
All you'll say
When you have kissed him is
Ooh, ooh, ooh

 

 

 

Landscape in the Era of Plastic Surgery

Landscape in the Era of Plastic Surgery

 

By Choi Ji-a (curator at Daegu Art Museum)

 

Whimsically representing the other side of the everyday using traditional painting, Kim Tae-yeon presents a new series of work entitled “YuMiDokJonDo” (唯美獨尊圖, a painting that describes the current phenomenon in which people believe beauty is the most important thing in the world). Compared to Kim’s previous work, this is a more comprehensive appropriation of the conventions of Buddhist art, as seen through the artist’s choice of ‘scroll painting’, which were typically painted on either paper or silks and preserved by being rolled up.

 

Kim’s attention was focused on the human desire for beauty, which has drawn people in modern-day Korea to crave better and more idealized appearances, eventually turning to plastic surgery. People are seen in television commercials or other mass media recounting their experiences of cosmetic surgery, and with all the advertisements for plastic surgery clinics that can be seen plastered over the subways and buses, the general public can’t be blamed if they are tempted to become part of this society of man-made beauties. Exposed to the visually striking consequences of surgical ‘before and after’ photos, we can’t help but appreciate the results and increasingly tend to see surgery as a part of everyday life (something that we don’t take too much seriously).

 

In Kim’s work, these tendencies are reflected in images of Korean women who have resorted to unnatural techniques to affect Westernized appearances. Repeatedly appearing in several works including Portrait of Three Goddesses, these women look down on the general public, with their artificially enhanced eyelids, sculpted noses and sexualized bodies; hair dyed in the most fashionable colors, wearing high-heels, showy clothes and accessories. Unlike the lifeless, and timid expressions that are confined to the mirror, thanks to the surgeon’s touch they are full of confidence and proud of their transformed appearances.

 

What is noteworthy here is the way in which the man-made beauties and the doctors occupy the central or upper parts of the painting. This is comparable to the central positioning of Buddha in conventional Buddhist painting: The people whose looks have been transformed and the plastic surgeons whose skills have enabled this to happen are raised to a position of status that is usually reserved for divine existence. As seen in Portrait of Judges, the doctors look down on their future patients from above, and make severe judgments on their looks. The women holding their hands out desperately, standing haggard in front of the mirror, plead to the doctor. His expertise and outstanding skills transform them into totally new beings. This might be described as a form of rebirth. As seen in CheonSangCheonHa YuMiDokJon (天上天下 唯美獨尊) what these desperate women gain after surgery is not just physical beauty but tickets to an extreme joy (極樂, geukrak), typically symbolized within the upper sections of Buddhist painting. Whether it results in a raise in social status or financial affluence, surgery can help turn their lives around. For this reason, the plastic surgeons turn into transcendental beings, and their potential patients are not against being evaluated. They lie back on the surgery beds under their own compulsions and wake up in an unimaginable world. Surely the process of entering into this heavenly realm isn’t quite so simple? They willingly take all the risk, and endure all the pain, getting injections, their swollen faces covered with bandages, all for their rebirth into new faces and new bodies. Unlike the real world where all the pain is hidden, Kim keeps exposing the bandage-covered faces, revealing the process of entering into a state of extreme joy.

 

The figures and the situations described in Kim’s work already populate our surroundings. These works pose questions about our personal desire for beauty, whether explicit or dormant, and—hidden deep within our society—the reasons that people place themselves on the surgery bed with so little hesitation. This surgery craze is not just limited to youth, as even men in their 50s and 60s have joined in, for the sake of job opportunities or self-satisfaction, tacitly revealing our sensitivity towards ‘what is outwardly seen’ or ‘the gaze of others’. A crowd of eyes and wagging tongues seem to encircle our surroundings, and perhaps it is impossible for anybody to be truly free from them. In this modern society, when physical beauty can turn into a form of capital, the power of visual impressions is extremely potent. We used to say ‘What is good is good’, however now we seem to believe that ‘What looks good matters’.

 

New looks gained through surgery are far from individual.  Seeing advertisements on the walls of subways or on the Internet, the ‘before’ shots vary from one another but the ‘after’ photographs are not entirely different from each other. As unnatural and exaggerated as the women seen in Modigliani’s work, the faces all seem to be the products of cookie cutters from factories of plastic surgery hospitals. They say they pursue their own personalities, however in reality they blindly chase what others recognize and what society requires, which is a total contradiction. This falsehood and duality is revealed in the portrayal of surgeons in WonJangBoSalDo (院長菩薩圖), which is painted in reference to SuWolGwanEumDo (水月觀音圖), a Buddhist painting from the Goryeo dynasty. They recommend unnecessary operations and rake in vast amounts of wealth, wreathed in gold necklaces, and seated on stone as if they were wise men or perhaps divine beings, only it is their services that help allow for transformation. Below them, there are human beings overly conscious of the judgments of others, and yearning for man-made beauty.

 

Kim addresses the frivolousness of this era, obsessed as it is with superficial beauty. In addition, the artist laments the shallow thoughts of people who leave their bodies to the experts, dreaming of life’s big jackpot, and wishing for an extreme joy. Swept away by the views of others, it is hard to keep one’s own thoughts, despite the anger towards the current situation. It is extremely difficult to escape, especially now that physical appearances are taken more seriously than an individual’s smartness and competencies. Seeing that personal identities are completed by the doctors’ touch—as in Parents Give Birth to Me, and Doctors Give Me a Make-over—a question is posed: What is beauty in this era?

 

In reality there is nothing new in this era about our desires around beauty. However beauty cannot inherently be attained with ease, or remain merely on the surface level. In this world, where something visual turns into everything that matters, Kim reawakens our values towards genuine beauty. Fortunately what the artist suggests is not too serious. With her attentive observations of everyday life, combining traditional conventions and the modern, Kim’s work reflects society as if it were a mirror, and talks to the viewer. The viewers get to take a break from their inner desires and look around for a while at the bittersweet landscape of this era of plastic surgery.

혹시 모를 혼선을 대비해 미리 포스팅 올려봅니다 ^^

 

안녕하세요 김태연입니다.

많은 좋은 언론사에서 감사하게도 이번 3회 개인전의 소개 기사를 작성해 주셨는데요,

아무래도 한문을 기본으로한 "유미독존도" 보다는 캐치가 빠른 "부모님 날 낳으시고 원장님 날 고치시네" 작업이 기사의 제목화가 많이 되어서 혹시 모를 혼선을 대비하여 미리 포스팅으로 정리를 하는 것이 맞다고 판단하여 이렇게 글 올려봅니다.

 

"부모님 날 낳으시고 원장님 날 고치시네"

작업의 발단 자체는 조선 중기 불단 탱화 형식에서 차용했습니다. 뒤에 휘장에 보통 여러 격려 문구들이 들어가는데요, 온라인 상에 이미 부모님 날 낳으시고 원장님 날 고ㅇㅇ하시네 관련 캐치프레이즈가 많이 돌아 다니는 가운데, 어느날 한 강남의 성형외과 의 현수막이라는 사진을 보고(출처가 불분명하여  사진은 생락합니다) 예전의 휘장이 현재 현수막처럼 광고나 아이디어의 전달의 매개체로서 작용하는 점을 조금더 풍자하여 강조하고자 패러디했음을 명시합니다.

 

또한 전시명 하의 한 작업의 제목으로서만 국한을 한 것 또한, 이러한 기발한 인터넷 용어가 아직은 대중적으로 알려지지 않았기에 행여 제가 이 슬로건을 처음부터 상상했다고 오해를 일으키기에 여지가 있다고 보아 미가 가장 중요하다는 "유미독존도"를 전시명으로 선택한 것이 그중 하나의 이유이기도 합니다.

아무쪼록 양해 부탁드리며 관심에 감사드립니다 :)

 

2014.4.25

김태연 올림.

 

(upcomming)3회 개인전 唯美獨尊圖유미독존도_작가노트

blog_livingtemplates

일시: 2014년 4월 30일(수) ~ 5월 6일(화)

장소: 도스 http://www.gallerydos.com/

 

唯美獨尊圖

Living Templates

 

김태연

언제부터 자신이 가지고 태어난 본연의 얼굴을 현실적으로 불가능한 기준으로 획일화 시키는 것이 자연스러워 진 것일까? 미에 대한 추구는 언제가 존재해왔다. 또한 그것에 다가가기 위한 맹목적인 모방의 행동은 중국의 절세 미녀 서시西施가 아플 때 찡그리는 것을 동네 여인들이 모방하여 웃음거리가 된다는 서시빈목西施嚬目이라는 사자성어를 보아도 이전부터 존재했음을 알 수 있다. 서시의 시절엔 얼굴을 외부의 도움을 얻어 변화 시키는 것이 불가능 했기에 맹목적 모방의 이야기는 우스개 꺼리로 지나가지만, 우리는 현재 온라인 쇼핑을 하듯 가볍게 성형을 논하고 계획에 옮긴다.

얼굴은 자신을 투영시키는 거울이다. 하지만 어떤 이에게 ‘이상적인 얼굴’이란 대중매체속의 연예인의 얼굴이며, 그 얼굴은 점차 화면 속 픽션의 세계에서 아름다운 인생을 즐기는 대상의 이상적인 모습들의 삶을 통해 점차 외모의 미뿐만이 아닌, 부와 화려한 라이프스타일을 상징하기 시작한다. 뒤틀린 기준의 인공적인 미가 가져다 줄 것으로 예상되는 비현실적인 이상적인 신세계는 원장님이 간단히 가져다 줄 수 있는 것으로 인식될 수 있도록 광고된다.

현재 우리들 속에는 살아있는 도상들이 서울의 길거리를 걸어 다닌다. 마인드 C웹툰 작가의 ‘강남언니’ 가 요즘 인터넷에서 인기다. 성형을 하여 얼굴이 획일화 된 ‘강남언니‘ 스타일의 얼굴을 풍자하는 만화이다. 여기서 우리가 비추어 보고 웃을 수 있다는 것은 우리의 일상 속에 얼마나 획일화된 얼굴들이 많이 존재하고 있다는, 어찌 보면 무서운 현실이다. 비현실적인 미를 추구하고 끊임없이 자신을 버리는 과정을 통해 우리는 중요도에 따라 얼굴을 도식화 시키던 과거와 달리 얼굴을 도식화하여 중요도를 얻는 다고 착각하고 있는 것이 아닐까?

뒤틀린 미의 기준과 그것이 가져다 줄 것으로 예상하는 이상적인 세계를 염원하는 ‘일반얼굴’들의 고통스러운 변신의 과정의 이야기를 불화의 도상과 스토리텔링을 차용하여 풀어본다. 개성을 추구하는 시대라는 말이 너무나도 역설적으로 들리는 지금에서.

2014년 3월.