a table with
Osang Gwon


가볍거나 무겁게, 조각
Sculptures, light and yet weighty


LIST

Artist Osang Gwon Editor Danbee Bae Photographer Yeseul Jun

This project <PRINTS> worked with RAWPRESS


TABLE #2

조각과 예술 이상의 실현
Attaining Ideals Beyond Sculpture and Art

<A Shaped Room Divider>, 2019

ⒸOSANGGWON

그는 조각을 비롯한 예술에 대해 현실적이고 냉철한 태도로 일관한다
소위 ‘노동만을 취하는 예술’, ‘이상을 좇기만 하는 예술’, ‘배고픈 예술가 바라보는 연민이나 동경의 시선에 대해 
그라면 객관적이고 이성적인 판단과 이후의 행동을 요구할지 모른다
 편의 사진 조각이 완성되기까지의 과정은 단순하지 않다
조각을  다시 조각으로 완성하는  아이러니하고 노동 필수적인 예술 작업에 관해 그는  치의 망설임 없이 말한다
부귀영화를 누리며 수천수만 개의 조각 작품을 만들 거라고
자기 확신을 바탕으로  이런 자신만만한 태도가 그의 조각을 ‘이상을 실현하는 예술 완성하는 것인지도 모른다.

He has a consistently realist and cool-headed attitude regarding sculpture in the field of art in general. 
While others look with pity or admiration at artists exploited of their labor, 
artists in pursuit of ideals, or the image of the hungry artist, 
Gwon seems to tackle his vocation with objective and rational judgment and demand actions accordingly.  
The process of completing a photography sculpture is complex.
 It is an ironic and labor-intensive process, where images are broken up into pieces and rearranged into sculpture. 
He discusses this process without an iota of hesitation.
 He is confident that he will make thousands of sculptures and enjoy done riches of success.
 This confidence based on conviction may be what empowered him to develop sculpture that makes ideals into reality.

최근 전시 <Furniture> 김민기 작가와의 협업이었죠단순히 조력자의 개념이 아니기에 하나의 크고 작은 가구 조각 작품에는 가구를 바라보는 관점이를 어떻게 예술의 형태로 보이는지에 관한 관점이 충돌되어서는 쉬이 완성되기 어려워요 번째 협업이기도  <Furniture> 시작하게  계기와 서로의 역할이 궁금합니다

<Furniture>를 하게 된 그 출발점에는 <Relief>와 <New Structure> 시리즈에 있어요. 이때 자작나무 합판을 이용하는데, 합판 목재로는 비싼 편이고 또 오려낸 형태가 굉장히 아름다워요. 이걸로 집을 지어볼까, 병풍 같은 걸 만들어 볼까 생각하면서 한편으로는 작업실 가구를 만들어보고 싶었죠. 김민기 작가는 제 작업실에서 7년 동안 일한 친구였어요. 조각 전공자이고 독립해서 한동안 가구를 만들었고요. <Furniture>에서 선보인 것과 같은 소재나 방식을 사용한 가구는 아니고, 주로 플라스틱을 활용했어요. 가구를 같이 만들 작가를 찾으며 손발이 잘 맞고 아트를 기반으로 한 작가라면 좋겠다고 생각해서 김민기에게 제안했죠. 처음에는 재료를 공급하고 컨셉의 방향을 제시하는 일을 제가, 실무 전반을 김민기가 하는 것으로 생각했는데, 그러자면 예전에 제 작업을 함께 하던 방식처럼 될 것 같았어요. 사실 이번 협업 작업에서는 김민기가 제 의견을 그대로 들을 필요가 없는 거죠. 이 지점이 중요하게 작용했어요. 제 뜻대로 작업이 전개가 안 되면, 오히려 자신을 이해시키게 되더라고요. 김민기는 저처럼 사전에 정보를 많이 수집한 뒤에 작업을 시작하는 스타일이 아닌 완전 반대 성향이었고, 그렇기에 제가 봤을 때 정말 새로운 작업물이 나오는 거죠. 게다가 작업을 제안하던 때가 김민기에게는 가구에서 다시 조각으로 예술에 가까운 작업 방향의 전환을 하고자 했던 시기였어요. 반면에 저는 팔 수 있을 만한 가구를 원했고요. 잘 됐다 싶었죠. 덕분에 예상치 못한 흥미로운 형태의 작품들이 많이 나왔어요.  


가구가 예술 작품이   ‘실용 ‘예술성(디자인)’ 대한 논의가 따라붙죠그렇다면 작가는 가구를 실용성의 측면으로 바라본 건가요? 

그렇죠. 오래전에 미국의 화가이자 미니멀아트 조각가인 도널드 저드 Donald Judd의 가구를 본 적 있어요. 가구 역시 그의 다른 기본 작품과 결이 같더라고요. 목재로 만든 가구인데, 사람이 앉을 수도 있고 책을 읽는 등 일반적인 가구의 쓰임을 간결하게 따른 정도였어요. 그의 가구 작품이 인상 깊었고, 저 역시 가구를 구상하면서 사람들이 구입해 생활에서 사용할 수 있는 가구, 완전히 상업적인 가구를 만들고 싶었죠. 제품에 가까운. 


Recently you collaborated with Minki Kim on the exhibit titled Furniture. Since a true collaboration doesn't mean merely recruiting an assistant, I'm sure it might have been challenging to resolve differences in perspectives about individual works of furniture sculpture and how they will manifest as forms of art. We'd love to hear about what motivated you to undertake this first collaboration for Furniture and how  you arranged each artist’s role.

The starting point of Furniture was embedded in the series Relief and New Structure. I used birch boards, and which tend to be one of the more expensive plywood boards, but which are very beautiful when cut into forms.  I started playing with the idea of building homes or room dividers with this material and then came up with the idea of making furniture for my workspace. Minki Kim was a dear friend who had worked in my studio for seven years. Kim majored in sculpture and made furniture as an independent artist for a while. Kim’s furniture did not use the same material or techniques as ween in Furniture; they were made of plastic. While looking for a collaborator for my furniture, I made the proposal to Minki Kim, knowing Kim worked well in close coordination and with me and had a strong foundation in art. At first, I thought I would provide the materials and the concept, while Minki Kim did the practical work, which would be similar to how we worked on my projects before. However, for this collaboration, Minki Kim did not need to submit to my opinions, and this became a crucial point. When the work did not unfold the way I wanted, this ended up giving me greater self-clarity. Minki Kim is in many ways opposite in approach; Kim does not collect a lot of information beforehand, as I do. I think this is the reason the outcome was truly novel in my view. At the time I proposed the project, Minki Kim was looking for ways to transition from furniture to sculpture, to return to projects that were closer to fine art. Meanwhile, I wanted furniture that would be marketable. I thought we were a great fit. This led to unforeseen items with interesting new styles.


When furniture is discussed as a work of art , the criteria of practicality and artistic value are constantly debated. Did you look at furniture from the perspective of practicality?

Sure. Many years ago, I saw furniture made by Donald Judd, a minimalist sculptor and artist in the United States. I thought that this furniture was in the same vein as his other artworks. The furniture was made of wood and streamlined the ordinary uses of furniture such as sitting and reading.  I was deeply impressed by this collection of furniture add conceived the desire to create completely commercially viable furniture that people can use in daily life, something closer to a true commodity.

ⒸaRARIOGALLERY

가구를 비롯해 작가의 작업에는 자신의 주변 인물은 물론 일상적 오브제들이  대상이 돼요그뿐만 아니라 하나의 사진 조각에는 함께 묶이거나 엮이지 않을 법한 것들이 모이기도 하죠이들이 어떤 주제로 어떻게 모일  있는지 궁금했어요주변의 모든 일상적 이미지나 오브제들이 작업의 대상이 되나요?

주로 주변의 것들이 대상이 되는데, 그 범위는 점점 확장해 갔어요. 이를테면, 2014년 <Masspatterns> 시리즈에서 선보인 작품들은 일련의 사물들이 모여 하나의 구조적인 형태와 구성으로 완성된 조각 작품들이에요. 2013년도에 싱가포르 기반의 작가 프로그램 ‘테멩공 아티스트 인 레지던스’에 거주하면서 시작됐죠. 싱가포르에 가면 식민지 시대에 사용된 공관들이 있어요. 목조로 지은 하얀 건물 다섯 채와 이를 운영하는 운영자 부부가 그곳에 있었죠. 그중 한 채는 운영자 부부가 거주하고, 한 채는 작가에게 공간을 제공해 작업과 생활을 할 수 있게 하고, 나머지 세 채는 전시장이나 수장고로 이용하고 있었어요. 부부는 싱가포르에서 가장 유명한 동양화가이자 앤티크 컬렉터로도 유명해요. 그곳에 머물며 아시아 앤티크 작품들을 많이 보면서 사진으로 남겨두었죠. 그 결과물들을 모아 만들기 시작한 것이 바로 <Masspatterns> 시리즈예요. 전시를 마치고 돌아와 생각해보니 동남아의 유물들이 굉장히 매력적이더라고요. 그러다 한국에는 어떤 조각 유물들이 있을까 궁금해졌고요. 국립중앙박물관에서 수많은 국보나 작품들을 관찰하고 촬영했어요. 그러면서 조금씩 전기 드릴, 아이폰 등 그 대상의 스펙트럼이 넓어졌죠. 


2003년에 등장한 <The Flat> 시리즈에서는 잡지  페이지에 등장하는 사물들을 오리는 기초 작업 과정을 거치는데요특히 시계보석화장품  일상적인 동시에 소위 소비지상주의 사회를 대표할  있는 이미지들을 앞세운 작품들이 눈에 띕니다소비의 성격을 갖는 이와 같은 오브제들은 그러나 누구에게나모두에게나 일상적이지 않은 ‘선택적 일상 오브제이기도 한데요이와 같은 오브제들에 주목하게  이유가 있다면요

남성을 타깃으로 한 잡지에 주로 나오는 사물은 시계, 안경, 구두, 자동차예요. <GQ>나 <Esquire> 잡지를 군인이 많이 본다고 해요. 소비할 여건이 되지 않고 육체도 어딘가에 갇혀 있어서 어떤 판타지가 그들에게 있는 거죠. 이 사실이 흥미로웠어요. 실제로 한 번도 본 적 없는 롤렉스, 카르티에 같은 고가의 명품이 잡지에는 아무렇지 않게 연달아 많이 등장하는데, 이들을 종이로 오려서 간단한 조각이라고 생각하고 촬영을 해보자고 시작했죠. 그다음으로 여성을 타깃으로 한 잡지를 보니 화장품이 많이 나오더라고요. 이런 오브제들이 반복적으로 나오면 재미없으니 잡지 책 한 권을 모두 오려보면 어떨까 생각이 확장되었고, 이후에 <Wallpaper>로 작업하면서 건축물, 현대미술품까지 등장했어요.


We observed that the subjects of your work are often items from daily life as well as people who are close to you. Furthermore, a single work of photography sculpture binds together objects that may seem incongruous. I wondered what theme drew these items together. Do all the quotidian images or objects in your daily world become inspiration for your work?

I do usually find my subject in my immediate surroundings, but I have extended my range gradually. for example, the works I introduced in 2014 in the series titled Masspatterns are sculptures that combine a series of objects into a single formal structure. I started this project in residency at the Temenggong Artists-In-Residence program based in Singapore in 2013. If you visit Singapore, you can see several public buildings that were used during the colonial period. At the site of the residency, there were five white wooden buildings and a couple who administered the residency. This couple lived in one of the buildings and another building was provided to the artist to live and work. The remaining three buildings functioned as exhibit spaces and storage spaces.  This couple was famous in Singapore, as a leading traditional painter and antique collector.  During the residency, I looked at and took photos of a lot of Asian antiques. I collected these to begin the Masspatterns series. After completing the exhibition, reflecting after my return, I felt the deep allure of the antiquities of Southeast Asia.  This made me more inquisitive about the sculptural artifacts in Korea as well. I visited the National Museum of Korea and observed and photographed many national treasures and artworks. Gradually, I extended the range of objects to include things like electric drills and iPhones.


The Flat series, introduced in 2003, began with the basic step of cutting out objects found on the pages of magazines. We noticed that many works foregrounded images that represent quotidian life in a consumerist society such as watches, jewels, and cosmetics. These objects of consumption are familiar to everyone and yet become a defamiliarizing selective presentation of daily life. What were your reasons for paying such attention to these objects?

In magazines that cater to male readers, the objects tend to be watches, glasses, shoes, and cars. They say that soldiers tend to read GQ or Esquire a lot. Although they are in a situation where they can't consume these objects and are physically confined, they are drawn by a fantasy. This phenomenon fascinated me. Many people have never even seen luxury items such as a Rolex or Cartier project in person, but they are ubiquitous in luxury magazines. I cut these images out and tried photographing them as simple sculptures. Next, I looked at magazines targeting women, and found a lot of cosmetics. Since these objects were boringly repetitive, I conceived the idea of cutting out an entire volume of the magazine. Later I worked on the project titled Wallpaper which included buildings and contemporary art.

직접 사진 찍는 것을 제외하고는 <The Sculpture> 시리즈에서처럼 오토바이나 슈퍼카를 웹에서 찾은 사진으로 입체적인 사진 조각 작품으로 창작했어요사진은 가장 사실적인 이미지인데웹에서 찾은 사진만으로도 실재하는 이미지의 조형 작품을 완성하기에 충분한가요

충분하지 않죠. 충분하지 않기 때문에 그 간극에서 현대미술이 발현될 수 있어요. 실재와 똑같이 만드는 게 제 작업 목표가 아닌 데다 사물을 직접 보지 않고 만들기 때문에 그 사이에서 눈으로는 바로 발견할 수 없는 묘한 무언가가 있을 거로 생각했어요. 전 그 간극을 예상하며 작업했고요. <The Sculpture> 시리즈 중에서도 <Torso(The Sculpture 14)>의 두카티ducati 오토바이의 경우 제가 전혀 모르던 분야라 마냥 근사하게 브론즈를 사용해 작업했는데, 전시를 오픈하고서 실제로 두카티 매장에서 오토바이를 보니 정신이 번뜩일 만큼 아름답더라고요. 제 조각은 보이지도 않는 게임이었어요. 제가 바이크를 모으기 시작한 게 그때부터죠.(웃음)  


작가에게는 어떤 오브제나 형상을 단순히 ‘사진 찍는다라기 보다 “렌즈를 통해 현실 속의 이미지를 선택한다( 웨이웨이「시공간을 가로지르는 조각」 발췌) 편에  가깝습니다이는 하나의 실재하는 이미지의 조각상으로 재현하기 위한 단계이기에 그렇다고   있어요작가가 일상 속에서 오브제를 선택하고다시 렌즈를 통해 이미지들을 조각조각 해체한 채집해 하나의 입체 조각상으로 완성하는 과정은 사진과 조각을 통틀어  노동집약적이에요아이러니하게도 ‘조각을  다시 조각으로 완성하는 작업 행위에 대해 어떤 관점으로 바라보나요

어떤 직업이든 어려움은 있을 거로 생각해요. 조각이 대단히 힘들다거나 정신적인 스트레스가 많다고 말하고 싶지는 않아요. 일반적으로 작가라는 직업 자체가 약간 과대평가 돼 있잖아요. 단편적으로 예를 들자면, 고흐가 귀를 자른 것에 대해 경배나 위엄의 시선으로 바라보고, 폐렴에 걸려 기침하다 죽는 작가를 찬양하기도 하고요. 제가 아는 대부분의 작가는 호의호식하며 살다가 생을 마감하는 작가도 많아요. 현재 가장 주목받는 무라카미 다카시Takashi Murakami나 제프 쿤스Jeff Koons, 데미언 허스트Damien Hirst는 실제로 이처럼 부귀영화를 누리는 생활을 하고 있고, 과거에도 마찬가지죠. 오귀스트 로댕Auquste Rodin은 성에서 살았어요. 미켈란젤로Michelangelo는 그의 조각의 경우 여러 공방과 조력자들이 그의 작업을 도맡아 했죠. 조각은 혼자 할 수 있는 작업이 아닌 동업과 협업의 역사이긴 해도, 실제로 노동이 가장 중요하고 필수적인 요소라고 해도 노동이 다가 아니에요. 오로지 노동에 집중하는 작업 방식을 취하는 조각가도 물론 있어요. 그렇게 되면 충분한 양의 조각을 만들 수 없죠. 몸도 일찍 망가지고 오래 못 살아요. 전 부귀영화를 누리면서 수천수만 개의 조각을 만들고 싶어요.


Except in cases where you take photos yourself, you often utilize photos found on the web such as images of motorcycles or super cars in the series titled The Sculpture, and then you convert these into three dimensional photography sculptures. Photography is the most realist image. Are such photos found on the web sufficient for creating a sculptural work?

Of course, they are not sufficient. Because they are not adequate, the remaining void may itself become fuel for contemporary art. The goal of my work is not to replicate reality, and I do not create my work based on direct observation of objects. I was sure that there was something subtle that cannot be discovered directly by the eye, and this aporia was what I anticipated while working. In The Sculpture series, there is a Ducati motorcycle in the work titled Torso (The Sculpture 14). I had no knowledge of this field, so I just used bronze for this process, but after the exhibit opened, I saw the original motorcycle in a Ducati store and was startled by its beauty. My sculpture was not even in the same ballpark. This was when I started collecting bikes. (Laughter) 


They say that an artist doesn’t simply “take a photo” of an object or image, but rather “selects an image from reality through the lens.” That is a quote from Wei-Wei Wang’s book on sculpture that transcends time and space. I suppose photography is one stage for recreating reality in the form of your sculpture. When you select an object from your daily life and filter and deconstruct these images through your lens, then collect them again into a single work of sculpture, you are undertaking a very labor intensive process that spans photography and sculpture. What are your views on your approach, which ironically takes images apart into pieces to reunite them into sculpture?

I'm sure every occupation has its own challenges. I don't want to complain as if sculpting is especially challenging or stressful. Generally, I think there is hyperbole about the vocation of being an artist. For example, look at the reverence or idolization you hear when people talk about Van Gogh’s lost ear or artists who died of consumption. Most artists I know lived a prosperous life. Think of Takashi Murakami, Jeff Koons, or Damien Hirst who live in affluence; the same was true in the past.  Auguste Rodin lived in a castle. Michelangelo’s work was made possible by the labor of craftsmen and assistants. Sculpture cannot be completed alone, so this genre has had a history of collaboration and partnership. Although physical labor is foundational and essential, that is not what the work is all about, though there are of course sculptors who adopt an approach that intensifies the focus on labor. This, however, makes it impossible to make an adequate number of sculptures, and is very taxing on your body. I want to earn my material prosperity and make thousands of sculptures.

토르소’ 시리즈와 ‘람보르기니’  <The Sculpture> 정통 조소의 형식으로 작업한작가의 지속적인 조각에 대한 탐구로   있죠그에 연장선인 ‘Small Sculpture’ 르망24 레이스에 참여한 대략 70개의 미니카 조각 시리즈입니다 손에 쥐어지는 크기의 작은 조각으로 강력하고 화려하게 조각의 면모를 보여주고 있어요. ‘Small Sculpture’ 시리즈를 만들게  계기는 무엇인가요 소재로 미니 슈퍼카를 택한 이유도 있을 텐데요. 

‘Small Sculpture’는 1:43 비율로 축소 재현한 것들이에요. 처음에는 1:18 비율로 축소한 사이즈의 미니카들을 작업해보기도 했어요. 2017년에 홍대 앞에 ‘취미가’라는 신생 미술 공간이 있었어요. 약간 오타쿠 성향을 지닌 공간이었는데, 그 당시 피규어 등을 전시하고 판매하는 기획전을 준비한다고 해서 제게도 참여 제안이 왔어요. 작업을 위해 모아온 지긋지긋한 미니카들을 전부 팔아버려야겠다는 생각으로 참여하기로 했죠. 그리고 한 방에 모아둔, 포장도 뜯지 않은 미니카 모형들을 다시 봤어요. 과거에 10만 원이던 제품들이 30만 원에 판매되고 있더라고요. 팔면 안 되겠단 생각이 들었어요. (웃음) 어쨌든 작업으로 수집한 자료니까 이걸 활용해 새로 작업을 만들어보자고 생각했죠. 기획전까지 새로운 작품으로 만들어 젊은 작가에게 판매해야지 싶었어요. 3점의 새 작품이 팔리고, 이후에 비교적 시간이 여유로워 이 작업을 계속하다 보니 개수가 꾸준히 늘어났어요. 이런 미니카 작품들은 사실 손으로 쥐고 볼 수 있는 사람이 소유자밖에 없잖아요. 손안에 쥘 수 있는 조각을 만들고, 이걸 책으로 만들어서 많은 사람이 볼 수 있다면 좋겠더라고요. 그래서 책으로 출판하기로 하고, 작품의 개수가 부족한 듯해 더 만들기로 했죠. 이왕 만들 거면 범위를 정하는 게 좋을 것 같아서 제 출생연도인 1974년부터 2019년까지 르망24시 레이스에서 우승한 자동차들을 꼽아 더 만들었죠. 이 레이스에 출전하는 자동차들을 보면 꼭 조각 같아요. 차 천장도 낮고, 덩어리감도 좋고, 차에 내걸린 광고판은 수많은 자본이 집중된, 그야말로 현대 사회를 보여주는 산물이에요. 


요즘의 사회는 긴밀하고 유기적인 스토리보다  장의 이미지가 전하는 힘을 크게 여기기도 합니다작가에게 ‘이미지 어떤 의미인가요한편이미지 파편 조각들을 채집한 작가의 작품에서도 ‘스토리 읽히는 여지가 충분한데 작가에게 ‘스토리 어떤 의미인지요?   

전 이미지와 스토리 어느 하나만을 지향하는 작업을 하지 않아요. 처음에 제가 구축해간 작업은 패션 잡지 화보에서 영향을 받았기 때문에 한 장의 이미지도 정말 중요하죠. 그렇다고 스토리가 배제되는 작업은 아니예요. 여러 조각의 이미지가 한 편의 작품 속에서 각자 이야기를 하고, 이를 보는 관객들은 또 각자만의 생각을 할 수 있도록 하는 게 제 작품의 역할이 아닐까 생각해요. 그런데 재미 있는 사실은, 전 이미지마다 어떤 의미를 두면서 작업 하지는 않거든요. 제가 생각했을 때, 무엇이 됐든 작가가 딱 그 만큼의 생각을 해 작업했다면, 관객 역시 작품을 바라보며 그 선 만큼만 생각할 수 밖에 없다는 의견이에요. 또 작품 속 이미지와 스토리에 관해 제가 갖는 생각은, 여행을 가서 바다나 산을 바라보며 그리 대단한 생각을 하지 않잖아요. 그냥 바라보고 아름답다고 생각하는 정도로도 충분할 수 있어요. 그저 바라보는 대상을 만든다는 생각이기도 하죠. 어떤 더 깊은 생각을 하겠어요. 형태 자체에 대한 아름다움, 표면의 아름다움을 보고 즐기는 것도 많이 즐기는 거죠. 지금의 사회는 과도한 정보 사회라서 우리를 멍한 상태로 만들어주는 것도 좋은 미술의 역할이라고 생각하고 있어요. 저 역시 미술을 이와 같은 시선과 방식으로 바라보는 것 같기도 하고요.  



Your Torso series or The Sculpture, including the Lamborghini reflect traditional forms, and testify to your ongoing investigation of sculptural forms. In continuum with these works there is also a series such as, Small Sculpture, a series of sculptures of around 70 miniature cars that participated in the 24 Hours of Le Mans race. These are small works that you can grasp in one hand and they showcase sculptural art in an intensified and glamorous form. How did you conceive this Small Sculpture series? What was the reason you chose mini supercars as your subject?

Small Sculpture reduced the cars at a ratio of 1:43. At first, I tried miniaturizing the cars at a ratio of 1:18. In 2017, there was a new art space near Hongik University called “Chimiga (Hobbyist).” It had a kind of otaku vibe. This place was preparing for an exhibit to display and sell figurines, and they invited me to participate. I thought it was a chance for me to sell the mini cars I had collected for my projects. I looked at the mini car models that were heaped in a corner – I had not even opened their packaging. These were purchased at around 100,000 won, but they were selling now for 300,000 won. I realized that I probably should not sell them. (Laugher). Since I had collected these items, I decided that perhaps I should use them to create a new project. I planned to make new artworks by the time of the scheduled exhibit to sell to young artists. Three of these new artworks sold and then I had some leisure time, so I continued this project and the finished works steadily multiplied. If you think about it, the only person who can hold and look at these mini car sculptures is the owner. I thought that after making sculptures that you can hold in your hand, I would design a book showcasing these works so that more people could see them. After setting up the plan to publish this book I found I didn't have enough works to include so I made some more. Since I was making them anyway, I thought it would be interesting to fix a range so I selected the cars that won the 24 Hours of Le Mans race from 1974, the year I was born, to 2019. The cars featured in this race look like sculptural art. They have low ceilings, great mass and the advertisements on the cars condense the essence of our capitalist society.


These days, our society seems to strongly value the impact of a single image, sometimes even more than the message of a close knit and organic story. What significance does the concept of image have for you? In your work, which collects pieces of images into sculpture, it is still possible to find narrative meaning. What does the idea of storytelling mean to you?

I do not work with a particular bias toward image or story. In the beginning, I was strongly influenced by fashion magazines, so every single image had great importance. However, that did not mean that storytelling was not a part of my process. Multiple sculptures can tell their respective stories within a connected work of art. The viewer can generate their own interpretations an encouraging such agency is the role of the artwork.  I find it interesting that I do not have a fixed meaning assigned to each image. It's my opinion that if an artist had predetermined an idea for an image, the viewer would also feel that restriction in thought when looking at the work. Regarding image and storytelling in an artwork, I would compare it to enjoy the scenery of the seashore or the mountains during a trip. These images do not prompt any profound thought. It may be enough to simply absorb their beauty. What deeper thought would you require? The beauty of the form itself and the pleasure of the surface may be more than enough. We are living in is society over saturated with information and I think waking us up from that stupor may be an important function of art. This is the way I regard art myself.

작가의 작품  “눈부신 색채와 대중적 요소가 풍부한 이미지( 웨이웨이「시공간을 가로지르는 조각」 발췌) 특히 패션 업계를 비롯한 다양한 브랜드와의 협업을 가능케 하는  같아요실제로 꾸준히 수많은 브랜드와 콜라보레이션 활동을 해오고 있죠. 

패션 업계의 브랜드로는 우영미, 에르메스Hermes, 앤디앤뎁ANDY&DEBB, 펜디FENDI, 나이키nike, 엘엠씨LMC 등과 콜라보레이션 했고, 그 밖에 재규어Jaguar에서는 1년간 홍보대사로 활동 했어요. 비엠더블유BMW, 포드Ford, 현대자동차와도 함께 작업했고요. 또 유니버셜 스튜디오Universal Studio, YG 엔터테인먼트 등과도 했죠. 최근에는 라이카Leica와 콜라보레이션 했는데 재밌었어요. 재규어에서는 홍보대사로 활동하기도 해서 차를 빌려주기도 했고요. 


Wei-Wei Wang’s book on sculpture also refers to the “brilliant colors and popular elements” in your images. I think these aspects of your work made it possible for you to engage in collaboration with a large variety of brands in the fashion industry.  We know that you have indeed worked on many brand collaborations.
The brands I’ve collaborated with include WOOYOUNGMI, Hermes, ANDY&DEBB, Fendi, Nike, and LMC. I was also an ambassador for Jaguar for a year. I also worked with BMW, Ford, and Hyundai Motors, as well as Universal Studio and YG Entertainment. I recently collaborated with Leica, which was fun. Jaguar even loaned me one of their cars during my ambassadorship.


1. <New Structure 22> with Leica, 2019

2. <New Structure 20> with BMW, 2018

3. <New Structure – Hangang>, 2018

4. Maison Hermes Autumn Window, Shanghai, 2017


ⒸOSANGGWON



여러 조각의 이미지가 한 편의 작품 속에서 각자 이야기를 하고,

이를 보는 관객들은 또 각자만의 생각을 할 수 있도록 하는 것이

제 작품의 역할이 아닐까요?

이처럼 작가는 다양한 테크닉을 기술하며 시각 예술에만 국한하지 않는 다양한 분야와의 콜라보레이션을 통해 다방면으로 감각을 보여주는데요패션 브랜드 커스텀멜로우와의 협업 역시 작가에게 흥미로운 콜라보레이션 작업이었을  같아요옷에 덧입혀진 작가의 작품어떤 점에 매료해 커스텀멜로우와 함께 작업하게 되었나요? 

커스텀멜로우는 계속 관심을 가진 브랜드였어요. 재미있는 활동과 색다른 시도를 하는 남성복 브랜드가 많지 않거든요. 더욱이 다양한 예술 작가들과 흥미로운 작업을 하기로 알려진 브랜드죠. 제 작업실이 홍대에 있을 때 근처에 커스텀멜로우 매장이 생겼어요. 그때부터 눈여겨 봤어요. 콜라보레이션 제안을 받았을 때, 새로 작품을 만드는 게 아니라 <Relief> 시리즈 중에서 중반에 선보인 작품 다섯 점을 선정해 하나의 컬렉션으로 만든다고 하기에 더 흥미로웠어요. 


작품이 전시장이나 갤러리를 벗어나 티셔츠를 비롯해 포스터오브제노트  새로운 형태와 이미지로 덧입혀졌어요이처럼 직접 입히고 생활에 쓰이는 제품으로 완성된 모습을 지켜볼 때의 기분은  색다를  같은데어떤가요?  

<Relief> 시리즈는 두드러지는 구조적인 측면, 서로 다른 질료와 형태를 가진 오브제들이 하나의 작품에 겹쳐진 채로 모이는 것이 매우 특징적인데 그것이 또 새로운 장르와 연결되는 지점이 신선했어요. 굉장히 창의적인 형태의 작업으로 완성된 것 같아요. 나아가서 실제 제품으로 커스텀멜로우 매장에서 판매된다고 생각하면 진심으로 행복하죠. 저를 전혀 모르는 사람들이 제 작품이 새겨진 무언가를 입거나 사용하는 걸 테니까요.


작업의 주목 대상이 되는 시계, 가구, 자동차, 바이크뿐 아니라 최근에 직접 모자를 만든 것을 보았어요. 이전에는 맨투맨 티셔츠도 제작하셨고요. 패션에도 자신만의 취향이 있을 것 같은데, 평소 즐겨 입는 패션이나 추구하는 패션 스타일이 있나요? 

포멀한 수트에 관심이 많아요. 그런데 입을 일이 거의 없으니 SNS나 잡지를 통해서 판타지를 충족시키는 정도라 할 수 있죠. 실제로는 아무래도 티셔츠나 맨투맨 같은 작업복을 많이 입게 돼요. 또 작업과 연결해서 드라이빙 관련 복장이나 바이크 레이싱에 관련한 옷에도 집착하고 있어요.


You have adopted a large variety of techniques and engaged in collaboration projects that showcased a multifaceted sensibility that is not limited to visual art. Your collaboration with Customellow, the fashion brand, must have been an intriguing project for you. Your images were coated on clothing. What attracted you to this opportunity to work with Customellow?

Customellow Is a brand that I have been interested in because there are very few menswear brands that are attempting something new and fun. Furthermore, it is a brand renowned for engaging in interesting projects in collaboration with other artists.  When I had a studio near Hongik University, a new Customellow shop opened nearby and I’ve been keeping an eye on the brand ever since. When I received the invitation to collaborate, I was very interested in the proposal to choose five works from my existing Relief series Rather than creating new commissioned works.


Your artwork has ventured outside the exhibition space or gallery and is now available on t-shirts, posters, notebooks, and other objects, in new forms. How does it feel to see your work completed as products that are directly worn and used by consumers?

The Relief series was very distinctly characterized by the agglomeration of many objects of varying textures and forms into one structural object. It was very refreshing to see this converted into yet another genre. Furthermore, it delights me to think of these products sold in the Hongik University shop. I like imagining strangers who do not know me at all wearing and using items inscribed with my art.


The collaboration focused on watches, furniture, cars, and bikes, but I also saw a custom-made hat. You also made sweatshirts. I am sure you have your own fashion style – would you describe your own fashion tastes and favorite fashion items?

I am very interested in formal suits. Since I don’t have many occasions to wear suits, however, I vicariously satisfy my fashion fantasies through social media and magazines. I mostly wear t-shirts and sweatshirts to work. I am also obsessed with driving and bike racing outfits, which is related to my projects.

작가의 작업은 현대적인 이미지를 구축해 나아가면서도 동시에 매우 고전적인 조형미에 천착해 있지요작가가 바라보는 ‘아름다움이란 무엇인지  정의가 궁금합니다.

색을 다루는 입장에서 누군가 어떤 색이 가장 예쁘냐는 질문을 하면 어떤 특정한 하나의 색을 꼽아 이야기할 수 없듯이 아름다움에도 다양한 종류의 아름다움이 있다고 생각해요. 그게 처절한 아름다움일 수도, 슬픈 아름다움일 수도, 형식이 아름다울 수도, 내용이 아름다울 수도 있죠. 아름다움에 대해 특별한 정의가 있진 않네요. 제 작업의 연장선으로 봤을 때, 말도 안 되게 서로 다른 재료들이 모여서 하나의 작품이 될 때 아름답다고 생각할 수 있죠. 제 작업과 별개로 본다면, 이미 이야기만 들어도 즉각적으로 아름답다는 생각이 드는 것들이 있어요. 이를테면, 제일 처음 미켈란젤로가 <피에타Pieta>에서 성모 마리아가 죽은 그리스도를 안고 있는 모습을 조각해야겠다고 했을 때, 그 이야기를 듣자마자 사람들이 바로 아름다움을 느끼는 것처럼요. 


공간 속에서 사진과 회화를 통해 조각을 만들어내고계속해서 변주를 주며 조각을 통해 작가만의 ‘공간  공간 구축해내고 있습니다축소되고 확장되며 변화를 거듭하는 작가의 작품처럼작가로 혹은  인간으로 자신에게 바라는 변화의 모습이 있나요? 

한 인간으로 본다면, 아이 셋을 키우는 가장이기에 잘 견딜 수 있는 사람이 되면 좋겠다고 생각해요. 아이들에게 화내지 않고 인격적으로 건강하고 훌륭한 아버지요. 반면, 작가로서는 계속 현역에서 활동할 수 있고, 현역에서 거론되는 작가가 될 수 있기를 바라요. 현실적으로 작품을 아무리 열심히 만든대도 현역 작가라는 타이틀이 붙지 않을 수 있거든요. 지금 동시대 미술계 신 자체에 나와 내 작품이 그것에 포함되느냐 아니냐의 문제이기도 하니까요. 음, 인간으로서든 작가로서든 좋은 방향으로 나아간다는 것은 결코 쉽지 않은 일이죠.


Your projects create images of contemporary reality while also drawing from classical formal aesthetics. How would you define beauty?

Any artist who works with color would be unable to pick just one color if someone asked them which color is most beautiful. I think there are many varieties of beauty. There can be deeply pathetic forms of beauty, beauty in sadness, beauty in form, and beauty of content. I don't think I can offer a special definition of beauty.  In continuity with my work, I would argue that you can generate beauty by combining very different materials that seem unlikely to harmonize. Apart from my work, there are images that immediately conjure appreciation of beauty. For example, when Michelangelo sculpted the image of Maria holding the dead Christ in his Pieta, the story alone would have conjured a sense of beauty in people.


Within a given space, you combine photography and painting to form sculpture and play with variations to generate new spaces within space. Through reduction and expansion, you continue to prompt transformation. What are some ways that you would like to transform yourself as a person?

As an individual, I take great responsibility in my role as the parent of three children, so I hope to be a resilient person for their sake. I want to be an excellent father who knows how to control anger and demonstrate strong character. As an artist, I want to remain active in the field, to be an artist that continues to generate dialogue. It is a question of whether my work will stay a vital part of the contemporary art sceneIt is challenging to continue to grow in positive directions, as both a human and artist.

COPYRIGHT © CUSTOMELLOW 2020.

All RIGHTS RESERVED.

COPYRIGHT © CUSTOMELLOW 2020. All RIGHTS RESERVED.