원형과 반복의 조형성에 관한 연구 : -본인 작품 연구를 중심으로- = A study on the formative characteristics of circularity and repetition -Focusing on the Artist’s Own Work-

국문 초록 (Abstract)

본 연구는 원형과 반복을 핵심 조형언어로 표현된 연구자의 창작 과정을 분석하고, 그 구조 속에 내재된 감정·시간·존재의 의미를 탐구하는 것 에 목적이 있다. 연구자는 원형을 단순한 기하학적 단위로 보지 않고, 세 계를 이해하고 내면을 조직하는 상징적 구조로 해석하였다. 반복 또한 동 일성의 되풀이가 아닌 손의 행위와 시간의 흐름 속에서 차이를 생성하는 조형적 원리로 이해하였으며, 이러한 문제의식은 기술적 이미지의 범람과 정서적 불균형이 심화된 동시대 환경 속에서 인간의 내면 구조와 세계의 질서를 다시 사유할 수 있는 조형언어의 필요성을 인식하는 데서 출발 하였다.
이론적 고찰에서는 플라톤의 원형론, 카시러의 상징형식, 칼 융 의 만다 라, 들뢰즈의 반복 개념, 그리고 불교적 순환 사유를 종합적으로 서술하였 다. 더불어 쿠사마 야요이, 올라프 엘리아슨, 문신의 작업 분석을 통해 원 형과 반복이 심리·지각·존재의 층위에서 각각 다른 방식으로 작동하지만, 모두 생성적 리듬과 내적 질서를 조직하는 공통된 구조로 되어있음을 확 인하였다. 이러한 논의는 연구자의 작업을 해석할 수 있는 중요한 조형적·철학적 기반이 되었다.
연구자의 작업에서 원형은 중심성과 비어 있음의 구조를 동시에 지니며, 감정의 진폭과 내면의 균형을 드러내는 상징적 장(場)으로 기능하였 다. 반복된 행위는 기계적 복제가 아니라, 재료의 저항과 손의 압력, 시간 의 흐름이 축적된 수행적 과정이었으며, 각 원형은 미세한 질감의 차이를 통해 새로운 감각적 사건을 생성하였다. 이러한 반복의 수행성은 작품을 정지된 형식이 아니라 시간이 켜켜이 침전된 구조로 변화시키며, 관람자 의 시선을 순환시키는 감정적 몰입과 내적 사유의 과정을 유도하였다. 이 는 불교 만다라가 보여주는 순환적 질서와도 상응하며, 원형적 구조가 존 재의 통합과 자기 성찰을 촉진하는 심리적 기능을 수행함을 보여준다.
결론적으로 본 연구는 원형과 반복이 단순한 조형실험을 넘어, 감정· 시간·존재의 층위를 통합하는 미학적 언어가 될 수 있음을 제시한다. 이 는 동서양의 원형 사유와 현대 조형언어를 연결하며, 예술이 내면의 질서 와 세계의 리듬을 사유하는 인식적 실천으로 확장될 수 있음을 시사한다. 더 나아가 연구자의 창작 과정은 반복을 통한 수행, 원형 구조의 상징성, 감정의 감각적 전이를 중심으로 새로운 조형적 가능성을 열어 보였으며, 이는 향후 연구와 작업의 방향을 이끌 수 있는 이론적·실천적 토대로서 의의를 지닌다.

목차 (Table of Contents)

• 국문초록·······································································································ⅰ
• 도판목차·······································································································ⅲ
• 그림목차·······································································································ⅲ
• Ⅰ. 서 론 ················································································································1
• 1. 연구의 배경 및 필요성 ············································································1
• 2. 연구방법과 전개························································································3
• Ⅱ. 원형과 반복의 이론적 배경 ······································································5
• 1. 원형의 개념과 조형적 의미·································································· 5
• 1) 원형 이론과 시각예술 ············································································5
• 2) 점과 원의 기하학적 상징적 구조 ························································6
• 3) 불교적 원형관: 만다라의 윤회 구조 ···················································8
• 4) 통합 및 연구의 관점 ············································································11
• 2. 반복 개념과 조형적 심리적 접근························································13
• 1) 조형 예술에서의 반복성과 구조························································13
• 2) 반복의 심리 기제 ··················································································17
• 3) 불교의 사유에서의 반복과 윤회························································21
• 3. 원형과 반복의 상호작용 ········································································25
• 1) 시각 언어로서의 원형과 반복 ····························································25
• 2) 반복구조의 해석 ····················································································28
• 4. 원형과 반복에 대한 이론적 연구 관점 ············································30
• Ⅲ. 동시대 작가연구 ·························································································32
• 1. 동시대 작가 및 작품 분석····································································32
• 1) 올라퍼 엘리아슨 ··················································································32
• 2) 쿠사마 야요이 ······················································································37
• 3) 문신 ········································································································42
• 4) 분석의 시사점 과 본 연구와의 연계 ··············································47
• Ⅳ. 연구작품분석 ·······························································································52
• 1. 작업 개요 및 조형적 의도····································································52
• 1) 작업 발상의 배경 ··············································································52
• 2) 재료와 제작 방식 ··············································································57
• 3) 작품별 형식 분석 ··············································································61
• 2. 원형의 활용과 상징 ················································································83
• 1) 원형의 의미 해석 ··············································································83
• 2) 정체성의 시각화와 감정 투영 ························································86
• 3. 반복 구조의 조형적 특성 ······································································90
• 1) 반복의 형식성과 몰입성 ··································································90
• 2) 구성 원리와 리듬 구축 ····································································92
• 4. 원형과 반복 구조의 해석·····································································97
• 1) 원형의 심리적 환기와 응시····························································97
• 2) 반복의 조형 언어 확장 ····································································99
• Ⅴ. 결론 ··············································································································103
• 참고문헌 ············································································································107
• Abstract ··········································································································113