선의 축적을 통한 심미적 인물 표현 : 연구자 작품 중심으로 = A Study on Aesthetic Figure Representation through the Accumulation of Lines : Focused on the Researcher's Works

다국어 초록 (Multilingual Abstract)

A Study on Aesthetic Figure Representation through the Accumulation of Lines - Focused on the Researcher’s works- Shin Nu Ri Advisor: Prof. Moon, Hyeong-sun Department of Fine Art Graduate School of Chosun University In contemporary art, the representation of the human figure is no longer co nfined to the reproduction of outward likeness; instead, it has expanded towar d the revelation of emotion, experience, and states of being. Within this conte xt, the present study understands line not simply as a formal element, but as a process-based structure through which time, act, and sensation are accumul ated, and on this basis explores new possibilities for figure representation. Acc ordingly, the study proceeds through a theoretical consideration, an investigati on of selected artists, and an analysis of the author’s own works of figure rep resentation. Through a theoretical discussion of the principles and formal qual ities of line, the study examines line both as a fundamental visual element gen erated by the movement of a point and as a structural force that shapes the organization and flow of the pictorial surface through directionality, density, a nd repetition. In particular, the repetition and accumulation of line are unders tood not as a process of reproducing an identical form, but as one of generat ing difference within the passage of time and accumulating that difference ont o the pictorial surface. This suggests that line operates not merely as a consti tuent of form, but as a formal structure imbued with temporality. The characteristics of line are explored more concretely through the work of selected artists. In George Condo’s work, line functions by dividing and reconfiguring facial structure, revealing the figure not as a singular form but as a composite configuration. In Kim Jung Gi’s drawings, line reflects immediacy, performative gesture, and temporality, operating as a generative force that simultaneously constructs form and pictorial space. In Jean Dubuffet’s work, rough and repetitive lines dismantle the outward appearance of the figure, emphasizing raw sensation and primal expression. Taken together, these artistic inquiries demonstrate that line exceeds its role as a means of depicting the figure and instead becomes a formal principle that generates the figure’s structure and meaning, while also serving as a vehicle for aesthetic and affective expression. Based on these considerations, an analysis of the author’s work reveals that the accumulation of line in figure representation functions not as a tool for describing form, but as a process through which the figure is constituted by repetition, superimposition, and shifts in directionality. The lines accumulated on the pictorial surface do not merely serve to complete a contour; rather, they generate the figure’s condition, emotion, and atmosphere. As a result, the figure appears not as a fixed image, but as a fluid and ever-shifting structure. Moreover, the figure is not unified from a single viewpoint, but reconfigured through processes of division, combination, and transformation, visually disclosing the human being as an entity in whom diverse emotions and experiences are layered and intertwined. This mode of figure formation shows that the accumulation of line is not simply a matter of formal repetition, but a structure in which time and experience are accumulated. In the author’s work, the repetition of line does not seek to reproduce the same outcome; rather, it accumulates differences generated under changing sensations and conditions at every moment, thereby rendering rhythm, density, and texture across the surface. The aesthetic expression that emerges in this process is understood to arise not from a completed form, but from the sensory experience produced by the accumulation of line. Ultimately, aesthetic figure representation through the accumulation of line extends beyond the reproduction of outward appearance and develops into a formal method for revealing the complexity and fluidity of being. Line structures time and experience, emotion and relation upon the pictorial surface, allowing the figure to be understood not as a finished result but as an ongoing process of formation. In this respect, the study proposes that the accumulation of line functions as a key structure in shaping aesthetic perception in figure representation, and argues that line-centered approaches to the human figure can be expanded as a valid mode of expression at the intersection of contemporary painting and printmaking.

목차 (Table of Contents)

• Ⅰ. 서론 1
• A. 연구 배경 및 목적. 1
• B. 연구 내용 및 방법. 2
• Ⅱ. 선의 축적과 인물 표현에 관한 고찰 4
• A. 선의 원리와 조형성 4
• 1. 선의 원리 4
• 2. 선의 조형성 7
• B. 선의 축적과 심미적 표현 11
• 1. 선의 축적과 심미성. 11
• 2. 시간·감각·조형의 층위 14
• C. 작가 탐구 16
• 1. 조지 콘도의 심리적 입체주의 16
• 2. 김정기의 라이브 드로잉 20
• 3. 장 뒤뷔페의 비정제된 표현 23
• Ⅲ. 연구자 작품 내용 및 분석 27
• A. 작품 제작 의도와 인물 표현. 27
• 1. 선의 축적과 존재의 형성 27
• 2. 감각과 경험에 의한 인물의 재구성 28
• B. 작품 제작 과정과 기법 31
• 1. 드로잉과 에칭에서 나타나는 선의 반복성 31
• 2. 중첩과 변형을 통한 인물의 시각화 36
• C. 작품에 나타난 심미적 특징 41
• 1. 시간성과 축적성 41
• 2. 심미적 인물 형상 42
• 3. 감정의 수치화 45
• 4. 인물 형상의 변용 49
• Ⅳ. 결론 51
• 【참고문헌】 53