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코이에 료지鯉江良二의 작품에 관한 연구 -60년대부터 90년대까지의 도자조형작품을 중심으로-
원경환,김현숙 사단법인 한국조형디자인협회 2015 조형디자인연구 Vol.18 No.1
Neo dada swept over the whole Japan in early 1960s was the activity to express arts freely sloughed off old traditions, regulations, and rules. It arrived to the organization of Japanese Anti art upon ‘YOMIURI’s INDEPENDENT’ held in 1960. That circumstance of Japanese art field during the postwar period influenced ceramic art field more than a little. To Koie Ryoji who just had imitated and followed an old traditions in order to make bowls and vessels ‘skillfully’, dadaists were the artists who express their own creative works freely sloughed off old traditions. And art circle endorsing them also something to envy and impact to him. Koie Ryoji then started to grope for his own identity imitating Yagi Kazuo's far-out and avant-garde ceramic artworks. Koie Ryoji then observed ceramic arts as a 'structure' and perceived it as a 'dismantling' object through the series called <Return to Earth> which started in 1971s, and finally started to ask himself about the real substance of clay. He place the focus on human 'vestiges' hidden inside the typical process, 'molding-drying-firing' based on his own philosophy and thought. His mentions like 'not firing clay also ceramic art', 'firing all things' are the expressions which represent his unique philosophy. And according to that philosophy, he sometimes extinguish the vestiges with time passed using porcelain powder, also sometimes remove real substance and then maintain the conception through firing other materials with clay. The purposes of this study are to make an approach to the movement of the quickening period of Japanese modern ceramic arts through Koie Ryoji's artworks and to make an approach to ultimate answers to questions like 'What will be with ceramic arts?' and 'What is ceramic arts?'. 1960년대 초 일본전역을 휩쓴 ‘반예술 운동’은 기존의 전통과 규범, 규칙 등에서 벗어나 자유로운 표현을 위한 움직임으로, 1960년에 열린 요미우리 앙데팡당전을 계기로 일본다다이즘의 결성까지 이끌어낸다. 이러한 전후戰後 일본미술계의 상황은 도예계에도 적지 않은 영향을 끼쳤다. 단지 그릇을 잘 만들기 위해 옛것을 모방하고 답습하던 코이에 료지鯉江良二에게 다다이스트들은 전통의 틀을 벗어나 자신들만의 창작세계를 자유롭게 표현하는 이들로 비쳤으며, 그러한 운동을 지지하는 미술계 역시 부러움의 대상이자 충격이었다. 코이에 료지는 야기 카즈오八木一夫의 자유분방한 전위도예작품을 모방하기 시작하면서 전통의 틀에서 벗어나 자신만의 색을 모색하는 길로 접어든다. 그는 1971년대부터 시작한 <흙으로 돌아가다>시리즈를 통해, 도예를 ‘구조’로 보고 ‘해체’의 대상으로 인식하는 등 흙의 본질에 대해 자문하면서 자신만의 철학과 사고에 입각, 일반적인 ‘성형-건조-소성’의 과정 속에 숨겨진 인간의 ‘흔적’에 초점을 맞춘다. ‘소성하지 않는 도예’, ‘모든 사물을 소성한다’고 하는 표현은 그만의 독특한 철학을 대변하는 것으로, 위생도기분말을 이용해서 시간과 함께 흔적을 소멸시키거나 때로는 타 재료를 함께 소성함으로서 실체는 없애고 개념만을 존재시키기도 한다. 본 연구는 코이에 료지의 작품을 통해 일본현대도예의 태동기의 움직임과 함께 ‘도예로 무엇이 될 수 있을까’, ‘도예란 무엇인가’에 대한 근원적인 질문들에 대한 해답에 접근하고자 한다.
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현대 도예에 나타난 Installation에 대한 연구
원경환,안민성 사단법인 한국조형디자인협회 2008 조형디자인연구 Vol.11 No.3
Installation Art is the art form of inducing the audience's participation by including the sense of sight, tactile sense, auditory sense, and sometimes the olfactory sensation in 3-dimensional space without remaining in the limitation of visual expression, escaping from the limitation of traditional art genre, which is divided into painting and sculpture, through expanding space of including choice and environment in diverse materials. The installation art has close relationship with a concept called ‘space.’ The installation, which was used in the whole space of exhibition, needs to allow the work to form one relationship rather than being separated from place. Here, the audience is emerged as an important role. An artist allows the audience to participate in the work, thereby leading to the accidental and unpredictable result. And, this can be seen to be the aim to cause the audience to have interest in the work and to provide the artist oneself with an opportunity that can be given inspiration. One of main characteristics in the work of installation art is what has ‘one-time attribute’ of coming to disappear with leaving just photos other records simultaneously with being withdrawal after a number of works had been installed for the fixed period. This is the plastic form that pursues the momentary behavior of escaping from the traditional art idea with saying that art needs to have perpetuity. Thus, in order to avoid a problem that is left just by these materials, the work is preserved by being permanently installed in a public place, or, the special attention is also paid to materials and techniques aiming to prevent damage, if possible. Meanwhile, since the start of the clay revolution centering on Peter Voulkos at the end of the 1950s, the modern art trend and modern ceramic art can be reminisced on one line. The installation art, which is recently showing the remarkable bullish trend in modern art, had natural influence upon modern ceramic art. And, this is possessing one genre in modern ceramic art in the contextual and methodological aspect. The modern ceramic art accepted a concept of modern sculpture, passed through more abundant experience, and arranged the firm position in the new ceramic-art aesthetics. The installation art arranged modern ceramists with the breakthrough of possibility for expression. As this is the sculpture of having the field base after passing through the form like performance, it is adding the motive power to development in ceramic art. Clay comes to have the semi-permanent property after passing through the process of plasticity. This is the part that can judge the possibility of ceramic art as the excellent art medium while supplementing a weak point in the installation art with saying of failing to have independence and permanence as the artistic work.
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