한지와 유리의 물성에 기반한 ‘사이’(in-between)의 감응 표현－본인의 작업을 중심으로－ = A Study on Expressing the Affectof ‘In-between’ based on the Physical properties of Hanji and Glass－Focusing on My Artistic Practice－

다국어 초록 (Multilingual Abstract)

This study defines the concept of the “in-between” not as a mere spatial interval, but as an aesthetic and ontological field in which affect and relationality are generated at the contact zones of opposing categories. This perspective emerges from a critical reflection on the binary structures－subject/object, human/non-human, male/female, nature/culture－constructed and reinforced throughout modern philosophy, structures that have positioned certain terms at the center while marginalizing their others. In dismantling such separations and hierarchies, the “in-between” becomes a site in which fixed identities are unsettled and existence is understood as a process of continual movement, transformation, and relational becoming. Luce Irigaray’s tactile-centered thinking on intersubjectivity and horizontal materiality, along with Karen Barad’s notion of intra-action and the performativity of matter, further expand the “in-between” into an open interval where ethical encounters with the other and material entanglements can emerge.
The concept of the “in-between” is closely connected to the operation of affect. Affect is not a simple stimulus–response mechanism, but an event of reciprocal forces that disrupt the subject–object distinction through the mutual influence of bodies and materials. Thus, “affect in the in-between” refers not to ownership or representational relations, but to the flows of connection and resonance generated as heterogeneous material and relational conditions encounter and collide with one another. In the context of contemporary art－where practices increasingly traverse established boundaries－“the in-between” becomes a generative field in which new formal possibilities emerge, grounded in sensory novelty and material reciprocity.
Drawing on this theoretical framework, the study analyzes the sensory entanglements and emergent surfaces produced through the combination of hanji, which carries traditional tactility and corporeality, and glass, which embodies modern temporality and transparency. Through material experiments that bring these heterogeneous substances into contact, the work explores a sensory “in-between” that traverses the boundaries of past/present, nature/artificiality, and East/West. By interpreting the affective and ontological concerns that arise from intuitive decisions and the agentive behavior of materials, the research demonstrates how the “in-between” operates not only as an aesthetic concept but as a critical site for rethinking contemporary materiality and relationality.