선(線)에 나타난 유기적‧비유기적 재료의 조형 표현 연구 : 본인 작품을 중심으로 = A Study on the Formative Expression of Organic and Inorganic Materials Through Line - Based on the Artist’s Works -

다국어 초록 (Multilingual Abstract)

This study focuses on line, one of the fundamental elements of formative art, and aims to explore its formative properties and expressive potential through the use of organic and inorganic materials. By analyzing the artist’s own floral formative works, the study examines how line functions as a formative language from both theoretical and practical perspectives. Line is presented not merely as a visual component but as a medium that conveys various symbols and meanings such as emotion, contemplation, time, and vitality. The research emphasizes that the mode of expression and the interpretive depth of line vary depending on the material employed.
The study first establishes a theoretical foundation by comparing and analyzing the philosophical and aesthetic concepts of “line” and “emptiness” in Eastern and Western art traditions. In the East, line is recognized not simply as a tool for depicting form but as a medium expressing spiritual flow—namely qi(vital energy) and dao(the natural order). Emptiness, likewise, functions not as a physical void but as a psychological space for thought and infinite possibility. In the West, since the Renaissance, line has evolved with a focus on the reproduction and construction of concrete forms, later expanding into emotional expression, structural form, and the aesthetics of abstraction in the modern era. Based on these theoretical considerations, the study analyzes the works of representative Eastern artists such as Lee Ufan, Park Seo-bo, Lee Bul, and Park Ki-won, as well as Western artists including Henri Matisse, Albrecht Dürer, Alexander Calder, Paul Klee, Wassily Kandinsky, and Frank Stella, examining how the concept of line is interpreted and expressed in diverse ways.
The central theme of the study is the exploration of organic and inorganic materials. Organic materials—such as flowers, plants, and natural fibers—were used to embody imagery of vitality, emotion, and fluidity through line. In contrast, inorganic materials including metal, thread, and synthetic substances effectively convey linear expression characterized by tension, structure, and architectural qualities. The choice of materials critically impacts the atmosphere and meaning of the work, serving as an important medium for expanding the possibilities of linear expression.
The analysis focuses on seven of the artist’s works—SootⅠ, SootⅡ, Sunlight, Soaring Flames, White Smoke, A Flower Person, and Yellow‧ Red‧Blue—which experiment with linear expression using both organic and inorganic materials. Organic materials enable expressive, life-filled lines, while inorganic materials facilitate structural and tension-filled linear forms. In <SootⅠ> and <SootⅡ>, lines resembling burned traces express pain and memory. <Sunlight> captures the warmth of sunlight through soft, curved lines. <Soaring Flames> symbolizes inner energy through ascending, dynamic lines, and <White Smoke> visualizes an immaterial presence through gentle, ethereal line flow. <A Flower Person> combines plant and human elements to explore the vitality and formative nature of organic lines, while <Yellow, Red, Blue> experiments with visual tension and harmony through contrasts of primary colors with straight and diagonal lines.
Through these works, the artist demonstrates how the material properties of organic and inorganic substances distinctly influence the expression of line, expanding its formative possibilities in multiple directions. This exploration highlights that line, as a basic formative language, can become a vehicle for conveying emotion, philosophy, and aesthetic meaning. Furthermore, by integrating Eastern and Western formative languages, the artist seeks to present a new perspective within contemporary floral formative art.
In conclusion, this study redefines the significance of line as a formative language and expands its potential through the multilayered relationship between material and expression. By achieving a balance between organic and inorganic qualities, tradition and modernity, and emotion and structure, the study offers meaningful contributions in both theoretical and creative aspects. It not only serves as an important milestone in the development of the artist’s own formative world but also provides new experimental and directional possibilities within the field of floral formative art.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• 1. 연구 목적 2
• 2. 연구 내용 및 방법 3
• Ⅱ. 이론적 배경 5
• 1. 동서양의 선의 개념 5
• 2. 선과 여백의 관계에 대한 동서양의 접근 방식 20
• 3. 선적인 조형 표현을 강조한 작가 24
• Ⅲ. 다양한 재료를 이용한 선적인 조형 작품 분석 47
• 1. 유기적 재료를 이용한 선적인 조형 작품 47
• 2. 비유기적 재료를 이용한 선적인 조형 작품 53
• 3. 선적인 조형 작품에서 느껴지는 감정과 힘 59
• Ⅳ. 화예조형에 나타난 선적인 조형 표현 63
• 1. 작품 &lt; 그을음Ⅰ(sootⅠ) &gt; 63
• 1) 작품 분석 64
• 2) 작품 계획 및 표현 의도 64
• 3) 작품 제작 및 표현 65
• 2. 작품 &lt; 그을음Ⅱ(sootⅡ) &gt; 67
• 1) 작품 분석 67
• 2) 작품 계획 및 표현 의도 68
• 3) 작품 제작 및 표현 69
• 3. 작품 &lt; 햇볕 &gt; 72
• 1) 작품 분석 72
• 2) 작품 계획 및 표현 의도 73
• 3) 작품 제작 및 표현 74
• 4. 작품 &lt; 치솟는 불길 &gt; 76
• 1) 작품 분석 76
• 2) 작품 계획 및 표현 의도 77
• 3) 작품 제작 및 표현 78
• 5. 작품 &lt; 하얀 연기 &gt; 80
• 1) 작품 분석 81
• 2) 작품 계획 및 표현 의도 82
• 3) 작품 제작 및 표현 83
• 6. 작품 &lt; A Flower Person &gt; 85
• 1) 작품 분석 86
• 2) 작품 계획 및 표현 의도 88
• 3) 작품 제작 및 표현 88
• 7. 작품 &lt; 노랑‧빨강‧파랑 &gt; 90
• 1) 작품 분석 91
• 2) 작품 계획 및 표현 의도 93
• 3) 작품 제작 및 표현 94
• Ⅴ. 결론 96
• Ⅵ. 참고문헌 98
• ABSTRACT 100