Jin-seop Yoon(Art Critic/ Professor, Honam University) - The Completen…
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The Completeness of Being and the Recovery of Place
Jin-seop Yoon
(Art Critic/ Professor, Honam University)
Prometheus(ca, 1911) by Constantin Brancusi(1876-1957) shows clear how sculpture has acquired its autonomy in the Western history of sculpture. The change from Rodin to Brudel and Mayor in the sculpture of human body led to Brancusi's complete separation from the description of human body and finally produced an objet completely independent from the organic system of human body. This self-sufficiency of modern sculpture began to form after escaping from the references of anatomic foundation of human body(Rosalind E. Krauss, Passages in Modern Sculpture, The MIT Press, p. 93). However, the organic nature of human body still remains in the above-mentioned Brancusi's Prometheus. On the whole, this work which has a vertically and horizontally symmetrical structure, shows the form which associates the broad back and bums of warm body.
Brancusi's sculpture became more and more abstract, especially in Torso of Young Man made in 1916 and 1925. This work linking three simple cylinders, however, shows its organic characteristics by making observers realize that it is a transformation of a body and two legs. His Endless Column(1937), as the vertical monument of the repeated same pattern, represents not only that sculpture has a complete autonomy escaping from architecture but also that it shows the possibility of outdoor sculpture.
Dong-Lak Lim's sculpture depends upon the tradition of modern sculpture from Brancusi to minimalism. This signifies that his sculpture not so much has a direct relation with the tradition of modern Western sculpture as borrows the universal plastic method of modern sculpture. His recent works made of stainless steel make a main point of its neat appearance, symmetrical structure and repeated same pattern. Among them, some works like Point-Mass(1996) associates the specific part of human body, but most of them are in general geometrically abstract pieces whose autonomous features become remarkable.
His recent works has a cylinder form and a trigonal pyramid as their components. That is to say, these two components are the elements constituting his sculptures. His sculptures can be a complex transformation of two elements, which result in aesthetic characteristics. Cylinders, trigonal pyramids and square pillars have their own autonomous nature as an objet in the modern minimalism sculpture. Minimalism sculpture which excludes all association by images, has its peculiar place in modern sculpture due to its own perfect self-sufficiency. Dong-Lak Lim's works also show the aesthetic essence of modern sculpture by excluding all association through images.
The shining and smooth surface of stainless steel is one of factors which make his works lively. This is closely related to the fact that his works made up of the faults with identical patterns have a geometrical or symmetrical structure. His work emphasizing the surface of cylinder when it is cut diagonally mostly depends upon its repeated structure in its aesthetic features. Its life is given by the linkage of repeated pattern as cells proliferate through their own self-division. Point-Protoplasm (Stainless Steel, 300×300×750cm, 2000) is a representative work created on the basis of this principle. This work shooting up to the sky has several cylinders. Therefore, as Eliade indicates serenely, modern men never regard the sky as the giant shelter tent supported with posts any more. In this respect, the pillars expressed in the modern monument sculpture reflect the lost myth or the desire for recovery of divinity within themselves.
Arts have gradually secularized since they separated from rituals or religion. The secularization of arts is getting more and more stronger as they come into close association with life. However, on the other hand, the fact that this kind of arts exist checking secularization, give much comfort to us. Dong-Lak Lim's sculpture showed itself in its true colors at the public resort because it separates from architectural buildings thoroughly and consciously. In particular, his gigantic pillar proves very significance on the ground that his work hold on to artistic purity while it prays for the recovery of lost divinity.
- 이전글JEON KangOk - La sculpture monumentale - 2002. 10
- 다음글CHOI, Sung-Hoon(Doktor der Kunstwissenschaft, The head of Curatorial Affairs in National Museum of Contemporary Art) - 놓여진 조각으로서의 새로운 긴장 - 2001.10.
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