Light of Lightness

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Past Exhibition

Past Exhibition

Particles, 2018, acrylicphosphorescent pigment on canvas, 259 x 388 cm
Particles, 2018, acrylicphosphorescent pigment on canvas, 259 x 388 cm
Installation view of Light of Lightness, Gallery Simon, 2018
Installation view of Light of Lightness, Gallery Simon, 2018
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 218 x 218 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 218 x 218 cm
Installation view of Light of Lightness, Gallery Simon, 2018
Installation view of Light of Lightness, Gallery Simon, 2018
Light Lines, 2018, acrylicphosphorescent pigment on canvas,194 x 259 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas,194 x 259 cm
Installation view of Light of Lightness, Gallery Simon, 2018
Installation view of Light of Lightness, Gallery Simon, 2018
Light Lines and A Target, 2018, acrylicphosphorescent pigment on canvas, 218 x 218 cm
Light Lines and A Target, 2018, acrylicphosphorescent pigment on canvas, 218 x 218 cm
Installation view of Light of Lightness, Gallery Simon, 2018
Installation view of Light of Lightness, Gallery Simon, 2018
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 180 x 180 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 180 x 180 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas,137 x 137 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas,137 x 137 cm
Installation view of Light of Lightness, Gallery Simon, 2018
Installation view of Light of Lightness, Gallery Simon, 2018
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 137 x 137 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 137 x 137 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 137 x 137 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 137 x 137 cm
Light Lines and Numbers, 2018, acrylicphosphorescent pigment on canvas, 137 x 137 cm
Light Lines and Numbers, 2018, acrylicphosphorescent pigment on canvas, 137 x 137 cm
Installation view of Light of Lightness, Gallery Simon, 2018
Installation view of Light of Lightness, Gallery Simon, 2018
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 137 x 137 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 137 x 137 cm
Installation view of Light of Lightness, Gallery Simon, 2018
Installation view of Light of Lightness, Gallery Simon, 2018
A Particle, 2018, acrylicphosphorescent pigment on aluminium plate, Ø60cm
A Particle, 2018, acrylicphosphorescent pigment on aluminium plate, Ø60cm
Light Lines and A Target, 2018, acrylicphosphorescent pigment on aluminium plate, Ø60cm
A Particle, 2018, acrylicphosphorescent pigment on aluminium plate, Ø60cm
A Particle, 2018, acrylicphosphorescent pigment on aluminium plate, Ø60cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 107 x 107 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 107 x 107 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 107 x 107 cm
Light Lines, 2018, acrylicphosphorescent pigment on canvas, 107 x 107 cm
Installation view of Light of Lightness, Gallery Simon, 2018
Installation view of Light of Lightness, Gallery Simon, 2018
For the Worshipers, 2014-2016, sequins on the Buddha statue of polyester resin and fiberglass, 120 x 93 cm
Self-Portrait, 2017, sequins on paper, 76 x 56 cm
Self-Portrait, 2017, sequins and acrylic on paper, 76 x 56 cm
A Particle, 2018, acrylic phosphorescent pigment on paper, 56 x 76 cm
A Particle, 2018, acrylic phosphorescent pigment on paper, 56 x 76 cm
A Particle, 2018, acrylic phosphorescent pigment on paper, 56 x 76 cm
A Particle, 2018, acrylic phosphorescent pigment on paper, 56 x 76 cm
A Particle, 2018, acrylic phosphorescent pigment on paper, 56 x 76 cm
A Particle, 2018, acrylic phosphorescent pigment on paper, 56 x 76 cm
A Particle, 2018, acrylic & phosphorescent pigment on paper, 76 x 56 cm
A Particle, 2018, acrylic & phosphorescent pigment on paper, 76 x 56 cm

본문

Light of Lightness

Noh, Sang-Kyoon

May 17 - July 21, 2018

갤러리 시몬은 자신만의 조형적 언어를 구축해온 노상균 작가의 전환점을 맞이하는 개인전  <Light of Lightness> 전을 선보입니다. 작가는 기존에 사용해오던 ‘시퀸’에서 벗어나, ‘축광안료’라는 새로운 재료를 선택하여 평면 회화의 한계를 뛰어넘는 또 다른 형식, 실험의 가능성을 제시합니다.  


빛 에너지를 흡수하여 어둠 속에서 스스로 빛을 발현하는 노상균의 회화는 성(聖)과 속(俗), 음과 양의 존재에 대한 감각을 일깨우는 시지각적 공간을 가시화합니다. 낮은 채도의 담백한 색채와 건조한 표면질감의 작품들은 1분 간격으로 빛이 사라짐과 동시에 또 다른 차원으로 전이됩니다. 현실과 단절된 시공의 경계에 선 관객들은 알 수 없는 미지의 기운에 휩싸이듯 시공의 감각이 무뎌짐을 깨닫고, 자신을 둘러싼 빛의 양탄자에 온 몸을 맡긴 채 현실과 비현실, 이성과 감각의 경계를 오가는 빛의 공간으로 유도됩니다.


1층과 2층의 전시장 벽면의 자유로운 선의 형태로 구현된 지문들은 화면 속에 형상화되어 관객들의 원초적인 감각을 일깨우는 무한한 공간으로 확장됩니다. 인간 고유의 표식인 지문은 화면 전체를 휘감는 유기적인 선의 형태로 전환되어, 생명체나 거대한 소용돌이 은하 등의 형상으로 시각적 착시를 불러일으킵니다. 더불어 표피적으로 즉각 감지되는 강렬한 지문의 바탕에 드러난 다양한 형태들은  굴곡진 선의 흐름과 어우러져, 형형한 빛의 그물로 관객들을 감싸고 무한으로 펼쳐진 상상의 공간을 열어젖히며 관객들과의 감각적인 소통을 시도 합니다.


3층 전시실에서는 검정색 시퀸으로 느슨하게 몸을 감싼 부처의 좌불이 세상의 어떠한 격변에도 휘둘리지 않는 듯 정좌한 모습으로 고요한 울림을 자아냅니다. 이는 작가의 마지막 시퀸작품으로서, 시퀸과 지문회화가 뒤섞인 과도기적 형태의 지문드로잉 그리고 새로운 축광안료 지문드로잉과 더불어 축광작업으로의 변화를 가늠하게 합니다.


전통적인 예술의 아우라가 해체되고 고가의 재화로 기능하며, 자극적이고 장식적인 예술이 넘쳐나는 세상에서 노상균의 작품은 지극히 원초적인 감성으로 관객들의 감각의 결을 자극하고, 꺼져버린 상상의 엔진을 작동시킵니다. 지난 7년 간의 고민과 성찰이 담긴 이번 신작들은 영원히 지속될 듯 단단하고 견고했던 시퀸을 벗어나, 새로운 창조를 위한 필연의 과정을 지나온 예술적 정체성을 보여줍니다.


노상균(1958)은 서울대학교 미술대학 및 뉴욕의 프랫 대학원(Pratt Institute) 회회과를 졸업했습니다. 작가는 1999년 제48회 베니스 비엔날레 한국관, 2000년 국립현대미술관 올해의 작가 등에 선정되었으며, 세계 유수의 미술관과 갤러리에서 다수의 개인전 및 그룹전을 거치며 작가로서의 기반을 확고하게 다져왔습니다. 또한 국립현대미술관, 서울 시립 미술관, 리움미술관, 휴스턴미술관 등 국내외 미술관에 작품이 소장되어 국제적인 평가와 더불어 그 작품성을 인정받고 있습니다.


Gallery Simon is pleased to present Noh, Sang-Kyoon’s solo exhibition Light of Lightness, a turning point for the artist who has built his own formative language. Noh deviates from the plastic 'sequin' that has been used before and chooses a new material called 'phosphorescent pigment' to present the possibility of experimenting beyond the scope and limit of the two dimensional paintings.


His paintings, which absorb the energy of light and give off light in the dark for themselves, visualize the space of visual perception that awakens the sense of existence of the Holy, the Vulgar, Yin and Yang. The works of low-chroma colors and a dry and crumbly-looking surface texture are transferred to another dimension as the light disappears every 1 minute. At the temporal and spatial threshold, we find our sense of time and space increasingly dull as if surrounded by some unknown mysterious energy and induce into the space of light that crosses the boundaries of reality, unreality, rationality and sensation with throwing ourselves on the carpet of light besieging us. 


In addition, the skin of fingers, embodies in the form of free lines on the first and second floors exhibition hall, is shaped into the picture to awaken the audiences’ basic sensibility and expand into an infinite space. The fingerprint, which is an individual’s identifying characteristics, is transformed into the form of an organic line that wraps around the entire painting, creating a visual optical illusion in the shape of a living thing and a huge swirling galaxy. Moreover, the various forms, which are revealed on the basis of intense fingerprints and are immediately sensed with the flow of the curved line, open up the infinite space of imagination and attempt to communicate with audience members by wrapping them in a net of glaring lights.


In the third floor exhibition hall, the Buddha, loosely wrapping with black sequin threads, is calmly seated as if not swayed by any disorders and upheavals in the world. This statue, artist's last sequin artwork, allows the changes to the phosphorescent works along with a transitional form of fingerprint drawings mixed with sequin as well as new fingerprint drawings in phosphorescent pigment.


In Noh’s paintings, the most basic sensibility touches the texture of the visitors’ sense and turns on the engine of imagination that has stopped working. The new works that reflect his agonies and introspection over the past 7 years meet the artistic identity of Noh, Sang-Kyoon who has gone through an inevitable process for new creation by going beyond the hard and solid sequins as if remaining forever. 


Noh, Sang-Kyoon (1958) graduated from the College of Fine Arts, Seoul National University and the Pratt Institute in New York. The artist was selected as the Korean Pavilion at the 48th Venice Biennale in 1999 and the ‘artist of the year’ by the National Museum of Modern and Contemporary Art in 2000. Through numerous solo exhibitions and group exhibitions in the world's art museums and galleries, he has established himself as an artist. Noh’s works are collected at the National Museum of Modern and Contemporary Art, the Seoul Museum of Art, the Leeum Museum and the Museum of Fine Arts,  Houston.

Copyright ⓒ 1994 GALLERY SIMON