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• [시리즈] 지금 한국의 아티스트 Now, the Korean Artists [4]

출판사 리뷰

출판사 서평 오른손이 절단된 아이가 할 수 있는 일이 무엇이었을까? 놀랍게도 아이는 성장통을 붓글씨와 그림과 김민기의 노래로, 또는 바흐의 음악에 심취하며 유년기를 넘어 청년기를 올곧이 불태우며 성장한다?. 그가 권기철 작가이다. 경북대에서 한국화를 전공하고 쉴 틈 없이 붓질을 해댄다. 지금은 오십을 넘긴 중견작가로, 성장기에 심취하였던 음악과 먹의 향기를 화폭에 옮기는 작업으로 상당한 작업의 성취와 더불어 유명세도 이루고 있다. 그의 작품세계를 모두 보여줄 수 없는 아쉬움을 남긴 채 한 권의 책으로 묶었다. 하지만 권기철의... 오른손이 절단된 아이가 할 수 있는 일이 무엇이었을까? 놀랍게도 아이는 성장통을 붓글씨와 그림과 김민기의 노래로, 또는 바흐의 음악에 심취하며 유년기를 넘어 청년기를 올곧이 불태우며 성장한다. 그가 권기철 작가이다. 경북대에서 한국화를 전공하고 쉴 틈 없이 붓질을 해댄다. 지금은 오십을 넘긴 중견작가로, 성장기에 심취하였던 음악과 먹의 향기를 화폭에 옮기는 작업으로 상당한 작업의 성취와 더불어 유명세도 이루고 있다. 그의 작품세계를 모두 보여줄 수 없는 아쉬움을 남긴 채 한 권의 책으로 묶었다. 하지만 권기철의 작품 세계는 충분히 조망 될 것이다. 작가 권기철은 거침없는 선과 어우러지는 색채의 향연으로 어두워져 가는 한국화의 현 주소를 다시 알려주고 있다. [작가 연보] Biography Ki-chul Kwon's Life (1963 ~ ) 1963. Born as the sixth child among six boys and three girls of father Dae-won Kwon and mother Seung-ryul Shin, in Onhye-ri, Dosan-myeon, Andong-si, Gyeongbuk, Korea. Onhye-ri where I spent my youth was placed behind Dosan Seowon and had Toegye’s birth place. When I was five, I had an accident of having my right hand cut off by a straw cutter. Although I couldn’t use my right hand after the accident, as I saw my father write calligraphy, I naturally came to be fond of calligraphy and making things with wood. 1971. Moved from Andong to Yeongju. In this year, I entered Yeongju Seobu Elementary School and frequently participated in calligraphy and art contests. My thoughts about paintings that my older brothers drew and the delicate hearing of my blind second brother made me get interested in sounds and music, the major motives of my paintings later. 1975. My father who was learning Chinese classics and calligraphy for himself bought me a brush. It was very fresh because it was the only expression of love that my father gave me in my youth. I accepted it as a sort found a job my life course. Due to poor family environment, my older brothers got employed after graduating elementary school, which made me constantly think that I had to leave my home, and so I became rather retrospective. 1977. As I entered Yeongju Middle School, I started to draw paintings in earnest. Right after graduating elementary school, I met a senior, and thanks to him, I could deliver newspapers after school, living in a dormitory of the newspaper branch office (six years), and I got immersed in writing and painting, learning society in a sensitive adolescent period. I entered Yeongju High School in 1980 and got influenced by Dae-kweon Hong, an art teacher. While learning calligraphy and painting, I got interested also in literature and music. I consoled myself with music and literature at late nights in the newspaper. 1983. Entered department of art, Kyungpook National University (majoring in Korean painting). In this time, I met Chang-sup Lee(a painter presently acting in Japan) and have been continuously influenced by him. I started to live as a lecturer at an art preparatory school at the same time I entered university, and I gave lectures for about 20 years. 1984. When I was a sophomore, I won awards in Daegu Art Contest, Joong-ang Art Contest, Dong-a Art Festival, etc., and kept submitting pieces to open exhibitions until the early 1990s. However, after learning Tapies and Basquiat, I lost my interest in open exhibitions. 1985. My mother who had lived so hard for her entire life passed away. I had never thought so deeply about poverty before. I was getting more retrospective, but as I met a friend of mine Jung-il Jang, a poet, my attitude towards art and society changed much. 1987. After graduating Kyungpook National University, I combined art for entrance examination with work activities at my studio. In the next year of graduation, I became an Oriental painting lecturer at Kyungpook Arts High School and gave lectures for 26 years at many art schools. 1990. Participated in the Korean Ink Painting Movement led by Namcheon, Su-nam Song. I started my activities at ‘Hanhwahwui’ and ‘Cheongse

 

 

There is Disharmony in Paintings
When I get to feel that I’m living in a mess, I come to want to read the diary that I wrote in the time absent of pleasure rather than the one of happy days. I read the faded diary that has been kept deep in the drawer and head for a gallery. There, I encounter pictures containing a similar story. Then I’m so pleased. However, it would not be easy for modern people who make time to come to a gallery in busy lives to appreciate works deeply. It’s difficult even for painters accustomed to ‘drawing’ to thoroughly appreciate works, and it gets even more difficult to understand the abstract noun, ‘empathy’, when they meet modern art. But once we specify paintings as a part of our lives, we can see emotions like pleasure and sorrow in them.
그림 속에는 삶의 불화가 있다
문득 산다는 게 구질구질하게 느껴질 때면 난, 행복한 날의 일기보다 즐거움이 부재하던 시절의 일기가 보고 싶어진다. 서랍 깊숙이 쑤셔둔 탈색되고 옹색해진 일기장을 펼쳐 읽고 미술관이나 화랑으로 나간다. 거기서 그러한 내용의 그림을 조우한다. 즐거운 일이 아닐 수 없다. 그러나 번잡한 일상의 자투리를 틈타 찾는 일반인의 눈 사냥으로 작품을 깊이 들여다보기란 쉽지 않다. ‘그리기’에 익숙해진 화가의 눈으로도 읽어내는 일이 그리 쉬운 일이 아니건만, 난해하기 짝이 없는 현대미술을 접하면 ‘공감’이란 추상명사를 이해하기란 더욱 어려워진다. 하지만 그림도 일반적인 삶으로 규정짓고 보면 그 속에 즐거움과 슬픔 같은 게 보인다.
Thus, painting always remains alive.
It is painting that cannot but be an eternal text. A plane may repeat itself to be a space, be a cutting edge, and may evolve like that. Machines can’t replace the sense of the tip of a finger. Thus, painting always remains alive. I believe in that.
영원한 텍스트가 될 수밖에 없는 것이 바로 회화다. 평면이 거듭해서 공간이 되고, 첨단이 되고, 그렇게 진화하는 것이리라. 손끝 감각의 생명력을 기계가 온전히 대신할 수는 없다. 그리하여 회화는 언제나 살아있다. 나는 그것을 믿는다.

- 권기철의 작업노트 중에서

목차
【작품 목록】
Love 러브
Dancing heel 댄싱힐
Escape 도망중
Sound is Round 소리는 둥글다
Alas spring gone again 어이쿠 봄 간다
Alas 어이쿠
Thus, Painting Always Remains Alive _ Ki-chul Kwon ㆍ 004
그리하여 회화는 언제나 살아있다 _ 권기철
The Exhausting Dream of a Human Body Aspiring to Become a Musical Instrument _ Jae-il Nam ㆍ 038
악기가 되고싶은 육체의 고단한 꿈 _ 남재일
Ki-chul's World Modeling [visual rhythm, pure autonomy of modeling] _ Ok-ryeol Kim ㆍ 072
시각적 리듬, 조형의 순수한 자율성 _ 김옥렬
Biography Ki-chul Kwon's Life ㆍ 108
권기철 작가연보