2007, 구자천
노랑, 빨강, 녹색, 핑크의 서로 다른 현란한 색채의 ‘플라나리아’는 화면전체를 휘감듯 사무실 구석구석을 누빈다. 비정형의 형태인 ‘플라나리아’는 화면 구석구석을 살아서 집어 삼킬 듯이 질서와 규격으로 짜여진 사무실 공간 이곳 저곳을 침투한다. 컴퓨터, 사무기기와 함께 잘 짜여지고 체계를 갖춘 현대사회는 저항할 수 없는 불가항력의 ‘시스템’의 실체로서 유지되고 있으며 현대의 인간은 이 시스템의 부속처럼 기계적인 삶을 살아가고 있다.
정면으로 거부할 수 없는 거대한 공룡과도 같이 개개인의 삶을 감시하고 위협하는 현대사회는 현대인들에게 두려움의 대상이자 피할 수 없는 실체인 것이다. 작가 역시 이러한 ‘메커니즘’속에 종속되어 있는 일부로서 극도의 피로와 고통을 호소하며 탈출구를 찾기에 이르는데 ‘플라나리아’라는 매개를 통해 ‘유년의 기억’과 ‘꿈’ 속으로 빠져드는 ‘퇴행의 방법’을 선택한다.
작가는 ‘환상’을 통한 ‘유희의 기억’을 되새김질 함으로써 질서와 틀에서 일탈을 경험하며 동시에 현대사회의 안정된 ‘시스템’에 의문을 던지며 작가의 상상력으로 그 ‘시스템’에 일격을 가하고 싶어한다. 상상의 세계가 허용되지 않고 유년의 아름다운 기억들이 망상으로 치부되어 버리는 무감각한 사회 곳곳을 침투하듯 어루만지며 보듬는 그만의 방식으로 심리적 위안을 얻고 있는 것이다. 그러나 상상의 ‘플라나리아’는 기세가 있지만 평온한 듯이 보이지 않는다. 어디론가 끊임없이 흐르는 유기체적인 ‘플라나리아’는 상상의 세계가 ‘현실’과 융화되지 못하고 표류하는 불안정한 갈등을 표출하고 있다.
“언제 끊어질지 모르는 가느다란 균형의 실은 극도의 긴장을 불러일으키며 팽팽하게 맞선 채 환상과 현실 사이에서 왔다 갔다를 반복하지만 결국에는 환상이 현실을 완전히 뒤덮을 수도, 현실이 환상의 침투를 남김없이 막아낼 수도 없는 모호한 밸런스를 유지하는 것이다.” 라는 작가의 말에서 ‘환상’과 ‘현실’의 괴리의 간극은 좀처럼 좁혀지지 않은 채 팽팽한 긴장감으로 대립하는 양상을 보여주고 있다. 어쩌면 그것이 숙명적인 현실일 것이다. 피할 수 없는 줄 알면서도 끊임없이 상상의 ‘플라나리아’를 현실 속에 침투시키며 현대사회의 모순과 일전을 벌이는 작가의 작업에서 안일하고 나태한 삶에 일침을 놓는 야성의 미덕을 발견하게 된다. 그의 작업이 쉽게 간과할 수 없는 무게와 진지함을 지닌 이유도 여기에 있다. ■ 구자천 (진흥아트홀 큐레이터)
2007, Jacheon Gu
For the 1st Solo Exhibition 2007
Gu, Jacheon (curator of Jinheung arthall)
Yellow, red, green, pink, and many more ‘planarians’ of brilliant colors thread their ways through every nook and cranny of an office, coiling all over the canvas. Irregular ‘planarians’ permeate into all parts of a standard and orderly room as if they are alive. They seem to pick up and swallow the office whole.
People today are living mechanical lives like maintained accessories of an invulnerable ‘system’ of cold and organized business machines and gadgets.
The object of fear and unavoidable substance to people is modern society which monitors and threatens each and every person's life like a huge dinosaur who never allows us to face it.
As one of the modern people who depend on these ‘mechanisms,’ Yuna Park has also looked for a way to escape, complaining of extreme fatigue and pain. She chooses ‘a way of regression’ which indulges in ‘infant memories’ and ‘dreams’ through ‘planarians.’
She deviates from order and pattern by ruminating over memories of amusement through ‘fantasy.’ She simultaneously keeps yearning to catch the ‘system’ off guard with her imagination asking about the stability of modern times.
In an insensitive society where a dream world is never permitted and beautiful ‘memories of childhood’ are considered a delusion, Park finds comfort in her own way, embracing and stroking every corner.
However, the imaginary ‘planarians’ look restless and vigorous. Organic ‘planarians’ constantly flowing everywhere express an unstable drifting conflict which never seems to make harmony between a real and an unreal world.
“A very fine thread of balance provokes extreme tension while continuously coming and going between fantasy and reality, but in the end, it maintains an ambiguous balance that fantasy cannot completely cover reality and vise versa.” From Park, Yuna’s above statement, an alienated gap between ‘fantasy’ and ‘reality’ takes on an antagonistic aspect within an extremely tense atmosphere. Even though she is aware that there is no way to avoid it, her works fight a battle with the inconsistency of modern society by permeating imaginary ‘planarians’ into real images. They show the virtues of wild nature which gives an admonition to a life of ease and laziness. That is the reason why not to overlook the seriousness of her works.
Gu, Jacheon (curator of Jinheung arthall)
Yellow, red, green, pink, and many more ‘planarians’ of brilliant colors thread their ways through every nook and cranny of an office, coiling all over the canvas. Irregular ‘planarians’ permeate into all parts of a standard and orderly room as if they are alive. They seem to pick up and swallow the office whole.
People today are living mechanical lives like maintained accessories of an invulnerable ‘system’ of cold and organized business machines and gadgets.
The object of fear and unavoidable substance to people is modern society which monitors and threatens each and every person's life like a huge dinosaur who never allows us to face it.
As one of the modern people who depend on these ‘mechanisms,’ Yuna Park has also looked for a way to escape, complaining of extreme fatigue and pain. She chooses ‘a way of regression’ which indulges in ‘infant memories’ and ‘dreams’ through ‘planarians.’
She deviates from order and pattern by ruminating over memories of amusement through ‘fantasy.’ She simultaneously keeps yearning to catch the ‘system’ off guard with her imagination asking about the stability of modern times.
In an insensitive society where a dream world is never permitted and beautiful ‘memories of childhood’ are considered a delusion, Park finds comfort in her own way, embracing and stroking every corner.
However, the imaginary ‘planarians’ look restless and vigorous. Organic ‘planarians’ constantly flowing everywhere express an unstable drifting conflict which never seems to make harmony between a real and an unreal world.
“A very fine thread of balance provokes extreme tension while continuously coming and going between fantasy and reality, but in the end, it maintains an ambiguous balance that fantasy cannot completely cover reality and vise versa.” From Park, Yuna’s above statement, an alienated gap between ‘fantasy’ and ‘reality’ takes on an antagonistic aspect within an extremely tense atmosphere. Even though she is aware that there is no way to avoid it, her works fight a battle with the inconsistency of modern society by permeating imaginary ‘planarians’ into real images. They show the virtues of wild nature which gives an admonition to a life of ease and laziness. That is the reason why not to overlook the seriousness of her works.
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