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논문 기본 정보

자료유형
학술저널
저자정보
서혁준 (홍익대학교 대학원) 장웅조
저널정보
한국기초조형학회 기초조형학연구 기초조형학연구 제24권 제5호
발행연도
2023.10
수록면
239 - 255 (17page)

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The proliferation of engaging visuals due to the advent of the internet has substantially constrained our imaginative capacities. This diminished imagination adversely affects our ability to critically evaluate artistic works, as our understanding and interpretation remain inadequate. The purpose of this research is to reevaluate the significance of imagination in critiquing contemporary art. We explore Gaston Bachelard’s seminal theory on imagination, which has been likened to spearheading a Copernican shift in the way imagination is understood, focusing particularly on the central concept of the four elements. Bachelard saw imagination as the essence of human mental activity and the power to transform images. According to him, humans can recognize the object as one of the four elements through imagination, grasp the nature of the object, and create a dynamically changed image. Bachelard’s vision of the four elements as fundamental constituents of the world echoes in countless artistic endeavors throughout history. The research design of this study involves applying Bachelard’s theoretical framework in analyzing the creations of four contemporary artists, each representing one of the four elements: Um Hyuk-yong(representing fire), Bill Viola water), Im Ok-sang(earth), and Lee Seung-taek(air). Through this lens, we discern in Um Hyuk-yong’s art a representation of “transcendence through death,” while Bill Viola’s pieces reflect the “interconnectedness of life and demise.” Im Ok-sang’s creations evoke the “essence of terrestrial life,” suggesting a yearning for a “reunion with our primordial origins,” whereas Lee Seung-taek’s pieces exemplify the kinetic qualities of the atmosphere. The study concludes that Bachelard’s theory of imagination furnishes a multidimensional analytical approach that invigorates both the artists’ and the viewers’ imagination in interpreting artistic expressions.

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