Once Upon A Time in Seoul, Bye Bye Nam June Paik at the Media Bridge Exhibition Closing Finale Party
원래 이글은 백남준 한강 기념 다리 미디어센타 건립기념을 축하하는 날 시작한 내용이였습니다. 백남준 선배는 한국의 비디어아티스트로서 유일하게 세계적으로 알려진 분입니다. 이글은 그분의 공적을 폄하하거나 부정하려는 의도는 전혀 없으나 국내외적으로 Fluxus에 관계된 몇가지 점을 집고 나가고져합니다. 우선 원문을 도입하겠습니다. ..
The Fluxus Manifesto
By Fred Camper
"IN THE SPIRIT OF FLUXUS"
at the Museum of Contemporary Art, through January 16
FLUXUS: A CONCEPTUAL COUNTRY
at the Mary and Leigh Block Gallery, Northwestern University, through December 5
Five years ago there was a conference commemorating the 20th anniversary of the protests at the 1968 Democratic Convention in Chicago. The original leaders were scheduled to attend, and many lectures and symposia were listed in the ads, but anyone who read them carefully had to have been struck by the irony of a line at the bottom announcing that tickets could be purchased through Ticketmaster.
Museums face a related problem mounting exhibitions of the Fluxus artists of the 1960s and 1970s. In commemoration of the (approximately) 30th anniversary of Fluxus's founding, five Chicago institutions--the Museum of Contemporary Art, the Mary and Leigh Block Gallery at Northwestern University, the Arts Club of Chicago, Gallery 400 at the University of Illinois, and the School of the Art Institute--are offering exhibitions, lectures, symposia, and performances, though at $20 for some of the performances, many people will be excluded.
The word "fluxus," connoting continuous flow or change, was coined by founding spirit George Maciunas in 1961; he planned to use it as the title of a publication. In 1962 performances in Wiesbaden, West Germany, were mounted under that name. Soon a wide variety of artists associated themselves with the term: from the beginning, Fluxus was international, with adherents in North America, Europe, and Japan. The art was improvisational, anti-institutional, antiauthoritarian, often humorous. Fluxus artists worked in a wider variety of media than any other "movement" I know of; the MCA and Block Gallery exhibits include posters, books, musical scores, musical instruments, records of performances, sculptures, installation pieces, found objects, board games, films, videos, interactive displays--there's even a machine that dispenses Fluxus stamps.
Unfortunately most of the works in these exhibits cannot be experienced as originally intended. To its credit, the MCA has included many "interactive" displays: some works can be touched, and one of them allows the viewer to make music; books and magazines can be picked up and read. But in both shows there are games, books, boxes that were intended to be handled that are frozen in one position and behind glass. This is a practical necessity, but the result is at times alienating--the opposite effect to that originally intended. Then, too, both exhibits are huge--the MCA has over 1,000 objects--and there's much to read: texts of various kinds, including instructions and scores for performances. If one tries to see everything in either show on one visit, the effect can be a bit mind-numbing.
Still, both shows are very much worth repeated visits: not only is the best of the work superb, but the ethos behind much of the work is refreshing, even inspiring. Influenced by earlier radical innovators of this century--the Dadaists, Marcel Duchamp, John Cage--Fluxus artists generally rejected conventional Western aesthetics, in which a network of relationships between the subject matter and color, line, and space creates beauty and meaning. These artists strove to create instead an art that is simpler in its means, more direct in its appeal to the viewer, often interactive, and closer to daily life.
Most of the original Fluxus artists denied that it was a "movement," preferring looser terms, such as a "tendency." Fiercely individualistic, even anarchistic, some of these artists--including a few in these shows--soon disassociated themselves from Fluxus. It's also been argued that some work made before the official christening in 1962 and after Maciunas's death in 1978 exhibits a Fluxus attitude. Obviously there can be no rigid definition, though a number of characteristics describe, in varying degrees, much of this work.
Like many art movements before and since, Fluxus had some of its roots in younger artists' disgust with the current artistic and social order. Thus some of this art explicitly negates established forms. The highly structured, hierarchical nature of past art is attacked in Dick Higgins's 1,000 Symphonies (c. 1963, at the Block Gallery; works not so noted are at the MCA): three sheets of music paper contain many staffs labeled for various instruments, solo singers, and a chorus, as if for a giant, Mahler-sized work. But there are no notes, and the pages have been ripped (supposedly by a machine gun) and spray-painted gray. Higgins said he was protesting the "imposition of one will over another in the most dictatorial and technical way"--the performance of classical symphonies of course requires a highly disciplined orchestra, who must all surrender their own wills to play the piece.
Similarly, many Fluxus artists were antinationalist. Ken Friedman and George Maciunas's Visa TouRistE, Passport to the State of Flux (1966, 1977; Block) is an imitation passport in which "the Minister for Fluxfests requests all those whom it may concern to allow the bearer to pass freely." Artists' references to their own countries were usually negative. Maciunas's U.S.A. Surpasses All the Genocide Records! (c. 1966; in both shows) is an American flag with skulls and crossbones for stars; its red stripes print facts about the genocide committed by different nations--and the United States comes out on top. But the work doesn't come across as simply a propagandistic poster because we read it first as a flag, then see that it represents the opposite of what a flag traditionally stands for. Not surprisingly, several other pieces also subvert flags.
While many American Fluxus artists had socialist sympathies, those from other countries often opposed their governments, too. Czech artist Milan Knizak's Relic (1970; Block) is a hammer and sickle made out of yellow foam, compressed on one axis to the point of seeming squashed. Especially in the context of approved socialist realist art, this can hardly express a positive attitude toward communism.
In its attack on the existing social order Fluxus almost inevitably turned to sport. Several "Fluxsports" were performed at Rutgers University in 1970. George Maciunas and Bici (Forbes) Hendricks made Flux-Stilts (c. 1970), which had baby shoes at the bottom, on which participants attempted to play soccer, presumably with little success. In Altered Ping-Pong Rackets (c. 1970) Maciunas modified commercial rackets in ways that undermined their intended function: one has a large hole in it, one has a series of small cups fastened to it, another is covered with thick foam.
Maciunas goes beyond the typical modernist effect of enriching the way we see a thing by defamiliarizing it--he implicitly critiques sports competition itself. Then and now, success in sports has often been tied in the American mind and language to success in politics and business--"Crush the competition," a certain ex-coach proclaims in TV ads for an electronics store. But for Fluxus artists free, imaginative, goalless play--actions performed for their own sake--are superior to actions meant to achieve a discrete result: struggling to play soccer on stilts is of more interest than a "real" game.
But the main tradition in Fluxus is neither negation nor social critique but rather affirmation. Maciunas's Manifesto (1962) alternates dictionary definitions of "flux" with a handwritten text: "Purge the world of . . . culture . . . of dead art . . . abstract art, illustionistic art . . . "; it goes on to advocate "NON ART REALITY." This is a key to the thinking of Maciunas and other Fluxus artists: they not only wished, like many other artists of this century, to blur or dissolve the distinctions between art and life--they wished to use art to help "all peoples," as Maciunas wrote, to redirect their attention to life.
일단 여기서 잠간 끊고 이글에 대한 해석은 다음 이어가면서 댓글 에서 하겠습니다만.조그만 담벼락에 너무 많은것을 담을려 하다보니 잘려서 날라가기도 합니다. 여러 평가를 조심스럽게 하나씩 하나씩 올리겠지습니다.
죤케이지, 듀샹 그리고 FLuxus를 이기회에 확실하게 공부하고 집고나가야 하겠지요? < 이런점에서 백남준 선배님!은 기나미에게 아주 또 다른 큰 화두를 남겨 주셨습니다.
ㅎ, 기나미도 ㅁ머지않아 곧 무덤속에 들어갈 대열에 있기에 선배님의 혼령이 살아 있을 때 본인이 가고 난 다음
지금 용기를 내어 들먹이는 점을 이글을 읽는 분들은 이해해 주십시요. 하도 이즈음 세상 겆저리 인생들을 사는 본의 아니게 자의반 타의반 스스로 속고 사는 평론가 작가들이 많은 것 같기에
정신을 차려 일침(?)을 놓고 싶은 것 뿐입니다.
<선샹님! '예술은 사기' 라고 한 선배님의 말씀은 참 심했다고 생각이듭니다> <선샹님! 그런 선배님한테 무얼 기대하시는 거죠?> <역사의 잔인한 침묵 그리고 평가를 기대하고 있네.. [부관참시는 아니더라도 아닌것은 아닌것이야!]. 임금님 벌거벗은 것을 뻔히 보고 있으면서 아닌것처럼 자신을 속이면 안되네.. 아이들의 천진성이 선배들보다 이런경우 낫다는 게 아닌가.? 작가들은 꿀먹은 벙어리들이 되면 절대로 아니되네.. 문제는 벙어리들 그리고 장님들이 너무 많은 것도 탈이야... 적어도 뉴욕은 이런 벙어리들 장님들은 절대로 통과 시키는 곳이 아닐세.. ㅉㅉ.. <썬샹님 너무 심하게 가시네요!> 맞아! 우매하게 공자 맹자 장자 부처님이 기나미를 이렇게 가르쳤다네> 이제 부턴 그리 쉽게 안 속을 것일세
<기대하질 않지만 너무 주위에 늑대들과 여우들에게 시달림을 받아서는 안된다는 교훈을 백남준 선배가 주셨지. 그 점에 있어서 참 대단하신 분이였어> 전시장에선 늘 후배들을 슬슬 피하셨지. 지금까지 참 여러번 함께 뉴욕에서 전시 했었는데. .기나미를 보면.. ,그 분이 보시기에 <생략> 참 한심했을 것이야. 피아노를 절단..붓과 종이를 쓰레기에 버린 분 그리고 뒤늦게 붓을 되찾은 분 . FLUXUS, Dada란 일시적인 유행 원래 그런것이려니 생각하면서도 듀샹이나 벤자민과는 한수 더 낮은 한심한 존재로 보입니다. 이들의 행위는 항상 일회성 일시적이라는 점이기 때문일 겁니다. . 클래씩이 어렵고 넘기 어렵다 치더라도 못하면 옆에서 하는 사람들을 지켜보면 될것이지. 왜 수천년을 내려 온 붓과 종이의 세계 남들이 열심히 좋다고 하는 소리의 세계를 그만 두라고 해야 합니까?. 쉔 버그나 존케이지 까지는 좋았는 데 톱까지 도원할 필요가 있었겠느냐 하는 점에선 심하다는 말 밖에 할 수 없습니다. 스쿠루 드라이버로 형상을 위곡시킴으로 타학적으로 욕구불만을 꼭 채우셔야 되나요?
역사란 서로 인정하면서 함께 흘러야 됩니다. 옆의 흐름들을 너무 과격하게 건드렸습니다, '휘트니뮤지움 Junk'들이란 표현들이 나왔습니다. 특히 동양 문화를 건드렸는 데 그 방식이 또한 이론적이질 못했습니다. 옛것을 톰으로 무대위에서 그냥 잘라 버려야 된다는 논리 붓과 종이는 버려야 된다는 논리는 도대체 어디서 나왔는 지 모르겠지만..
... 동양예술론의 핵심인 붓, 서법 화법이론 세계에 기본도 갖추지 못한 사람들이였습니다. 사상과 이론의 근처에도 못접해 본자들이 동양미술을 이러쿵 저러쿵 왈가 왈부하는 모습들을 보면..아닌것은 아닌 것입니다.
Fluxus Movement에 관하여 몇가지 기사를 일차적으로 추려봅니다.
그동안 오래 뉴욕에서 현장에서 지켜보았던 후배로서 조금 있으면 허심 탄회하게 다른 후배들의 관점도 또한 올려지겠습니다.. 비판적인 글이 될지도 모르나 각설하고. 옛날 이야기하나 합시다. 지금은 고인되신 중앙일보 김재혁 뉴욕특파원과 함께 백남준 선배님 스튜디오를 올라갔습니다. 처음 그러니까 처음 우리나라에 소개를 한 사람이 김재혁 선배였습니다.. 뉴욕 속의 '한국미술'의 을 이야기 할 때 곧 이야기는 언급이 되야 할 것입니다. 다시 한국 이민 예술(Hybridization)을 논위할때 꼭 이 분의 이야기를 포함 시킬 기회가 주어져야 할 것입니다.BR>
<에효! 썬쌍님! 공연히 본전도 못 추릴 일을 왜 하시렵니까? 그냥 넘어 가세욥! 그럴시간에 창고에 있는 미완성 그림이나 완성하세욥!>
젠장! 맞아 역사란 개인이 이야기를 참새처럼 구지 재잘 재잘 되지 않아도 스스로 정화시키는 무서운 힘이 있지.. 침묵의 힘... ㅎ. 재잘 데기 시작하면 시끄러워 지겠지만. 우리가 이야기하고져 하는 것은 참새들의 이야기가 아닙니다. 구렁이들과 독사들의 이야기이지요.. <선샹님 그만 넘어가시고 구체적인 증거와 논리로으로 차근 차근 말 씀하세요>.ㅛㅛ.. 맞아 ㅛㅛ..
지금은 이야기할 분위기가 아닙니다. 역사가 냉엄하면 할 수록 미래는 비례하여 밝아진다는 점만 믿는 수 밖에 없겠지요. 하지만 이야기를 꺼냈으니 끝장을 보아야겠지요. 기나미는 원래 무턱데고 '열정적인' 사람들을 좋아하지 않거들랑요!.,<썬쌍님! 열정적인사람을 더많은 사람들이 더 열정적으로 좋아 하거들랑요?>
진실되게 사는 이 수 많은 예술가들을 사기꾼처럼 취급하여서야! 젠장이지!
그런데 젠장 왜 이리 한글 오타가 나는 지 모르겠습니다. 철자법도 바뀌였고..
그들의 주장 속에서는 어찌 하여튼 기운의 세계가 개입되지 않는 영역이 있기 때문이기에 .. 붓의 세계가 통할 리는 만무 일테지만.. 그래도 .
지난 두 달 전
건국대 광장구 롯떼호탤 앞 2호선 7호선이 만나는 곳으로 스튜디오를 옮겼습니다.
그림공부,인생공부/연극공부를 하느라 컴퓨터 기록들을 제데로 하질 못했습니다.
동가 숙 서가식 (東家 食 西家 宿) 이였습니다.
글자 그대로 이쪽 집에서 자고 난 다음 저쪽 집에서 그림작업을 하고. ^ㅎ^ 바람처럼 떠도는 인생살이.
The prominent contemporary art collector Dr. and Mrs. Schnall of Palm Beach celebrating the installation of their purchase of painting of New York scene by Kyu Nam Han. I attached the photo with email to you.
I interpret Korean Modernism within the Western cultural context, and vice versa—Western Modernism within the Far Eastern cultural context.
I incorporate traditional values and methodologies, such as 'perspective' and 'chiaroscuro' of the West, and 'chun'( 峻,埈, passage and grid) from the East.
I blend Eastern isometric perspective with traditional Western linear perspective painting
to create a fusion of both depth and flatness,
and then apply calligraphic principles to recreate new pictorial images.
In my works, I mix two cultural genes together.(Transculturalization)
The images of the street include cars, buildings, lights, etc. and the mosaics of fragmented color are carefully demonstrated on the canvas.
I repeatedly superimpose and substitute structures and images by overlapping lines of contours.
The images, the whole drama of the surface come under the relationship of deconstruction
resulted from the effective usage of various grids.
At the same time, Eastern conventional calligraphic methodology has been employed as a key element in my painting:
1) Hieroglyphic images correspond with structure and meaning.
2) Signified becomes signifier.
3) Meaning correlates with form resulting in an altered sense of totality, providing both irony and ambivalence.
4) Calligraphic gesture creates action.
5) Binary opposition issues transform into new perceptions;
There are continuous processes of forms deconstructed and reconstructed of their meanings
occurring between the elements of
broken lines, etc.
I recreate my own form of pictorial hieroglyphs.
I highlight the drama of my paintings by introducing dots on dots,
orchestrating a symphony
with such contradictory variances in theme
in order to create Hybridities existing between East and West: Synthesis of Opposites:
Together, these ambivalent elements are converging into one single totality.
I am a Formalist and Multicultural Pluralist.
I have searched for new generative sources within a global cultural context
in order to invent a new way of making an art form
from my past and present,
in art vernacular,
can be deemed Modernist,
Post-Modernist, or Neoclassical Modernist.
Perhaps a better way of saying this is that I am a “genetic engineer in painting".
새로운 미래지향적 창조의 흐름은
-I am defining hybridity
기존(Conventional Values, Preexisting Criterions) 전통의 둥지를 떠나
-the artist should be free from the yolk of conventional values and preexisting aesthetic criteria
새로운 것/곳(New settings,conditions and Surroundings)멀티 공간 시간 국면 조건 상황과 만날 때 생긴다고 봅니다.
-In order to create new settings, conditions and surroundings which are more appropriate to the new given circumstantial reality, one must find common ground and catalytic elements.
서로 다른 성격의 것들(Opposites)이 합(合 Synthesis, Fusion, Pollination, Cross-Over, Transculturalization,and Creolization)이 되어 진 다음
또(At that Moment) 다른 차원의 새로운 하이부리드(Hybridization)를 만들수 있는 작은시점,
방향(Turning Point,Generative Force)이 이루어진다/주어진다고 봅니다.
-There are some forms of qualitative and quantitative unbalances existing between them for which the artist is consequently entitled to counterbalance them, striving toward newfound harmony for future developments.
I call this situation the Turning Point, in which the artist exhibits a Generative Force that makes this transition possible, and without disruptive chaos.
The artist works within a state of ambivalent uncertainty and experiments empirically, until he discovers the appropriate way in which to proceed, eventually developing his own original artistic form.
작은 시점이란 상반된 두 요소 (양면적,이율배반, 혹은 혼돈된 상태, Incompatible State,Chaos, Irrational,Ambivalent, Contradictory, Dichotomies)가
When the artist reaches such an incompatible state of ambivalence and..., this means the point where the artist has no choice but to to abandon and negate the preexisting value systems.
서로의 가치와 위상이 부정된(irreconcilable) 시점(時,詩,視點 -time, space, and angle, point of view/viewpoint, metaphoric qualities, qualitative order)을 의미합니다.
이쪽에서 저쪽으로 혹은 과거에서 현재 그리고 미래지향적으로 해체/대기되었다가
Inevitably, his concern shifts from old to new, from then to now, and from there to here, thus creating a transculturalized and creolized transcendent reality.
새로운 모습/양식으로 통합/재창조(Resurrection, Rebirth, Reconstruction)되는 시점을 말합니다.
초월과 상승을 지향하는 우리 모두(?)의 의지/실천/개혁/표상/선택/창조적 욕구가 강하게 있기 때문일것입니다.
The more artists who are willing to attempt at innovation, the more positive the expected result will be.
Synthesis of Opposites: Deconstruction and Reconstruction:
On my painting
The metaphoric substances are ambivalences and contradictions:
Dichotomy of everything : Absurdities in mind
In one hand, 'line' is functioning as the means of the image making — that is, , ?
on the other it transforms into the form of hieroglyphic stance
;diagonal, vertical, horizontal proximities
in which forms, images and figures are playing to be as such a role as character or as such ;
as monads, fundamental elements, basic building blocks :
in transient state of: 'writing through'(草書的,書法的)
starts to create a new steps;
the elements are gradually converging and transforming into the oneness of single totality:
to fuse metaphoric conceptual world into/with the meaning of picture world (書畵同原,源,元),As the bases of generative sources
when the picture elements of the painting incorporate with the underlying meaning of the general structures(寫意)
it presents as well as represents to us a sense of resemblance of that object(形似)prior to the encountering moment of the subject: Natural state of being of the artistic mind comes after to be
where the relativities (畵意,心床,想,狀,像,商,相) (underlying intention of image making, state of mind, imagination, orderly manner of object, images of object, relative proximities of the line, and other given elements such as color, texture, rhythm, repetition) for existing between means(畵風,方法)and ends(結果, 意圖)
are all in one : (圓融一體, 整體功能, 主客合一,有無相通,三生萬物)
두 문화권 의 느낌/관행을 섞기란 마냥 어렵기도하고 민감하기도 한 끝 없는 과제/도전이기도 합니다
Mixing two cultural conventions and traditions is very difficult for the artist to do because it must be done in a very careful manner and because the gap between cultural contexts can be so broad.
어찌하여튼 서울 과 뉴욕풍경의 느낌을 여기/저기에서 우선은 기본틀을 갖추기위한 실험을 이쪽 저쪽 상반된 각도에서 적용하여 보았습니다.
Even though different cultures are sometimes contradictory and incompatible, the more this is true, the more I find myself challenged to discover the common ground between the two, and the specific points in which the two poles meet. I think that this middle ground is ultimately the space in which two cultures that are at odds can meet peacefully face to face and see reflections of themselves in other, thereby mollifying conflicts that had arisen as a result of perceived irreconcilable differences.
한규남 회화의 기본원칙은
I have three fundamental principles in the way of demonstrating perspective:
Western linear perspective that Renaissance artists developed
Eastern isometric perspective method that Hindu-Buddhist developed
몬드리안의 '브로드웨이 부기우기(1943)' 그리고 Kyunam Han 한규남의 '맨하탄 부기우기(1988)'를 비교하여 보십시요
Broadway Boogie Woogie, 1942-43
Oil on canvas, 50 x 50"
Gallery label text, 2006:
Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie–woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie–woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway.
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187:
Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings.
Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act.
Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm."
This is a rock and roll landscape. Don't you think it is rocking?
[Painting] is like music. One note and then another. Otherwise, it won't work.
Every day. The more you touch it, the more steps it advances. Complexity. Unpredictability. You can hardly measure it. But as you keep going, it leads you where to go.
I'm interested in the proximity of grids, line, colors, and forms. People don't understand what proximity means. Let's put it this way: the kind of planar relationship; like a membrane. One layer, another layer, third layer. Like dimensions. Incomparable dimensions of different worlds. Contradictory, contrasting layers. By putting them together, you can turn painting into the musical state. You can hardly put it in language. Like in music, different instruments coming together, forming something peaceful, pleasurable, aesthetic. It's like music. You can hardly put it in language, but it's there. That's what art is for. Music, poetry. This is the poetry of color, this is the poetry of music, and painting as well.
When you are driving, through the window you see a mirror image. It's like Pirandello. It's like another set inside the curtain. Inside the frame, there's another frame. I like that aspect. We saw the play, and I changed it after I saw that one. The play within the play. In this case, maybe, inside the window there's a visual element, which conflicts with the structural passages, grid, and the perceptual elements and the literal elements of the image. All elements mixing together. It's rock and roll: spontaneously, it fits together. That's where the mystery lies. It's there, you know. Painting, music, poetry: it's there. Even though I brought it forth through my action, my labor, my thought, my decision, my conceptual, emotion feeling. I decided this: okay, let this color be here; let this line be here. As it accumulated, converging as a whole, and at the same time culminating into a certain final stage, final level, beyond which you cannot proceed or push [progress] further, that's it, upon which I stop painting. No where to go. If you try to go further, the gridity will screw it up and destroy the entire course of the aesthetic, natural sense of nature and nurture.
Anyway, it's about to be finished. Maybe a few layers more, then I'll finish it.
From this point on, I want you to record it and scrutinize how the final stage changes it.
It's like a marathon runner: at the last stage, that's where the key always is. The conclusion, the solution, the goal. Why this guy is making these paintings from the age of two, and until now. This is the culminating point. The whole painting in this section: I can say it's the summit point. The last painting is very important. Like Beethoven's 9th. Mozart. You name it. ... I like this New York scenery; you'll see.
This is basic ground. This is the first plane in my set. You know how many planes are involved? Probably, a lot. For the last two years, I've kept bringing, adding, breaking up.
Maybe next time when we have a good camera. You always vibrate, man. I don't blame you, you do it all by hand.
These paintings are going to be really incredible. This whole eastern landscape, I just transform into western means; western color and spacial concept, onto the eastern imagery and the eastern way of constructing the landscape painting. They have their own way of building up the space. I would call it isometric perspective, In eastern tradition, the perspective, so called, when the Venetians invented it during the Renaissance, that perspective was invented by the theater designer by the way. The remote scenery. There is a converging point, the vanishing point. You feel like your eyes see endless space, perceptually. But Eastern people—they think they are sitting here with everything equally distributed. Like [Mandela] concept, meaning you are in the center, and everything else is surrounding in a circling relationship. You know when you see the Buddhist painting? One big thing in the center and all of the minor things narrating, surrounding it. The Egyptians, however, they call parallelism, they build up the Egyptian wall, if you scrutinize the hieroglyphic walls, they wrote and filled it up with language, the language in that case, symbolic pictures, stating whatever they wanted to say, considering each sign as each word in the language. Unfortunately, in Greek, eurocentric culture, each word is not a picture, each word is phonetic. On the other hand, in the Chinese culture, or Egyptian, the language itself is a picture. So, like Wittgenstein, or John Sur, they are questioning language as a tool to express something, and the picture differentiates it. It's a very complicated level when the language becomes a symbol, relates with the meaning, relates with a picture. In eastern culture, they already recongize it. Language is a picture. Writing and painting is the same. Isnt that interesting? But in eurocentric culture, in the 19th century, by the time the Cambridge philosopher Wittgenstein brought that issue, picture theory, with that very philosophical linguistic old world level [perspective].
But, if you look carefully at this painting, i'm like Yu Na Kim. Jumping and turning in the air The triple lutz. Picture, language. And again, picture, language. You can combine it; you can mix it up. And sometimes it doesn't matter whether it's picture imagery as an element functioning or if it's just functioning to deliver a meaning as a picture— a temple or wall. The real thing is like an orchestra, a symphonic, musical, symphony #9—or just opera, voice as a meaning, pure abstract aesthetic quality of sounds—and I am orchestrating by using all possible elements.