• Journal of Digital Convergence
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• v.19 no.4
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• pp.227-233
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• 2021

Ready-made products produced in the industrialized consumer society after the 20th century have been adopted by artists as a new material called "Found object," and are reinterpreted in a broad sense in their works. The method of giving new meaning using this creates a new paradigm that is expanded conceptually as well as expression style. After Pablo Picasso's in 1912, when the Found object was used for the first time in contemporary art, we examine the development of objects through Dadaism, Surrealism, and Pop Art, and the expression of Found objects in the late 20th century. In this study, the artists and their work are analyzed by dividing it into three types: 'Unprocessed objects', 'Transformed objects', and 'Tenant objects', depending on how the Found object is mixed in works. Through this study, I pay attention to the fact that a work incorporating a Found object not only develops the object materially, but also allows the practice of free concept art to escape from the traditional norms of art.

• Korea Science and Art Forum
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• v.19
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• pp.601-612
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• 2015

Postmodernism has blurred the line between design and art. We would like to suggest a design case that took diversity in the modern era that harmonizes functionality and shape of the top board of a furniture and trend of the role of furniture and objet into consideration. This study aims to project a new role into space via convergence of objet that has aesthetic function and furniture design that plays practical role in space. Thus, furniture design attempts to combine ceramic and carpentry and demonstrate the value and potential the combination possesses. By creating a distinct design from previous furniture that had visual limitations with ceramic bridge that adopted existing piling method in ceramic design, we expect a fresh blend of furniture and space that encompasses a different sensation from color and texture of soil and glaze, unable to attain from simple wood.

• The Journal of the Korea Contents Association
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• v.7 no.7
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• pp.96-103
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• 2007

Reincarnation, literally means "to be made flesh again". It is a mystical belief that the soul lives again in a new body after death. In this study, both material and spiritual elements are reincarnated in the form of the formative art in our life. This is similar to the notion of transmigration of the souls in Buddism and Taoism. Even a work of low merit can be an artifact when we give a new meaning and value through the reincarnation. Reincarnation opens another dimension in the formative art and it can be a new source of energy Andy Warhol, who is a central figure in the pop art movement, seems to have an idea of reincarnation in the base of his work. In Korea, there are many experimental arts in design and advertising which shows reincarnation. In the modem society, the activity and mind of reincarnation have been enhanced through Internet and digital medium and people consider reincarnation as a universal philosophy in the art. Especially, the reincarnation as a continuum of design has many implementations. Now the object will be freely adopted, and transformed and it will open a new age in the formative art. We should be ready to enjoy the arts.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.285-289
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• 2006

Currently, a cartoon is generally used for a term implying a short cut strip based on satire and humor in Korea. Today, the way of expressing a cartoon includes the active utilization of expressive ways through digital medium as well as traditional methods, and the introduction of oriental feelings or an engraving which is a technique used in fine art. Also, there is a three-dimensional cartoon utilizing objets such as cup and handbag. This study was conducted on assumption that the area of a cartoon may be extendable with a three-dimensional technique added with a tactual sense. Also, this thesis is aimed to identify the possibilities of the industrialization of cartoon contents and of becoming an edutainment (education + entertainment) through a new cartoon technique, and to prepare the basis for scientific research necessary for extending the domain of a cartoon.

• Journal of Science of Art and Design
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• v.10
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• pp.51-72
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• 2006

Reinterpretation of the visual characteristics of Korean folk painting in contemporary Korean painting is to seek directions of today's Korean painting. When examining expressions of contemporary painting we see that there is a reappearance of iconic images, a reinterpretation of both flatness and multi-perspectives, and an objectifying of pastiche folk icons with an experimental spirit. All of these techniques suggest methods of contemporary Korean painting through 'folk painting'. Although folk painting has been adopted in contemporary Korean painting for a long time, interest increased in the 1980s. With the prevailance of both national characteristic expressive techniques of realism and color painting, artists reinterpreted folk painting in their work, borrowing the traditional five colors, common contents, and iconic images. Particularly, an interest in 'Korean Beauty' drew people's interest back to folk painting which provided the significant 'Korean Beauty' of traditional expressive techniques. This study is to examine the characteristics of selected group of works that created a new expressive technique in today's Korean painting by either the reappearance or the reinterpreting of iconic images of the Chosun Dynasty's folk painting. To achieve these goals, the artists, who modify or reinterpret folk painting's visual characteristics with a contemporary sense, are divided into three categories in this study; 'The Readoption of the Folk Image', 'The Reinterpretation of Folk Characteristics', and 'Experimental Expressions'. As a result, it proves that folk painting is both a classical expression and national expression which was not only favored in the Chosun period, but also can be reinterpreted through today's visual methodology.