• 패션비즈니스
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• 제17권4호
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• pp.40-57
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• 2013

In examining the relationship between fashion and art which are intimately interrelated, the body is a suitable subject in that it is the common object of representation. This study investigates and compares the images of the body in Francis Bacon's paintings from 1940s to 1970s and the formative aspect and aesthetic value of the abstract body images in Rei Kawakubo's designs since 1980s. The figures in Bacon's paintings are confusingly and atypically deformed as well as distorted, which are the combinations of the anatomies without references, not so much represented objects as experienced sense. Kawakubo's designs attempt to deform the body, moreover, she transforms the body; represent abstract forms without association with any other figures that exist, emphasizing sculptural or architectural shapes of garment. She suggests extensive visual language of dress by challenging the norms of beauty. The body in Bacon and Kawakubo's works is dispersive as well as complex in that the body images are deconstructed, fragmented, and exaggerated. Respectively, they articulate the perception of the body in postmodernism era by destroying the myth of subject; furthermore establish the aesthetics that transcend conventional ideals by reevaluating as well as refusing the standards of beauty.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.114-121
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• 2012

Gilles Deleuze is a philosopher who replaces the world of representation defined as supremacy of identity with the contemporary reason of non-representation in the history of western philosophy that wants to transcend Plato. Deleuze developed his own philosophical concept through philosophical reason and encounter with arts, for which reason he exerted a great influence on artists and architects in diverse fields. Particularly, 'Logic of Sensation' published in 1981 considers the non-representation painting approach through Francis Bacon's painting theory defined as 'invisible force's visibility'. And it is considered that SANAA's architecture among many contemporary architects accepted the essence of Deleuze's philosophy and continuously reflects it on projects. Hence, objective of the present study is to consider how the non-representation constituting a root for Deleuze's reason has been indicated in paintings and architecture through examining the works by Bacon and SANAA. First, a theoretical consideration will be directed to non-representation, followed by an analysis of Bacon's painting works and SANAA's architecture projects from the viewpoints of the force of isolation, the force of transformation, the force of dissipation and the force of time dealt with by Deleuze in 'Logic of Sensation'. Finally, through such analysis, the characteristics of Deleuze's non-representation indicated in architecture and paintings will be derived.

• 한국의류산업학회지
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• 제15권6호
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• pp.874-885
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• 2013

This study analyzes the visage in fashion illustration based on the deconstructed visage of Francis Bacon's paintings as well as analyzes fashion illustration works since 2000. The deconstructed visages in Francis Bacon's paintings are classified as blurring, elimination, distortion and division. The expressive methods and meanings in fashion illustration (according to categorization) are as follow. Blurring shows an ambiguous visage organ by the sweeping of the brush, removal of a boundary among the visage, body and clothes, gradation of organic line like visage shapes, stretching of the a plat combined to visage and fragmentation of visage. It represents an uncertainty of the fashion theme and image interpretation, impossibility of figure by ambiguity, fantastic effect and the induction of the uncanny. Elimination shows the background color's painting of a photo-montage, overlap of a cutting of visage's part and background of a plat, elimination of the visage and the elimination of eyes, nose or lips. It represents a weakened identity, the reinforcement of anonymity, creation of a violent image, and uncanny unfamiliarity. Distortion shows a distorted visage by free drawing, and unconscious drawing line, fluid digital body, combination of an unconscious curve, and an eccentric combination of the accidental. It represents the relief of specialty about realistic existence, hypothetical immateriality and fantasy. Division shows overlapped visages with different angles, the weird combination of a plural visage and different species and a plural breakaway of direction, and the position of several organs. It represents motion by power's trace, non-territory of species, ambiguity and uncertainty and the uncanny.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2006년도 추계학술발표대회 논문집
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• pp.115-120
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• 2006

This study concentrates on a new idea that is formulated as a creative space recognition in contemporary architecture and painting. It is stimulated from Deleuze's philosophy, which is expressed with the philosophical instrument, "Non-Representation". After discussing the concept of non-representation used in Deleuze's philosophy, case example in contemporary architecture are analysed to comparatively Investigate the relationship between the architectures by Rem Koolhaas and painting by Francis Bacon. Therefore, he founds expressions of "diagram" and "movement" in painting of F. Bacon. Diagram meansit is a power that is comprised of various points of wiew with the kind experiences that one has in life. Movement that were extracted form the Instrument in space recognition of Deleuze's panting theory were of topology, insertion of geometry, reiteration of layers, transparency and translucency, reflection effect.

• 철학연구
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• 제145권
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• pp.381-407
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• 2018

들뢰즈는 자신의 특유의 감각론을 "감각의 논리"에서 베이컨의 회화를 통하여 전개한다. 거기에서 문제가 되는 것이 광학적(optical) 시각과는 다른 '시선의 하나의 가능성'을 나타내는 <햅틱 haptic>이라는 감각이다. 우리말로 다양하게 번역되는 이 햅틱이라는 감각개념을 들뢰즈는 오스트리아 미술사학자 알로이스 리글(Alois Riegl)을 경유하여 수용하고 있다. 리글이 이집트의 저부조(bas-relief)에 대한 '근접 시각'(Nahsicht)의 의미를 가지고 이 개념을 사용했는데, 들뢰즈는 그의 발상을 이어받아 햅틱 개념을 적용하여 베이컨의 회화를 논하고 있다. 이집트의 저부조에 대하여 사용된 개념을 회화에 사용하는 이상, 들리즈의 회화론에는 리글에 의하여 제시되고 있는 것 이상의 의미가 았다. 다시 말하면 들뢰즈의 "감각의 논리"를 단순히 베이컨의 회화에 관한 논의(論議) 이상의 새로운 감각론을 전개한 것으로 파악할 경우, 중심이 되는 개념은 베이컨의 회화를 상징하는 햅틱 개념이라고 할 수 있다. 그런데 햅틱이란 도대체 어떠한 감각 개념인가? 또한 들뢰즈의 감각론은 도대체 무엇인가? "감각의 논리"를 들뢰즈 자신의 감각론이 전개된 저작으로서 파악하고, 특히 햅틱이라는 감각에 주목하여 그의 감각론을 명확히 밝혀 보려는 것이 본 논문의 목적이다.

• 한국콘텐츠학회논문지
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• 제12권10호
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• pp.138-147
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• 2012

현대에 이르러 공간디자인 분야에 나타난 의미 있는 시도는 공간구축과 담론의 교차점을 찾으려 시도한 것으로 평가된다. 본 연구는 현대 철학자인 질 들뢰즈가 프란시스 베이컨의 회화를 분석하여 자신의 담론을 전개한 문헌에서 공간적 단서를 찾아 현대 공간디자인과의 공통적 특성을 밝히는 것이다. 들뢰즈의 분석에 따르면 베이컨의 회화는 골격-배경(아플라), 형상-형태(형상) 그리고 윤곽-한계(트랙)라는 세 가지요소로 구분된다. 이러한 회화의 세 요소로부터 '형상-사건의 발생', '트랙-감각의 장소', '아플라-배경과의 상호작용'이라는 공간적 분석어를 추출했다. 그리고 이 분석어로 렘 콜하스의 최근 작품을 분석했다. 렘콜하스의 작품에서 확인되는 들뢰즈 공간론은 사용자와 공간 사이에 발생하는 사건 중심, 사건 발생을 유도하는 장소, 사용자와 공간 또는 공간과 대지 사이의 차이생성이란 방식의 적용이다. 결과적으로 현대 담론과 공간디자인 모두는 생명 운동에 의한 '차이'로서 이해된다는 공통의 특성을 확인할 수 있었다.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.84-92
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• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture and painting. It is stimulated from the classical baroque, which is expressed with the conceptual instruments, 'excessive', 'decorative', 'accidential' Suggested from that, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry and in the same context by elucidating the dynamic deformalising of the figures by Francis Bacon. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding, and Bacon, whose painting can be called as the modern baroque, takes as the expressing methods a wrenching of the figures, a relieving of the colored background against the figure and a disappearing of figures into the background. These different ideas meet in the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent, Through the general principle of 'the new baroque', a free dispersal of power, to architect and painter is offered the possibility, not only to make the real world intimate to the real life, but also to produce from there a vivid new space. Finally it brings to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.

• 디지털융복합연구
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• 제16권5호
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• pp.419-424
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• 2018

매치 컷(Match cut)은 영상미디어에서 활발히 사용되는 몽타주(montage) 기법이다. 이 기법은 활용의 범위가 넓고, 수용자에게 다양한 의미작용을 일으키는 기법이기도 하다. 본고에서는 쇼트와 쇼트 사이에 발생되는 의미작용에 바탕을 두고, 매치 컷 활용이 다양하게 표현되는 영화 <드라큘라>을 분석하였다. 매치 컷을 통한 오브젝트들의 결합방법과 도출되는 표현은 본문에서 살펴보았듯이 결합의 방법에 따라 발생되는 표현효과가 다르게 나타났고, 그 활용의 정도는 한정적이 않음을 알 수 있었다. 본고는 영화<드라큘라>에서 드러나는 매치 컷의 활용방법을 분석하고, 그 쓰임과 표현에 있어 매치 컷 표현의 역량을 제시하고자 하였다. 또, 앞의 과정에서 발생되는 생성역량을 중심으로 질 들뢰즈(Gilles Deleuze)의 철학적 쟁점에 바탕을 두었다. 그리고 이해를 돕기 위해 비슷한 의미작용이 드러나는 프란시스 베이컨(Francis Bacon)의 회화 작품 <회화(painting)>(1946)와 <자화상(self-portrait)>(1969)과 비교분석하였다. 이 두 미디어를 분석함으로써 쇼트와 쇼트사이에 유목(nomadism)적 방법으로 '오브젝트와 오브젝트', '색과 색'등을 통해, 결합 생성으로 발생되는 '되기(becoming)'의 의미작용이 다양하게 적용될 수 있음을 알았다.

• 조형예술학연구
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• 제6권
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• pp.140-202
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• 2004

Body means 1)the whole structure and substance of a man, animal, or plant 2) the trunk or torso of a man or animal 3) part of garment that covers the trunk 4) the fresh or material substance, as opposed to the spirit. Human body could be distinguished as fresh and spirit. Body has the meaning of physicality. Physical means the bodily and constitution, but in the meaning of constitution there is the content of spirituality. Physicality means the appearing or arising of trace or image or nuance of body. The paintings which are using bodies are 1) directly draw bodies 2) twisting or transformation or nuance of the body and highly upgrade the physical emotion or fantastic bodily nuance 3) directly rubbing artist's body on the surface of painting with pigments to elect tactile specification. These physical art have appeared broadly by various artists, mainly with the social aspects of sex, drug, psycho sexual issues. In case of Joel peter Whitkin, the reason of strong physicality in the art is from the mind of the rejection and resistance of real world which is targeting top, perfect and beauty. Further explanation, being the world which is separated top and under, men and women, beauty and ugly; further in the situation, the hierarchy, terror and pressure began and many difficult problems has derived. The contents of attacking feminists's art works are very obscene to reveal female and male's phallus strongly. Sometime, it is strongly related in the political issues. The physical paintings have strong meanings in the action by hands and feet. It supports that it could reveal the humanity with smell, breath, and traces of bodies. In the bodies, the origin of life begins which gives human life by blood lines and water. Sometime, the physical paintings are made by the blood and urine to stick the physicality for special nuance. The physical paintings are made by the image of penis and clitoris which are related in the image of urinating, ejaculation and sometime is symbolized as pens and candles to drop liquid. The selected painters who are related in physical painting are Jackson Pollock, Andrea Serano, Eve Klein, Francis Bacon, Francesco Clemente, Lichard Long, Jakes & Dinos Chapman, Anselm Kiefer, Kiki Smith and Park, Ki Woong. Francis Bacon's style is destructive in representing human shapes which give us special message about the unbearable activity of men politician, high brain, wealthy and religious people. Francesco Clemente's method is to use throat, ear hole, mouse, clitoris, belly nostrils and every holes of body to transmute human physical body. Lichard Long uses directly his body in drawing the surface of painting by using liquid of mud Jakes & Dinos Chapman destroys or transforms the bodies of human. It sometime appears wrong location of the bodies that the penis and vulva is in between human faces or nose of women, Anselm Kiefer uses human hair for representing the human decaying martyrs, and indirectly using straw, he gives special ritual action to repent the Nazi's fault. From 2002 to 2003, Park KI Woong used women womb images to intermingle the smoke shape of <9.11 terror, 2001> in New York to reveal the painful situation of the time(*).

• 디자인학연구
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• 제19권4호
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• pp.121-132
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• 2006

이성중심의 서향철학사 속에서 '감각'은 '이성'의 하위개념으로 폄하되어왔다. 그러나 21세기 현대의 시각 환경은 '이성' 중심의 인식론을 밀어내고, 그 자리에 '감성' '감각'으로 재구성되고 있다. 특히 대중영상물들은 이러한 변화를 가장 빠르게 반영하고 또 선도하는 분야라 할 수 있다. 그러나 불행하게도 대중영상물들에서 '감각'에 대한 예술적, 미학적 의미를 고민한 흔적을 찾아내기는 쉽지 않다. 이는 오랜 역사를 거쳐 '감각'을 '이성'의 하위개념으로 인식하여 '감각'은 표피적인 것, 진짜가 아닌 것으로만 치부되어 온 탓 때문일 것이다. 때문에 '감각'의 새로운 가치를 부여한 현대 철학가 질 들뢰즈의 감각론을 검토해 보고, 그 개념을 영상화하고 있는 크리스 커닝햄(Chris Cunningham)의 작품세계를 분석하는 것은 유의미한 일이다. 그가 제작한 에이펙스 트윈(Aphex Twin)의 뮤직비디오 3편을 분석한 결과 질 들뢰즈가 <감각의 논리>에서 제시하는 '기관 없는 신체' '히스테리' '디아그람'을 기반하고 있음을 확인할 수 있었다. 크리스 커닝햄을 포함해 최근에 발표된 '감각'을 주제로 한 영상작품들을 제작방법이나, 화면구성 등 표피적인 방법으로 분석하는 것은 작가의 예술 철학을 간과하는 오류를 범하게 된다. 새롭게 전개되고 있는 현대 감각론을 이해하고 그 실체에 대한 탐구와 영상작품들의 분석은 새로운 대안을 제시하는 밑거름이 될 것이다.