• 복식
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• 제57권4호
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• pp.30-44
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• 2007

This research searched characteristic of expression of Surrealism in Fashion Art which is new genre as source of design origination and classified as type of Time, Instinct, Existence and analyzed these and after analyzed result, it tried to verify the value aesthetically and followed by compared characteristic of expression in Surrealism appeared in Art based on content of type of expression that deduced and discussed it. Also comparing common characteristic appeared in Fashion Art in surrealism of the east and the west, it suggested discussion that try to find out identity that draw more near to Fashion Art. Results of research are as following these; Surrealist deliver sentiment and emotion that impossible to happen in reality and primitive thought by combination of unrealistic image and this tendency concreted by expression of Time, Expression of Instinct, expression of Existence. It appeared that deconstruct function and purpose of Fashion Art and existing traditional beauty of form and it is in collusion with way of expression of modelling used in Art of Surrealism those are Irregularity, Disorder, Imperfection and Dissymmetry.

• 만화애니메이션 연구
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• 통권11호
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• pp.73-85
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• 2007

이 논문에서는 초현실주의 회화의 다양한 기법이 애니메이션에서는 어떻게 표현되는 지를 분석하였다. 특히 초현실주의의 꼴라쥬는 아무 관련성 없는 사물과 기법을 재배치함으로써 무의식 속에 잠재되어 있는 환상의 세계를 일깨우며 매체의 변화와 더불어 그것은 전혀 다른 물질이나 형상끼리의 우연한 만남에서 오는 새로운 이미지의 형성한다. 이러한 초현실주의의 기법의 확장을 라울 세르베의 작품<밤의 나비들>에서 논의해보고자 한다. 라울 세르베는 <밤의 나비들>에서 기존의 가치를 전복하는 새로운 접근방식을 통해 인간의 인식 구조에 보다 다차원적인 변화를 가져온 것이다.

• 대한가정학회지
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• 제47권8호
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• pp.25-35
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• 2009

This study analyzed expression types and characteristics of modern fashion designs using body parts. The research was conducted based on a literature review and empirical research of fashion magazines published in Korea and other countries from 2001 to 2008. Four fashion statements predominated. Most frequently, body parts presented in modern fashion design, included realistic expressions, simplification, anatomic expression and a mixture with other patterns and logos. A body part, such as an eye, a lip, a hand or a chest was characteristically located in an unfamiliar position, as part of modern fashion design using body parts. Other parts and surrealistic images were shown with accessories utilizing body shapes. Second, amusing images were emphasized with humorous expressions, including simplification of body parts, childish decorations, fairy tale illusions and cartoon factors. Third, erotic images were presented with a more realistic expression of a partial image of a female body part, such as a lip or a tongue. Fourth, the use of facial images of celebrities in modern fashion design showed the phase of the times and the characteristic utilization of pop art as an image.

• 건축역사연구
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• 제23권4호
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• pp.7-17
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• 2014

This paper aims at researching the cave concept of the Japanese architect Terunobu Fujimori and the result could be summarised as follows. First, a cave is Fujimori's only theme related to the interior space. He set some design guidelines for practice concerning openings of the wall and finishing materials of the interior, following the two major characteristics of a cave: 'comfortability' and 'homogeneity in material'. And 'fire' was also the premise in the cave as a 'spirit' of the space. Second, Fujimori applied the concrete guidelines to Tanpopo House (1994~95), which had in fact borne the ideas. Yakisugi House (2005~07) that took the cave as its design theme showed the transition of his cave concept, from closedness to openness. Third, though his cave concept might deserve the criticism that it is inclined to 'image' rather than 'essence', it illustrates that he seeks after an archetype of human dwelling before the purity of the original space was tarnished with rationality and abstraction. And the cave idea allows the seemingly contradictory 'sachlich' and 'surrealistic' features to coexist. Summing up, Fujimori's cave concept proves that his architecture is a rejection of the Cartesian modernist ideal and the contemporary architects' desire for dematerialisation. In a fundamental level, however, it is a result of his strategic choice induced by his own primary principle that his building must not be similar to any styles in history or any other architects' works in the world.

• 한국융합학회논문지
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• 제7권3호
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• pp.35-44
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• 2016

본 연구의 목적은 아트메이크업과 초현실주의의 이론적 배경을 보다 심층적으로 살펴보고 초현실주의 데페이즈망에 근거한 창의적인 사고와 발상을 미술과 메이크업이 접목된 아트메이크업의 다양한 표현방식을 재조명하는데 있다. 연구방법은 선행연구와 전문서적, 인터넷 등을 토대로 초현실주의 데페이즈망 개념과 기법, 아트메이크업에 관한 이론적 배경을 이론적으로 고찰한 후 데페이즈망 기법의 특성을 이중적 이미지, 이질적 사물의 결합, 변형 및 변환, 공간의 변조로 분류하여 총 4작품을 제작한다. 이러한 연구 결과는 첫째, 미술과 메이크업의 접목을 통해 창의성을 기반으로 하는 표현영역을 창출해내어 미술과 메이크업분야가 서로 융합 활용될 수 있는 기반을 마련하였다. 둘째, 전혀 다른 공간에서 이미지를 창출해 내어 결합함으로써 보는 이들에게 신선함과 낯섦을 제공한다. 이로서 본 연구자는 창의적인 아이디어를 도출해내어 표현영역을 넓힐 수 있도록 방향성을 제시하였으며 아트메이크업이 단순히 미적수단에서 그치는 것이 아니라 예술의 한 장르로 자리매김하기를 기대해본다.

• 디지털융복합연구
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• 제17권6호
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• pp.365-371
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• 2019

본 연구는 예술적 장르인 르네마그리트의 초현실주의 작품 레슬러의 무덤의 소재인 장미를 모티브로 활용하여 VR콘텐츠를 제작하였다. 현재 시장은 VR콘텐츠의 대중화로써 게임, 체험형 전시로 활성화 되고 있다. VR콘텐츠의 문제점은 관람자에게 게임, 단순 체험형 전시보다 예술적 장르인 콘텐츠 개발이 필요하다. 데페이즈망 기법을 공간의 변조(왜곡), 모순된 이미지의 결합(중첩), 물체의 변형과 변화(스케일) 3가지 키워드로 분류하고 프랙탈 구조의 왜곡, 중첩, 스케일의 3D 착시 패턴을 데페이즈망에 대입하였고, 이미지스케일 도구를 활용하여 장미를 대입하였다. 결론으로 이미지 스케일의 왜곡(공간의 변조)은 Dynamic-curve, Texture-soft 영역에 연결하였고, 중첩(모순된 이미지의 결합)은 Big-size, Irregular-depth영역, 스케일(물체의 변형과 변화)은 big-size, Irregular-space영역의 포지션에 연결하였다. 타임라인별 방안에 식물과 장미패턴을 제작하여 Overlap, Scale, Distortion, Overlap, Distortion, Scale 순으로 진행이 되었고, 착시효과의 다양성을 활용하여 문제점을 보완하였다. 본 연구를 바탕으로 인지적, 물리적, 기능적, 감각적 어포던스 오감을 활용한 완성도 높은 예술적 VR 영상 콘텐츠를 제작할수 있을것으로 기대한다.

• 조형예술학연구
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• 제3권
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• 복식
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• 제40권
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• 복식문화연구
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• 제24권5호
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• pp.670-686
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• 2016

The purpose of this study is to delineate and analyze the expression of the kidult and its characteristics and thereby provide data to be used for fashion design in various manners as well as to suggest creative and varied possibilities of fashion design. As a way to study, the author of this paper organized the general terms, concepts and definitions concerning the kidult in the previous papers and journals. The data was collected from the collections represent the characteristics of kidult especially from 2006 to 2015. The results are as follows: Firstly, The characters stimulating the innocence of children were used the most for infantile expression. Parody used characters in the movie or famous logos. Deformation was used to create designs by way of distortion and deformation. Exaggeration thereby showing visually strong impression and inducing surprise and unexpectedness. Depaysement was useful to let us describe concepts and enhance our infinite creativity and interests about objects using surrealistic. Secondly, Infantile characteristics used the images of toys with infantile imagination and sense of humor. Fantasy introduced objects or expressed a dream-like feeling. Unexpectedness used two-faced ideas or conflicting ideas to express conflicts, collision and an interchange with heterogeneous things, avoiding the limit of size and the simplicity of materials. Parody used jocular expressions, satire and ironic expressions to express the original image in a fun manner. Exaggeration transformed changed the structure to restructure objects in a subjective and creative manner, thereby expressing creative patterns using various subject matters by way of special modeling or distortion and transformation.

• 복식
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• 제65권6호
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• pp.99-111
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• 2015

The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of 'The return of Repressed', which is a psychological mechanism for generating uncanny sets to the component of 'repression' and 'return'. 'Repression' herein consisted of 'unconsciousness', 'the other', and 'anxiety', while the return was composed of 'trauma' and 'repetition compulsion'. Second, there are visual expression methods of the uncanny in contemporary art. The subject of 'repressed things' was expressed as grotesque and having a terrible look. 'Fragmented body' was analyzed as 'dismantling' by mutilation, 'combination' placing cut body parts in other places, and 'damage' suffering from an illness or accident. 'Fear of death' was shown as 'anatomy' reminiscent of death and 'iconography of death' meaning return of the dead. 'Post-human' was a surrealistic being such as a monster and mechanized human, and was analyzed as 'gene variation' and 'cyborg'. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as 'fragmented body', 'fear of death', and 'post-human'. 'Fragmented body' appeared as the object reminiscent of the fragmented body, 'dismantling and combination of the body', and 'damage of the body' through the distortion of the clothing construction principle. 'Fear of death' visualized the characteristic elements of the subject reminiscent of death as 'iconography of death' and 'symbolic object of death' through the motif. 'Post-human' was the description of the subject beyond the body's function and form, and was shown as 'gene variation' and 'cyborg'.