2020 Thought Process
작성자
hongjiyoon
작성일
2021-01-23 08:52
조회
202
Synesthesia
White clouds drift afloat across the clear autumn sky. I watch as the clouds transform, variating every second. I also look at the changing faces of the pink spring flowers as they bloom. I sense a waft of fragrance and the sound of a sonorous choir, all of which come from the cloud. To me, the clouds, the flowers, the scent, and the sound are one. I begin writing a poem on their forms and textures, using poetic language. I become the cloud and the cloud becomes me. In Eastern philosophy, an onlooker neither analyzes nor distinguishes him or herself from his or her subject—it deems the onlooker, the subject, and nature to be one and the same. Lying by the window and watching the ever-changing shapes of the clouds, I think about how to portray them. My work begins with this type of play.
Chinese aesthetician Zhang Fa writes in his book History of Chinese Aesthetics: From Ancient Times to the Ming-Qing Era that the classical thesis that prompts people to reach beyond an image to access the subject’s operative axis infers the same as modern-day aesthetic psychology’s theory of “synesthesia,” which emphasizes interaction among different sensory organs. Zhang explains that ultimately, the act of sword dancing and the act of wielding a brush are linked to one another, elaborating that forging such an interaction and producing a synesthetic experience must both be learned by seeing past the physical form and finding the deep-set point of commonality in disparate objects. I ask myself: am I able to dream up images that lie beyond my subject based on this idea of synesthesia and “image beyond image?” Is it possible to become one with my subject? Is it possible to converse with my subject? These questions are the basic axis of my work, from which the initial poem or the narrative is derived and synesthetically expressed.
Won-Yung-Mu-Ae (Complete Accommodation and Unification)
My integrative attempt is based in the harmony between yin and yang. Humans and mother nature, you and I, life and death, the East and the West, the past and the present are all seemingly contrasting elements that aren’t separate but one. Everything ultimately blends together unreservedly to form a circle. This is the definition of won-yung-mu-ae, or complete accommodation and unification. Various relative elements ultimately become one with me. This semantic system in my work embraces the differences, conflicts, discordance, irrationalities, and unnatural things that are revealed in the process of physical integration. This system is symbolized by icons such as multicolored flowers and birds. Petals from differently colored flowers gather to form the “multicolored flower” and feathers from differently colored birds gather to form a “multicolored bird.”
White clouds drift afloat across the clear autumn sky. I watch as the clouds transform, variating every second. I also look at the changing faces of the pink spring flowers as they bloom. I sense a waft of fragrance and the sound of a sonorous choir, all of which come from the cloud. To me, the clouds, the flowers, the scent, and the sound are one. I begin writing a poem on their forms and textures, using poetic language. I become the cloud and the cloud becomes me. In Eastern philosophy, an onlooker neither analyzes nor distinguishes him or herself from his or her subject—it deems the onlooker, the subject, and nature to be one and the same. Lying by the window and watching the ever-changing shapes of the clouds, I think about how to portray them. My work begins with this type of play.
Chinese aesthetician Zhang Fa writes in his book History of Chinese Aesthetics: From Ancient Times to the Ming-Qing Era that the classical thesis that prompts people to reach beyond an image to access the subject’s operative axis infers the same as modern-day aesthetic psychology’s theory of “synesthesia,” which emphasizes interaction among different sensory organs. Zhang explains that ultimately, the act of sword dancing and the act of wielding a brush are linked to one another, elaborating that forging such an interaction and producing a synesthetic experience must both be learned by seeing past the physical form and finding the deep-set point of commonality in disparate objects. I ask myself: am I able to dream up images that lie beyond my subject based on this idea of synesthesia and “image beyond image?” Is it possible to become one with my subject? Is it possible to converse with my subject? These questions are the basic axis of my work, from which the initial poem or the narrative is derived and synesthetically expressed.
Won-Yung-Mu-Ae (Complete Accommodation and Unification)
My integrative attempt is based in the harmony between yin and yang. Humans and mother nature, you and I, life and death, the East and the West, the past and the present are all seemingly contrasting elements that aren’t separate but one. Everything ultimately blends together unreservedly to form a circle. This is the definition of won-yung-mu-ae, or complete accommodation and unification. Various relative elements ultimately become one with me. This semantic system in my work embraces the differences, conflicts, discordance, irrationalities, and unnatural things that are revealed in the process of physical integration. This system is symbolized by icons such as multicolored flowers and birds. Petals from differently colored flowers gather to form the “multicolored flower” and feathers from differently colored birds gather to form a “multicolored bird.”