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Á¶ÁØ¿µÀÇ µðÁöÅÐȸȭ, »õ·Ó°Ô È®ÀåµÇ´Â âÀÛÀÇ ¼¼°è 2008.5

1. ´Ù¿øÁÖÀÇÀûÀÎ ¼ºÇâÀ» Áö´Ñ µ¿½Ã´ë ¹Ì¼úÀº °ú°Å ¿À·£ ½Ã°£ ´©·Á¿Ô´ø ȸȭÀÇ Á¤Å뼺¿¡ ¹Ý±â¸¦ µé°í °¢Á¾ ±Ô¹üºÒº¯ÀÇ ¼¼°è¸¦ ħ°øÀÇ ´ë»óÀ¸·Î »ï¾Æ ³ª¸§ÀÇ ½Ã´ëÀû Æз¯´ÙÀÓ(Paradigm)À» »ý»êÇÏ´Â ¹æÇâ¿¡¼­ Àü°³µÇ¾î ¿Ô´Ù. Áï Çö´ë¹Ì¼úÀº °íÀüÀû ȸȭÀÇ °¡Ä¡°üÀ» ¹«·ÂÈ­½ÃÅ°°í ±×°ÍÀÌ °ð ÀÌÀü ½Ã´ë¿ÍÀÇ º¯º°¼ºÀ» Áö´Ñ ÀÌ·ÐÀû Ʋ°ú °³³äÀÇ ÁýÇÕü·Î ÀÛ¿ëÇØ ¿Ô´Ù´Â °ÍÀÌ´Ù. ÀÌ·¯ÇÑ ¹è°æÀ» ¹ÙÅÁÀ¸·Î Ãâ¹ßÇÑ ÀÌÈÄ Æ÷½ºÆ®¸ð´õ´ÏÁò¿¡ À̸£·¯ ¹Ì¼úÀº Å»À帣ȭ¿¡ µû¶ó ¼ö¾øÀÌ ºÐÈ­µÈ ¿øÀÚÇü½ÄÀ¸·Î ¼¼ºÐÈ­µÇ¾ú°í ´Ù¾çÇÑ ¼ÒÀç¿Í ÁÖÁ¦ÀǽÄÀ» Áö´Ñ ÀÛÇ°µéÀÌ °³º°ÀûÀÎ °üÁ¡¿¡¼­ »ê¹ßÀûÀ¸·Î ÀÌ·ïÁ³´Ù. ½ÇÁ¦·Î Çö´ë¹Ì¼ú, ¼Ò±ÞÇØ ±¹³» ¹Ì¼ú°è¿¡¼­ ÇöÀç È®¿¬ÇÏ°Ô ´«¿¡ ¶ç´Â Çö»óÀ» ²ÅÀ¸¶ó¸é ÃáÃßÀü±¹½Ã´ë¸¦ ¸Â¾Ò´Ù½ÍÀ» ¸¸Å­ ¿Õ¼ºÇÑ Áõ½ÄÀ» º¸¿©ÁÖ°í ÀÖ´Â ¼ÒÀ§ ÄÚ¸®¾È ÆËÀ» ºñ·ÔÇÑ ±Ø»ç½ÇÁÖÀÇ ¹Ì¼ú, ±×¸®°í 90³â´ë ÀÌÈÄ ¹ø¼ºÇϱ⠽ÃÀÛÇÑ Å×Å©³î·ÎÁö ¾ÆÆ®, ȤÀº ¹Ìµð¾î ¾ÆÆ®¶ó ºÒ¸®´Â ½Å¼¼´ë ¹Ì¼úÀÇ È¥¿ë ¾ç»óÀ̶ö ¼ö ÀÖ´Ù. ÀÌÁß Á¶ÁØ¿µÀÌ ²ÙÁØÇÏ°Ô °ü½ÉÀ» µÎ¾î¿Â ºÐ¾ß´Â ½Ã°¢¿¡ Åõ¿µµÈ ÀÜ»óµéÀ» Ÿºí·Î(Tableau)·Î ¿Å°Ü À̹ÌÁöÀÇ ÀçâÁ¶¸¦ ²ÒÇÏ´Â µðÁöÅÐȸȭ, Áï µðÁöÅÐ ÆÄÀξÆÆ®(Digital fine art)ÀÌ´Ù. ô Ŭ·ÎÁî(Chuck Close)°¡ °Å´ëÇÏ°í »ç½ÇÀûÀÎ Æ÷Å丮¾ó¸®Áò(Photo realism)À» ÅëÇØ Çȼ¿(pixel)ÀÇ ´ÜÀ§¸¦ ¼¼¾ú°í ·ÎÀÌ ¸®È÷ÅÙ½´Å¸ÀÎ(Roy Lichtenstein)ÀÌ ¸ÁÁ¡À» ÀÏÀÏÀÌ ¼ÕÀ¸·Î ±×·Á³ª°¨À¸·Î½á Àμâ¸ÅüÀÇ Æ¯¼ºÀ» ÀÚ½ÅÀÇ ÀÛÇ°¼¼°è·Î ²ø¾îµé¿´´Ù¸é ÀÛ°¡´Â ¹Ý´ë·Î Ÿºí·¿(Tablet)°ú ¸¶¿ì½º, ¸ð´ÏÅͶó´Â °£Á¢ÀûÀΠǥÇöµµ±¸µéÀ» ÀÌ¿ëÇØ ¼ø¼öȸȭÀÇ Á÷Á¢¼º¿¡ ´ëÁßÀûÀÎ ÀÇ¹Ì¿Í °¡Ä¡¸¦ ºÎ¿©ÇÑ´Ù. (±×ÀÇ ¡®Ç¥Çöµµ±¸µé¡¯À̶õ ½±°Ô ¸»ÇØ °¡»ó ¼¼°è¿Í Çö½Ç ¼¼°è¸¦ À̾îÁÖ´Â °¡±³¿ªÇÒÀ» ÇÏ´Â ¼ö´ÜÀ̸ç ÀÌ´Â Àͼ÷ÇÑ ±â¼úÀû ¿Ï¼ºÀÌ ÀÌ·ïÁ®¾ß ºñ·Î¼Ò ºûÀ» ¹ßÇÏ´Â È¿°úÀûÀÎ ±âÁ¦¶ö ¼ö ÀÖ´Ù.)

2. À帣ÀÇ ±¸ºÐÀÌ ÀÇ¹Ì ¾ø´Â µ¿½Ã´ë¹Ì¼ú¿¡¼­ °á°ú¹°À» Á¦¿ÜÇÏ°ï ¾î¶² ÀÛ¾÷¹æ½ÄÀ» °®´ø ¹Ýµå½Ã ÇÊ¿äºÒ°¡°áÇÑ ¿ä¼Ò´Â ¾Æ´ÏÁö¸¸ ÀÛ°¡ÀÇ °æ¿ì 91³â ÀÌÈÄ Çѱ¹ µðÁöÅÐÆÄÀξÆÆ®¸¦ µµ·¡½ÃŲ À庻ÀÎÀ̶ó´Â »ç½Ç¿¡¼­ ±×ÀÇ Á¸Àç´Â ´«¿©°Üº¼¸¸ ÇÏ´Ù. ¸î¸îÀÇ µðÁöÅоÆƼ½ºÆ®µéÀÌ È°µ¿ Çß°í ¿ª·®À» º¸¿´Áö¸¸ ÃÊâ±â ÇØ´ç ºÐ¾ßÀÇ ¿ª»ç¸¦ ¹Ý¿µÇÑ´Ù´Â Â÷¿ø¿¡¼­, ¶ÇÇÑ ¿À·£ ½Ã°£ ÆÄÀξÆÆ®°¡ Áö³à¿Â Á¤½Å¼ºÀ» »õ·Ó°Ô Á¶¸íÇÏ´Â ½ÇÇèÀûÀÎ ÀÚ¼¼ ¾Æ·¡ ¼ø¼ö¿¹¼úÀÌ Ãß±¸Çؿ ȸȭ¼ºÀ» ¿À´ÃÀ̶ó´Â ½Ã°£ ¼Ó¿¡¼­ ¹þ°Ü³»¾î °¡»ó°ú »ó»ó, Çö½ÇÀÇ ¼¼°è¸¦ º¸Àå¹ÞÀ» ¼ö Àִ ȸȭ·ÐÀ» À̲ø¾î ¿Ô´Ù´Â Á¡¿¡¼­ º¯º°¼ºÀ» À¯ÁöÇÑ´Ù. °íÂøÈ­µÈ ÀνÄÀÇ ¹üÁÖ¸¦ ³Ñ¾î ½Ã´ëÀû º¯È­¿¡ µû¸¥ È®ÀåµÈ âÀÛµµ±¸·Î¼­ÀÇ È¸È­¶ó´Â ±¸Ã¼¼ºÀ» Áõ°Å ÇÏ°í ¡®½Ã´ëÀû º¯È­¿¡ µû¸¥ È®ÀåµÈ µµ±¸¡¯´Â ±× ÀÚü·Î ÀÛ°¡¿Í ÀÛÇ°¼¼°è¸¦ °¡Àå º»ÁúÀûÀ¸·Î ÀÌÇØÇÒ ¼ö ÀÖ´Â ´ÜÃʷΠġȯµÇ´Â °ÍÀ̾ú´Ù. Á¶ÁØ¿µÀº ±âÁ¸ ¼öÀÛ¾÷¿¡ ±¹ÇѵǾî ÀÖ´ø ȸȭ¸¦ °£Á¢Àû ¸Å°³¸¦ ÅëÇØ Àüº¹Çϰųª Â÷¿øÀ» ´Þ¸®ÇÏ´Â ¾ç»óÀ» Àü°³ÇÔÀ¸·Î½á ÀڽŸ¸ÀÇ Á¶Çü¼¼°è¸¦ º¸´Ù ºÐ¸íÇÑ ½Ã°¢Àû ¾ð¾î·Î ±¸Ã¼È­½ÃÅ°·Á ³ë·ÂÇßÀ¸¸ç ±×¿¡ ¾Õ¼± ½ÇÇèÀû ÀÇÁö´Â ±âÁ¸ ȸȭ ±â¹ý°ú µðÁöÅРȸȭ ¹æ½ÄÀÇ È¿°úÀûÀÎ °áºÎ¸¦ µµÃâ½ÃÄ×´Ù. ÀÌ´Â Á¶ÁØ¿µÀÇ ÀÛÇ°¼¼°è¸¦ ¹«ÇÑÇÏ°Ô È®ÀåÇÏ´Â °á°ú¸¦ ºÒ·¯ ¿Ô´Ù. ÀڽŸ¸ÀÇ »ç°í¹æ½Ä ȤÀº ¼¼°è°üÀ» Á¦½Ã, È®´ëÇÏ·Á´Â ½Ãµµ´Â ±×°¡ ¼±ÅÃÇØ¿Â ¼ÒÀçÁÖÀǸ¦ ÅëÇØ º¸´Ù ±Ø¸íÇÑ À¯Ãß°¡ °¡´ÉÇØÁø´Ù. Áö±Ý±îÁö ÀÛ°¡°¡ È­¸é ¼Ó¿¡ ´ã¾Æ³Â´ø ¼ÒÀçµéÀ» º¸¸é »ó¡ÀûÀÎ ¼¼°è¿Í ¸®¾ó¸®Æ¼ ÇÑ Çö½ÇÀÇ ¼¼°è°¡ ÇϳªÀÇ È­¸é ¼Ó¿¡ ÀÀÁýµÇ¾ú´Ù°¡ Ç®¾îÁö°í, ´Ù½Ã Áú¼­°¡ ºÎ¿©µÇ´Â ¹æ½ÄÀ¸·Î À̾îÁ® ¿ÔÀ½À» ÀÐÀ» ¼ö ÀÖ´Ù. ±×°¡ È­¸é ³»ºÎ·Î ÀÌÀÔ½ÃÅ°´Â ÁÖµÈ ¼ÒÀçµéÀº Çѱ¹¼º¿¡ ±âÀÎÇÑ ¡®±â¸¶µµ¡¯¿Í °°Àº Çü»óµéÀ» ºñ·ÔÇØ ÇüÇü»ö»öÀÇ »ö°¨¸¸ÀÌ ÁöÃþ(òµöµ)À» ¶Õ°í ħÀáÇÏ´Â Á¾±³Àû ¼ºÂûÀÌ ¿³º¸ÀÌ´Â °Í µî ¿©·¯ ¹æ¸é¿¡¼­ Æ÷ÂøµÈ´Ù. ÃÖ±Ù¿¡´Â Àϻ󿡼­ ÈçÈ÷ ¸¶ÁÖÇÒ ¼ö ÀÖ´Â ½ÃÁö°¢Àû ÀÎÁö°¡ °¡´ÉÇÑ Ç³°æµé°ú »ç¶ûÇÏ´Â °¡Á·µé, ±×¸®°í ±× ¹ÛÀÇ ±º»óµéÀ̳ª °³ÀÎÀûÀÎ Æí¸°±îÁö °í·ç ¾Æ¿ì¸£´Â ¾ç»óÀ» º¸À̴µ¥, ´õ¿í Ä£¹ÐÇÑ ¹æÇâ¿¡¼­ ÀÌ·ïÁö°í ÀÖ¾î µðÁöÅоÆÆ®¶ó´Â »ý°æÇÔÀ» ¸Ö¸®ÇÑ´Ù. ±×ÀÇ ¼ÒÀçµéÀº ´Ùº¯ÀûÀ̱â´Â Çϳª, Çϳª°°ÀÌ ±×¸®µå(Greed)·Î Ç¥ÇöµÇ°Å³ª Ãß»ó°ú ±¸»óÀÌ È¥ÀçµÈ ¾ç»óÀ¸·Î ¹øÁ® ³ª¿À´Â ¿ÜÀûÀÎ °øÅëÁ¡°ú ÀÛ°¡Àû ½É»óÀÌ ±í°í ¿Ã°ð°Ô Åõ¿µµÈ´Ù´Â ÀÏ·üÀûÀÎ Çö»óÀ» µ¿¹ÝÇÑ´Ù. ¹°·Ð ÆÇȭó·³ ±â·ÏÀÇ »ê¹°ÀÌÀÚ ¿À¸®Áö³Î¸®Æ¼(Originality)¸¦ ´ãº¸ÇÏ´Â ¿¡µð¼Ç(Edition)À» ÅëÇØ ÀÏÁ¤·®ÀÇ ¿øº»(ê«Üâ)ÀÌ Á¸ÀçÇÔÀ» °í½ÃÇÔÀ¸·Î½á µ¶Ã¢Àû ¿¹¼ú·Î½áÀÇ À§Ä¡¸¦ ´ãº¸ÇÏ´Â °Íµµ ÀØÁö ¾Ê´Â´Ù.

3. µðÁöÅÐ À̹ÌÁö·Î ÀÌÁ¾±³¹è¸¦ ½ÃµµÇÔÀ¸·Î½á ÀÌÀü°ú´Â ÀüÇô ´Ù¸¥ ÀÔüÀûÀΠȸȭ¼ºÀ» ºÎ¿©ÇØ¿Â µðÁöÅÐÆÄÀξÆƼ½ºÆ® Á¶ÁØ¿µ ÀÛ¾÷ÀÇ Æ¯Â¡Àº ¸Å¿ì ³ôÀº ±¸¼º·ÂÀ» ³»ÀçÇÏ°í ÀÖ´Ù´Â Á¡ÀÌ´Ù.(±â½Ç Çö ½ÃÁ¡¿¡¼­ µðÁöÅÐȸȭÀÇ ´ëÇ¥ÀûÀÎ ÁÖÀÚ·Î °¢Àεǰí ÀÖÀ½ ¿ª½Ã ÀÌ¿Í °°Àº Ä¡¹ÐÇÑ ±¸¼º·Â¿¡ ±âÀÎÇÑ´Ù°í ÇÒ ¼ö ÀÖ´Ù.) ±×´Â ÀÛÇ° ÇϳªÇϳª¸¦ ¿Ï¼º½ÃÅ°´Âµ¥ ¼öÂ÷·ÊÀÇ ¼öÁ¤°úÁ¤À» °ÅÄ¡¸é¼­ À¥ µðÀÚÀο¡ °ü·ÃµÈ ¿©·¯ °¡Áö ±âȹ°ú ±¸¼º ¹× Â¥ÀÓ»õ¿¡ °ü·ÃµÈ ¹®Á¦µé¿¡ °ñ¸ôÇÑ´Ù. ´Ü¼øÈ÷ ¾ÆÀ̵ð¾î°¡ Á¤ÇØÁ³´Ù°í Çؼ­ Á¦´ë·Î Ç¥ÇöµÇ¾îÁö´Â °ÍÀº ¾Æ´Ï¸ç ¿ÀÈ÷·Á ¼öÀÛ¾÷ ½Ä ȸȭº¸´Ùµµ ÈξÀ ´õ ¸¹Àº ½Ã°£°ú ³ë·ÂÀ» µé¿©¾ß¸¸ ÇÏ´Â Çö½ÇÀº ±×ÀÇ ÀÛ¾÷¿¡ À־ÀÇ ±íÀº ³»¹Ð¼ºÀ» À¯µµÇÑ´Ù. Á¶ÁØ¿µ ÀÛ¾÷ÀÇ ¶Ç ´Ù¸¥ Ư¡Àº ±â±âµé(»õ·Î¿î âÀÛµµ±¸·Î½áÀÇ ¸Å°³Ã¼µé) ƯÀ¯ÀÇ ´À³¦¿¡¼­ ºñ·ÔµÇ´Â ÀÌÁú°¨À¸·ÎºÎÅÍ »ý°¢ ÀÌ»óÀ¸·Î ÀÚÀ¯·Î¿î ¿©¿îÀ» °¨ÁöÇÒ ¼ö ÀÖ´Ù´Â °Í¿¡ ÀÖ´Ù. ±×ÀÇ ÀÛÇ°µéÀ» Á¢ÇÏ¸é ´©±¸¶óµµ °£Á¢ÀûÀÎ ¸ÞÄ¿´ÏÁò(Mechanism)À» È°¿ëÇÏ´Ï ¸ÞÅ»(Metal)¿¡ °¡±î¿î ´À³¦À» Àü´ÞÇÒ °ÍÀ̶ó´Â »ý°¢Àº Æí°ß¿¡ Áö³ªÁö ¾Ê¾ÒÀ½À» ü°¨ÇÒ ¼ö ÀÖ´Ù. ¿ÀÈ÷·Á ±×ÀÇ ±×¸²µéÀº ¹Ï±âÁö ¾ÊÀ» ¸¸Å­ ȸȭÀû º¯ÁÖ°¡ °­ÇØ ´ÜÁö ÄÄÇ»ÅÍ°¡ ¾Ë¾Æ¼­ ´Ù ÇØÁÙ °ÍÀ̶ó´Â ¿ÀÇظ¦ ¹«»öÇÏ°Ô ¸¸µç´Ù´Â °Ô ¸Â´Ù. ÇÏÁö¸¸ Á¶ÁØ¿µÀÇ ÀÛÇ°¿¡¼­ ¹«¾ùº¸´Ù ÀÇ¹Ì ÀÖ´Â °ÍÀº ±×°¡ Ž±¸ÇÏ°í Àִ ȸȭÀÚüÀÇ ÀüÅëÀû °¡Ä¡¿¡ µðÁöÅÐÀ̶ó´Â Å»±â¹ýÀû ¿î¿ëÀ¸·Î ȸȭÀÇ Æ¯¼º°ú µðÁöÅÐȸȭÀÇ ¿ì¼öÇÔÀ» ¸Å¿ì ´Ù¾çÇÏ°í °³¼ºÀûÀ¸·Î Àû¿ëÇÏ°í ÀÖ´Ù´Â Á¡ÀÌ¸ç ±× ¿î¿ëÀÇ ¹Ì¸¦ ÀûÀýÈ÷ ÀÚ½ÅÀÇ È­Ç³À¸·Î º¯¸ð½ÃÄÑ ³ª°¡°í ÀÖ´Ù´Â °Í¿¡ ÀÖ´Ù. ÀÌ°ÍÀº ÀÛ°¡ ÀÚ½ÅÀÇ ¹®Á¦¸¦ ºñ·ÔÇØ Áï½Ã°¢Àû ÀνÄÀ» ÇÊ¿ä·Î ÇÏ´Â ºÒº¯ÀûÀÎ »ç»ó°ú °øÁ¸Çϸ鼭 »õ·Î¿î ÀνķÐ(ìããÛÖå)À» Á¦½ÃÇÏ´Â °ÍÀ¸·Î, °á±¹ ±×ÀÇ µðÁöÅÐÆÄÀξÆÆ®´Â °ú°Å¿¡ ÀÌ·èÇØ¿Â »ê¹°µéÀ» ´õ¿í ºÎ°¢½Ãų ¼ö ÀÖ´Â µµ±¸·Î¼­ ÀÌÇØÇÒ ¼ö ÀÖÁö¸¸ ¹Ì·¡¸¦ Á¶¸íÇغ¸´Â Â÷¿ø¿¡¼­ Çؼ®µÉ ¼öµµ ÀÖÀ½À» Áõ¸íÇÏ´Â °ÍÀ̱⵵ ÇÏ´Ù. ÇÑÆí ¿À´Ã³¯ ±×ÀÇ ÀÛ¾÷Àº ´ëÁß¼º°ú Àü¹®¼ºÀ̶ó´Â µÎ ¸¶¸® Åä³¢¸¦ ¸ðµÎ Æ÷ȹÇÏ·Á´Â Àǵµ ¾Æ·¡ ¿©·¯ ½ÇÇèÀû °úÁ¤µéÀÌ ±×¸² ¼ÓÀ¸·Î ÀÌÀԵǰí ÀÖ´Ù. ±×µ¿¾È ´Ù¼Ò °£ÀÇ °ø¹éÀÌ ¾ø¾ú´ø °ÍÀº ¾Æ´ÏÁö¸¸ »õ·Î¿òÀ» ¦iÀ¸·Á´Â ÀÇÁö´Â ±× ¾î´À ¶§º¸´Ùµµ ¸í¡ÇÑ »ö°¨°ú ¹Ðµµ·Î ´ëüµÇ°í ÀÖ´Ù. ÀÌÁ¦ ±×¿¡°Ô ÀÖ¾î µðÁöÅÐÆÄÀξÆÆ®´Â ¿¹¼úÀû âÀÛ ÀÛ¾÷À» È®Àå½ÃÅ°´Â µµ±¸ÀÌÀÚ ÀÛ°¡ ³ª¸§ÀÇ ¿¹¼úÀû ¹ÌÇÐÀ» ´õ¿í °ø°íÈ÷ ÇØÁÖ´Â ¿ªÇÒÀ» ÇÏ´Â µí ¿©°ÜÁø´Ù. ƯÈ÷ <ÀÏ»ó>, <»ý°¢>, <ÈÞ½Ä>À̶ó´Â Á¦¸ñÀÇ ÀÛÇ°À̳ª <³» ¸¶À½ÀÇ Ç³°æ>, ±×¸®°í »õ·Ó°Ô ¼±º¸ÀÌ´Â ¿µ»ó ¼³Ä¡ÀÛÇ°µéÀ» º¸¸é¼­ ¿ì¸®´Â ±×°¡ ÀüÀ§ÀûÀÎ ±â¹ý À§ÁÖ¿¡¼­ ´ëÁß Ä£È­ÀûÀÎ ³»¿ëÀ¸·ÎÀÇ ÀüȯÀ» ÅëÇØ º¸´Ù »õ·Î¿î ¹ÌÇÐÀû ¹ßÀüÀ» ÀÌ·èÇϱâ À§ÇÑ ¹ß°ÉÀ½À» ³»µó°í ÀÖÀ½À» ¹ß°ßÇÒ ¼ö ÀÖ´Ù. ±× ¼º°ú°¡ ±Ã±ØÀûÀ¸·Î ¾î´À ´Ü°è¿¡¼­ ¿Ï¼ºµÉÁö´Â ¾ÆÁ÷ °¡´ÆÇÒ ¼ö ¾øÁö¸¸ ÀÏ´Ü ±àÁ¤À» ´ãº¸·Î ÇÔÀº ºÐ¸íÇØ º¸ÀδÙ.¡á



Zo Zoon-young's Digital Fine Art - A World of New, Expanding Creation 1. Art of the contemporary era is often pluralistic. It gradually produces its own paradigm by revolting against, for example the legitimacy of painting, or invariable cannons. In other words, contemporary art incapacitates conventional views of painting, and embraces sets of theories and concepts different from history. Art during Post-modernity segmented into numerous genres, producing artwork with a variety of subject matter and themes. Since the 1990s, within our domestic scene, an outstanding art tendency mixed varieties of Korean Pop, hyperrealism, technological and media art. Typical of this tendency, Zo Zoon-young works using digital fine art, reproducing images by transferring afterimages into tableaux. However, while Chuck Close creates enormous photo realistic work with pixels, and Roy Lichtenstein uses printing techniques, painting half tones one by one, Zo uses indirect __EXPRESSION__ tools such as a computer-tablet, mouse, and monitor, to lend popular meaning and value to so-called pure art. (Zo's tools are simply a bridge between imagination and reality, and are most efficient when other techniques are complete).

2. Since 1991, Zo's presentation of Korea's digital fine arts to the world has marked his presence in Korea's art scene. But Zo's art is distinguished from other digital artists of this scene by his attempts to depart from the pictorial qualities of pure art, and his use of illusion, imagination, and reality, through an experimental attitude that sheds light on the spirituality of fine art. Zo thus proves the concreteness of painting as a means of extended creation, beyond fixed categories of awareness. The means of the work itself thus becomes a clue to a fundamental understanding of the artist and his art world, which embodies the world of his own form, in a unique visual language, overturning conventional painting, heavily reliant on manual labor. His will to experiment mixes conventional painting techniques with digital painting methods, to result in an infinite expansion of his art world. His main subject matter is the presentation and expansion of his thinking and view of the world, where symbolism and realism coheres, dissolves, and rejoins on a single canvas. Added to this, horse riding and religious reflection appears. Recently, Zo has also employed landscapes, beloved families, groups of people, and personal fragments. By addressing these in a familiar manner, Zo's art transcends the awkwardness of digital art. With various subject matter, Zo's work shows the mixture of figuration and abstraction in its outer appearance, reflecting profound mental images. Like prints, his digital artworks bear originality as an outcome of recordings, noticing that their originals exist and attaining their position as an ingenious art form.

3. A digital fine artist Zo Zoon-young presents a three-dimensional pictorial quality completely different from previous paintings by attempting the hybridization of digital images. One of the distinctive characteristics of his work is the highest level of minute composition which enables him to position as a leading artist of digital art. Each work involves several processes of modification, various planning and composition. His work is much more labor-intensive and time-consuming than painting, thereby bringing about profound subtlety. Another feature of his digital work inspires more liberal lingering than we expect that is derived from heterogeneity provoked by the use of unique creative mediums. All viewers expect his work to have a metallic feel due to its indirect mechanism. But, they soon realize it is just a prejudice. Pictorial variation stands out in his work, and therefore computer work is not all. Zo creates his own idiom through a diverse, distinctive application of conventional value of painting and the feature of digital art, thereby demonstrating the superiority of digital fine art. It exists with invariable thought and presents the new theory of perception. As a result, Zo's digital fine art is to emphasize past outcomes and can be interpreted as the new type of art to shed light on the future of art. Zo conducts a wide variety of experiments to satisfy popularity and expertise. His will to pursuit newness brings about vivid color sensation and density. For the artist, digital fine art is a means to expand the sphere of his art and to reinforce his own aesthetics. In a series of his work such as Everyday, Thought, Rest, Landscape in My Heart, and other videos installations, we notice that he moves to more familiar contents from avant-garde techniques, in order to achieve a new aesthetic development. Although we are not able to judge which position his digital art positions now, it is sure that his art attains positive results.