韩国女画家lee jinju谈论丝袜在她的画作中的含义# LeisureTime - 读书听歌看电影
l*y
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GH: Okay, let’s break them down a bit. Can you give an explanation about
the female figure within your works? They all have similar appearances.
LJJ: First of all, I loved to draw since I was young. I loved to draw people
and their facial exprerssions and impressions in particular... and later I
realized that these two characteristics make the person as who they are. So
I thought that I should draw the people’s faces neutrally and without any
expressions, so that they are not biased in any way. In other words, not a
portrayal of a persona that is seen from acertain perspective, but something
that is too normal. I hate to incorporate any type of (hyper-) realism just
because they are so finely described. And the woman in my works, she used
to have hair in my earlier works, but at one point I completely rid her of
it. I’ve decided not to depict what’s not needed; hair effects greatly on
how a person looks, especially when coordinated with a cerain type of
clothing. Moreover, the intentions, character, and the situation are all
differently perceived, sometimes unimaginably strange. Stockings, however,
possess a certain degree of elaboratedness and is also double-sided. By that
, I mean it strongly and tightly encloses whatever goes inside, yet it is so
fragile. I remember the feeling of my first stockings, which was when I was
around 8 years old, when I had visited my nanny with my mother. I told her
that I was cold, and my mother gave me her stockings to wear. There, I felt
a sudden feeling of closeness and warmth altogether at once, and it was very
strange, yet so comfortable. This type of feeling is very relevant to what
I aim to show in my works. In other words, painting stockings is needed for
the persona, because it is the minimal safety device, yet so fragile.
GH: The elaborate as well as the double-sided aspect felt from the stockings
is quite impressive. Then can you tell us about the ‘water’ in your works
?
LJJ: Well, the water is a representation of my mind. In other words, I
believe that my focus ― my feelings, or the damaged, dark memories ―
possess the philosophical characters of water. Water, in general, possesses
meanings such as circulating freely as the source of life. However, when you
think about the standing waters, it gets different. Water decays too, you
know; for example, water goes into everything we eat. One time, I would make
soup and leave it for a few hours, and it went bad. The food waste that we
pile up in bags or buckets ― needless to say, smelling terrible ― and
throw out, are the very food that people were happily eating at their tables
. Anyways, this decaying occurs because of water. Things that we have to
throw out immediately go bad without hesitation because almost every
decayable thing possesses water. This character of water is very closely
related to the shady and damp side of my mind, where those types of memories
and feelings exist. Maybe it is like the water, or, say, tears, that oozes
out of a certain feeling, standing and decayed. But water, if it is
controlled, flows or circulates in another way that it does not intend to.
It sometimes flows the other way... projecting a totally different viewpoint
. This is why there are scene of watering with hoses, filling up buckets;
and in contrary, the water is dried with the hair dryer, burning within
water, etc. In any way, water could represent the complex, intertwined
feelings and emotions.
the female figure within your works? They all have similar appearances.
LJJ: First of all, I loved to draw since I was young. I loved to draw people
and their facial exprerssions and impressions in particular... and later I
realized that these two characteristics make the person as who they are. So
I thought that I should draw the people’s faces neutrally and without any
expressions, so that they are not biased in any way. In other words, not a
portrayal of a persona that is seen from acertain perspective, but something
that is too normal. I hate to incorporate any type of (hyper-) realism just
because they are so finely described. And the woman in my works, she used
to have hair in my earlier works, but at one point I completely rid her of
it. I’ve decided not to depict what’s not needed; hair effects greatly on
how a person looks, especially when coordinated with a cerain type of
clothing. Moreover, the intentions, character, and the situation are all
differently perceived, sometimes unimaginably strange. Stockings, however,
possess a certain degree of elaboratedness and is also double-sided. By that
, I mean it strongly and tightly encloses whatever goes inside, yet it is so
fragile. I remember the feeling of my first stockings, which was when I was
around 8 years old, when I had visited my nanny with my mother. I told her
that I was cold, and my mother gave me her stockings to wear. There, I felt
a sudden feeling of closeness and warmth altogether at once, and it was very
strange, yet so comfortable. This type of feeling is very relevant to what
I aim to show in my works. In other words, painting stockings is needed for
the persona, because it is the minimal safety device, yet so fragile.
GH: The elaborate as well as the double-sided aspect felt from the stockings
is quite impressive. Then can you tell us about the ‘water’ in your works
?
LJJ: Well, the water is a representation of my mind. In other words, I
believe that my focus ― my feelings, or the damaged, dark memories ―
possess the philosophical characters of water. Water, in general, possesses
meanings such as circulating freely as the source of life. However, when you
think about the standing waters, it gets different. Water decays too, you
know; for example, water goes into everything we eat. One time, I would make
soup and leave it for a few hours, and it went bad. The food waste that we
pile up in bags or buckets ― needless to say, smelling terrible ― and
throw out, are the very food that people were happily eating at their tables
. Anyways, this decaying occurs because of water. Things that we have to
throw out immediately go bad without hesitation because almost every
decayable thing possesses water. This character of water is very closely
related to the shady and damp side of my mind, where those types of memories
and feelings exist. Maybe it is like the water, or, say, tears, that oozes
out of a certain feeling, standing and decayed. But water, if it is
controlled, flows or circulates in another way that it does not intend to.
It sometimes flows the other way... projecting a totally different viewpoint
. This is why there are scene of watering with hoses, filling up buckets;
and in contrary, the water is dried with the hair dryer, burning within
water, etc. In any way, water could represent the complex, intertwined
feelings and emotions.
