ScholarWorks@Y-Scholar Hub

초록

In painting, the problem of ‘abstraction’ corresponds to the origin of expression. In a strict sense, there are no objective views and realistic representations, so the expression of paintings entails abstraction. Kim Jong-Sam's abstract project goes beyond the representation of his inner world to a new field of possibility. The essence of abstraction that Kim Jong-sam puesued in his poetry is ‘beauty without content’. Kim Jong-sam erases the content as a background through the obscurity of abstraction that does not come up with a specific and realistic object. This is toward the autonomous will of abstraction by erasing the valid element of reflection of real objects. The poet's desire to escape from the stage of external imitation rebuilds a new abstract language at the interface between Korea and the West. The post-war Korean abstraction was a period of hot abstraction in which Informel was introduced, showing intense emotion and rich innerness. The poet's desire for experimental language moves on to plan his new abstraction by meeting with a formative language, which seeks to find new meaning in atypical form. In 1966, the time when Kim Jong-sam published his poem “Enformel” was a time when Korean painters were conscious of escaping from the blind influence of the Western painting group and tried to pursue the essence of art with a modest attitude toward passionate abstraction. At that time, Informel created an environment of acceptance as the internal desire for expression and the external moment coincide, and as the mid-60s passed, abstraction began to emerge independently between the interface between the West and Korea, rather than a simple stylistic similarity. Just as the acceptance and experience of Western Informel was a process of transformation and expansion to find one's own style, Kim Jong-sam's interest and experience in Informel show that he was a poetic journey to find the abstraction he had pursued in a new language. The pursuit of abstraction to be free from the content proceeds with an effort to carefully discover oriental elements, not the work attitude of expressing impulsive emotions. The abstract world, designed by Kim Jong-sam in a new language, is a world of invisible layers that emerges from the abyss of visible existence. Kim Jong-sam captures the profundity and depth of the invisible layer through the use of blank spaces in poetry. This is because the blank space is a ‘white paper of meaning’ as the basis for bearing meaning. This is not a passive space, but an active space that suggests more worlds. The use of blank spaces instead of shapes is because the meaning of ‘I’, which blinks at every moment of encounter with existence, cannot be fixed in shape. The use of a blank space for freedom that is not bound while accepting all the possibilities of meaning start with the poet's awareness that the afterimage of existence must be emptied. This space of space is a metaphor of Kim Jong-sam's contemplative attitude toward the world. The poet is not in a whirlpool of emotions, but works in a state of calm. This is a posture to look at the object as it is with a distance from the object, with the subject being removed. For Kim Jong-sam, the work of writing was to rearrange oneself, who was headed to the outside, in a time of relaxation. The device of blank space and the contemplative attitude toward writing poems show that the ‘abstraction’ in Kim Jong-sam's poem is not an inherent concept of Western art history, but an abstract attempt as an independent manifestation. This attempt is differentiated from Western abstraction that presupposes a dichotomy between subjectivity and object, which created abstraction in reducing the shape to inductive identity. The empty space created by the subject of a contemplative gaze is a world that has meaning and at the same time has autonomy from the constraints of meaning. In this way, a poem does not displace the outside world, but itself becomes a ‘poetic fact’ as an independent reality.