Installation view from Flower of Human: Leather Handbag
Gallery 0914, Seoul, Korea, 2014
Detailed View from Flower of Human: Leather Handbag
Gallery 0914, Seoul, Korea, 2014
Gallery 0914, Seoul, Korea, 2014
Flower of Human: Leather Handbag
Leather handbag, Solvent, Glass tank, Distilling machine, Stainless steel, Pump, Silicon tube, Mixed media
60 x 70 x 175cm (Each), 2014
Flower of Human: Leather Handbag
Leather handbag, Solvent, Glass tank, Distilling machine, Stainless steel, Pump, Silicon tube, Mixed media
60 x 70 x 175cm (Each), 2014
60 x 70 x 175cm (Each), 2014
Flower of Human: Leather Handbag
Printed with Pigments extracted from Flower, Vacuum frame, Vacuum pump, Nitrogen tank, Stainless pipe, Mixed media
200 x 50 x 210cm, 2014
Installatin view from Flower of Human: Leather Handbag
Gallery 0914, Seoul, Korea, 2014
200 x 50 x 210cm, 2014
Installatin view from Flower of Human: Leather Handbag
Gallery 0914, Seoul, Korea, 2014
Flower of Human: Leather Handbag
Flowers, Glass tube, Silicon tube, Extractions from leather handbags, Acrylic box, Mixed media
40 x 40 x 120cm, 2014
40 x 40 x 120cm, 2014
인간의 꽃(2014)은
가죽 가방에서 방부제와 색소를 추출하고, 그 방부제와 색소를 자연물인 꽃에 주입함으로써 인공적인 색의
시들지 않는 (썩지 않는) 꽃을 만드는 작업이다. 전시장에는 특수 제작된 추출기가 이러한 명품 가방의 가죽에 스며 있는 방부제와 색소를 실시간으로 추출한다. 방부제와 색소가 추출되면서 가죽이 점차 탄력을 잃고 흐물흐물해지며 아름다운 색이 거무죽죽하게 변한다. 비로소 본래의 자연으로 돌아가는 것이다. 이렇게 추출된 방부제와
색소는 얇은 호스를 타고 이동하여 리시안셔스라는 흰 꽃에 주입된다. 색소와 방부제가 주입된 꽃의 꽃잎은
가죽에서 추출된 색소로 물들며 함께 주입된 방부제에 의해 전시 기간 동안 썩지도, 시들지도 않는다. 리시안셔스는 본래 순백의 색을 가진 꽃으로 결혼식 부케에 주로 이용된다. 리시안셔스의
꽃말인 ‘시들지 않는 사랑’을 알고 있다면, 왜 결혼식 부케로 쓰이는지 쉽게 짐작할 수 있다. 하지만 아이러니하게도
꽃 자체는 매우 한시적이다. 비단 리시안셔스만이 아니라 많은 꽃의 꽃말이 맹세나 서약, 영원 등과 같은 ‘변하지 않음’을 강조하지만 꽃 자체는 매우 빠르게
시들어 버린다. 이 작품은 자연의 일부로서 한시적일 수밖에 없는 꽃에, 인간의 소유욕과
미적 욕망을 대변하는 가방에서 추출한 색소와 방부제를 인위적으로 주입함으로써, 인간에 의한 / 인간을 위한 / 인간의 꽃을 만들어 낸다. 백정기는 이 작품을 통해 자연에 대한 인간의 욕망을 이야기한다. 하지만
자연에 대한 인간 중심적 사고를 비판하는 것이 아니다. 오히려 자연의 불가항력에 대항하는 인간의 욕망은
매우 본능적이고 아름답기까지 하다. 하지만 때때로 이러한 행위들이 현대사회의 자본주의적 합리성에 이끌려
지나침으로 번지게 되고, 결국 자연의 숭고함을 잊게 하는 것도 사실이다. 작가는 옳고 그름을 떠나서, 너무 당연해서 혹은 관습적이어서 인지되지
못했던 ‘자연에 대한 인간의 욕망’을 방부제와 색소를 통해
시각화함으로써 자연의 일부인 동시에 자연에 저항하고 있는 우리의 모습을 돌아보게 한다.
Flower of Human(2014) is an artwork which extracted the preservatives and pigments from a leather bag and instilled them in a natural material, flower, thereby presenting the artificial flower that would not decay. Specially made extractor is used to take away the preservatives and pigments that are permeated into the leather of these bags. As the chemicals are extracted, the leather gradually loses its elasticity, becomes limp and the once-beautiful color turns sombre. At last it is returning to nature. The extracted preservatives and pigments are transferred to through a thin hose and instilled in Lisianthus, a white flower. The petals of the flower will tint with pigment and will not wither throughout the entire exhibition period due to the use of preservative. Lisianthus is the flower of pure white color, usually used in the making of bouquets for weddings. If you are aware of its flower language-unwithering love, you may as well easily infer why this flower is used for bouquets at weddings. Yet ironically the flower itself has a temporal life. Many other flowers including Lisianthus actually underscore flower languages such as promise or eternity but the flowers themselves wither so quickly on the contrary. Flower of Human, therefore, artificially instills preservatives and pigments extracted from bags that represent possessive and artistic desire in flowers, which have temporary lives as part of the nature. Hence this creates flowers “of the people, by the people, for the people.” Through this work, Jungki Beak illustrates the desire of human upon nature. However this is not to criticize the human-centered scope of thinking about nature. Rather he explains that the human desire to confront the power of nature that is beyond the control of mankind is natural and even beautiful. It is also true that such actions led by capitalist rationality cross the line and make us forget the sublimity of nature. Apart from what is right and what is wrong, the human desire on nature that seemed so obvious and conventional that we never had noticed before is visualized through preservatives and pigments. Therefore the artist lets us recall and find ourselves as part of the nature yet revolting against it.
Flower of Human(2014) is an artwork which extracted the preservatives and pigments from a leather bag and instilled them in a natural material, flower, thereby presenting the artificial flower that would not decay. Specially made extractor is used to take away the preservatives and pigments that are permeated into the leather of these bags. As the chemicals are extracted, the leather gradually loses its elasticity, becomes limp and the once-beautiful color turns sombre. At last it is returning to nature. The extracted preservatives and pigments are transferred to through a thin hose and instilled in Lisianthus, a white flower. The petals of the flower will tint with pigment and will not wither throughout the entire exhibition period due to the use of preservative. Lisianthus is the flower of pure white color, usually used in the making of bouquets for weddings. If you are aware of its flower language-unwithering love, you may as well easily infer why this flower is used for bouquets at weddings. Yet ironically the flower itself has a temporal life. Many other flowers including Lisianthus actually underscore flower languages such as promise or eternity but the flowers themselves wither so quickly on the contrary. Flower of Human, therefore, artificially instills preservatives and pigments extracted from bags that represent possessive and artistic desire in flowers, which have temporary lives as part of the nature. Hence this creates flowers “of the people, by the people, for the people.” Through this work, Jungki Beak illustrates the desire of human upon nature. However this is not to criticize the human-centered scope of thinking about nature. Rather he explains that the human desire to confront the power of nature that is beyond the control of mankind is natural and even beautiful. It is also true that such actions led by capitalist rationality cross the line and make us forget the sublimity of nature. Apart from what is right and what is wrong, the human desire on nature that seemed so obvious and conventional that we never had noticed before is visualized through preservatives and pigments. Therefore the artist lets us recall and find ourselves as part of the nature yet revolting against it.