Artist Talk | 金赞颂：感知肉身的边界
BROWNIE Project 正于群展《身外之躯》呈现艺术家金赞颂的绘画作品。我们很荣幸地邀请到金赞颂对此次展览的作品进行对谈。
BROWNIE Project is presenting a selection of paintings by artist Chansong Kim in the group exhibition "The Body of Non-body". We are honored to invite Chansong Kim to talk about the works in this exhibition.
对谈艺术家金赞颂：
感知肉身的边界
Artist Talk with Chansong Kim
Sensing the Boundaries of the Flesh
金赞颂工作室丨Chansong Kim's Studio
Q: 你创作了大量以身体为主题的作品，聚焦于人体的特写部位：双手、双脚与裸露的身躯，这样一种极具入侵感的凝视却不会令人感到冒犯，反而产生陌生的亲密感，你是如何寻找到这样一种模糊“边界”的方式的？
金赞颂：在进行身体系列创作的过程中，我意识到“身体是一个熟悉又陌生的地方”。作品中的身体是我自己的身体，但我试图把我的作品置于一种“看起来很私密，有时又感觉像其他人的身体”的边界附近。我通过不露脸以及不对自己的身体进行过多描述的方式来避免区分自己与他者。
Q: You have created a lot of works focusing on the close-up parts of the human body: hands, feet and naked bodies. But with such an invasive gaze, they are still not offensive, yet creates a strange intimacy. How did you find such a way to blur the "boundaries"?
Chansong Kim: What I realized as I kept working on the body series was that "the body is a familiar but also unfamiliar place.". The body in my work is my body, so I try to place my works around the boundary where the body feels intimate and sometimes feels like someone else. The way I found is not to show my face, and not to make a clear distinction between myself and others by not describing my body in too much detail.
金赞颂 Chansong Kim
《匿名的手》Anonymous Hands, 2022
72.7 x 72.7 cm
布面油画
Oil on canvas
Q: 你的作品大部分都运用了大笔触去勾勒，保留了油画颜料厚重的笔触感，让人联想到Roderic O’Conord等印象派或受印象派影响的艺术家的作品，但你对于颜色的使用又更加的细腻淡雅，这样的创作方式有受到哪些影响吗？
金赞颂：与印象派画家以不同光线和时间作画的方式不同，我是根据在工作室拍摄的照片而作画的。我会通过几张小稿来确定我所要创作的色彩基调，因此我们在识别和使用颜色的方式上有所区分。
我的笔触是强烈的，但呈现的色调却是柔和的、平静的；因为我不希望人们只因这些笔触而记住我的作品。当我在设计、摄影等方面看到很好的色彩创意时，我会为了之后的作品把它们记录下来。
Q: Most of your works use large brush strokes, which keep the heavy brushwork of oil paint, thus reminding people of Impressionist or Impressionist-influenced artists such as Roderic O' Conord. Nevertheless, the color you use is more subtle and light. Are there any influences on this way of practice?
Chansong Kim: Unlike impressionists who paint with the impressionism of different light and time, I paint based on photographs taken in my studio. And I determine the color tone that I'm going to work on through several esquisses. So I recognize and use color in a different way than impressionism.
I use the strong brushwork of oil paints, but the color tones are soft and calm. Because I don't want my painting to be recognized as just strong brush strokes. Especially when I see great color ideas in design, photography, etc., I record them for works.
羅德里克·奧康納Roderic O'Cornor
《黄色景观》Yellow Landscape, 1892
67.6 x 91.8 cm
布面油画
Oil on canvas
金赞颂 Chansong Kim
《它们》Them, 2020
53 x 72.7 cm
布面油画
Oil on canvas
Q: 米歇尔·福柯认为：“‘凝视’既是知觉手段，又是权力机制：它赋予凝视者自我认同的主体性，监督、规训被凝视者的思想、言行。”作为一名女性艺术家， 你如何看待当今社会背景之下的凝视？
金赞颂：我同意福柯的观点，“凝视”是一种权力机制。我经常在别人眼中审查自己。权力隐蔽而巧妙地进入社会，两者相互监督和规范着彼此。我们的身体也是一个充满政治、权力和意识形态冲突的地方。
Q: According to Michel Foucault, "'Gaze' is both a means of perception and a mechanism of power: it gives the gazer self-identifying subjectivity, supervises, and regulates the thoughts, words, and actions of the gazed." As a female artist, what’ s your opinions on the gaze in the context of today's society？
Chansong Kim: I agree with Foucault’s opinion that "Gaze" is a mechanism of power. I often experience censoring myself in others’ eyes. Power enters into society stealthily and deftly, supervising and regulating each other. Our body is also a place where there are many political, power, and ideological conflicts.
金赞颂 Chansong Kim
《凝视》Gaze, 2022
91 x 91 cm
布面油画
Oil on canvas
Q: 在《红》这件作品中，背于身后的手和手里拿的红色小球形成了微妙的拉扯与平衡，可以聊聊这个红色小球吗？
金赞颂：当我想用我的身体去感受某样东西时，我会在想到用手触摸某物或双脚站在地板上的画面。出现在画作中的球是我用来在画布上制造奇怪的紧张感的手段之一。
球象征着我周围存在、但无法明确定义的某种未知情感的凝聚体。我还希望球与画面的其余部分形成鲜明的对比。这就是为什么我把它做得尽可能光滑，而不是像用粗糙的笔触来表现身体一样表达它。
Q: In the work Red Something, the hand behind the back and the red ball within it form a delicate balance. Would you like to talk about this red ball?
Chansong Kim: When I think about feeling something with my body, I think about the images of hands touching something and feet standing on the floor in my mind. The ball that appears in the painting is one of the devices that I use to put a strange sense of tension into the canvas.
The ball is a symbol of the condensed mass of some unknown emotion that exists around me but I can't clearly define it. I also wanted the ball to be clearly contrasted with the rest of the screen. That’s why I made it as smooth as possible, in opposition to the body’s expression with rough brush strokes.
金赞颂 Chansong Kim
《红》Red Something, 2020
65 x 91 cm
布面油画
Oil on canvas
Q: 在《神秘间隙》系列作品中，近几年的作品开始从以往对整个身躯描绘的视角拉近，定格于局部的身体部位，这样一种视角的转变有着怎样的思考呢？
金赞颂：视角的变换凸显了我更看重的部分。我想通过放大身体的一部分来以更详细的视角来绘画，专注于局部的身体部位能够展示更多细节和微妙的姿态。
有时候展示身体的一部分会让人瞬间感觉有些陌生，因为我们习惯于将身体视为一个整体。有时候我觉得身体是部分存在的。
Q: In the Uncanny Gap series, the works in recent years have begun to move away from the previous perspective of depicting the whole body, and to focus on partial body parts. What are the implications of such a shift in perspective?
Chansong Kim: The change in perspective shows which one I see more importantly. I wanted to paint with a more detailed perspective by zooming in on the part of the body. Focusing on partial body parts shows more detail, and subtle gestures.
Sometimes it can feel a little unfamiliar in a moment by showing the part of the body because we are used to recognizing the body as one whole body. Some other times I feel like the body is partially present.
金赞颂 Chansong Kim
《手与下午》Hands, Afternoon 2020
60.6 x 60.6 cm
布面油画
Oil on canvas
金赞颂 Chansong Kim
《凝视》Gaze, 2020
72.7 x 53 cm
布面油画
Oil on canvas
金赞颂 Chansong Kim
《绿色步道》A Green Walk, 2020
91 x 91 cm
布面油画
Oil on canvas
Q: 在《困惑之园》系列作品中，你创作了大量的风景画，这些作品是取材于现实生活之中，亦或是梦与想象之中呢？
金赞颂：它们是根据我实际看到的风景创作的。我通常会把旅行中看到的风景拍下来或画成草图，然后再画到画布上。
Q: In the Garden of Mistrust series, you have depicted a lot of landscapes, are they based on real-life scenes or on dreams and imagination?
Chansong Kim: They are based on the landscapes I've actually seen. I usually take pictures or draw sketches of the scenery I saw while I was traveling and then move them to the canvas.
金赞颂 Chansong Kim
《困惑之园》Garden of Mistrust, 2019
72.7 x 53 cm
布面油画
Oil on canvas
金赞颂 Chansong Kim
《未固定的场景》Unfixed Scenery, 2019
80.3 x 116.8 cm
布面油画
Oil on canvas
Q: 可以看到你一直有着稳定的作品产出，是什么帮助你保持源源不断的创作灵感？
金赞颂：只要有机会我就会去旅行，旅行会让我置身于一个陌生的地方，让我看到与平日不同的东西。其他艺术领域（如摄影、建筑、时尚等）也会给我带来灵感。此外，看书和独自思考也是我创作新作品的重要时间。
Q: You've been producing a steady stream of work, what helps you stay inspired to create?
Chansong Kim: I try to travel whenever I have opportunities. Traveling puts me in a strange place and makes me see something different than usual days. Other fields of Art (photography, architecture, fashion, etc.) inspire me too. Also, reading a book and thinking alone is an important time for me to create new works.
金赞颂 Chansong Kim
《匿名的脚》Anonymous feet, 2022
72.7 x 72.7 cm
布面油画
Oil on canvas
Q: 之后是否会创作新的主题系列作品呢？有考虑使用更多的创作媒介或材质吗？
金赞颂：身体是我一直感兴趣的主题，所以我将继续进行身体系列的创作，但我同时也在考虑一个新的系列。我沉迷绘画，我想更深入地研究绘画的媒介和材料，并尝试制作更多的实验性图像。
Q: Are you planning to start new series of thematic works in the future? Are you considering rely more on media or materials?
Chansong Kim: The body is the subject that I'm always interested in. So I'll continue to work on the body series, but I'm also thinking about a new series. And I love paintings. I want to study the media and materials of painting more deeply and try to make more experimental images.
金赞颂 Chansong Kim
《匿名场景》Scenes of Anonymity, 2021
162.2 x 260.6 cm
布面油画
Oil on canvas
Q: 聊聊你明年春天即将在摩洛哥举办的个展吧！你最期待的是什么？
金赞颂：我将展示我在看到摩洛哥风景后以自己的方式诠释的作品。我也有点紧张，因为我要在短时间内在一个新的环境中做展览。然而我很高兴能见到摩洛哥强烈的色彩和图案，以及与韩国不同的植物和文化。我希望有新的东西能刺激我和我的作品。
Q: Tell us about your upcoming solo exhibition in Morocco next spring! What are you most looking forward to?
Chansong Kim: I will exhibit works that I interpret in my way after seeing the scenery of Morocco. I am also a bit nervous because I have to make an exhibition in a new environment in a short time. However, I am excited to meet the intense colors and patterns of Morocco, plants and cultures that are different from Korea. I hope that something new will stimulate me and affect my work.
BROWNIE Project 群展《身外之躯》展览现场 | Exhibition View
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