Jason Martin
제이슨 마틴 Convergence 수렴

Until 16 April 2022

Seoul Fort Hill
서울 포트힐

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제이슨 마틴은 신작 알루미늄 회화를 위해 10년 만에 다시금 붓을 들었다. 작가의 국내 첫 개인전 ⟪수렴(Convergence)⟫에서 선보이는 신작 회화는 그의 지속적인 연구의 일환으로 내면으로 향하는 반복적인 붓놀림을 기반으로 하며, 유려하게 펼쳐지는 붓놀림은 작품 내 하나의 접점으로 수렴된다. 작가는 이러한 수행을 ‘공간과 시간의 합일’이나 ‘경계의 조우’로 설명하고, 한국에서 오랜 전통을 가진 ‘보자기’와도 그 유사점을 찾는다.

Jason Martin’s new series of works on aluminium marks his return to oil painting with brushes after over a decade of using unconventional tools. A new phase in his ongoing exploration of painterly possibilities, these recent works are based on repeating inward movements with the brush that converge at a central point. He describes the effect as a ‘merging of place and time’ or a ‘threshold encounter’, as well as drawing parallels with the Korean tradition of bojagi wrapping.

신작에 대해 설명하는 제이슨 마틴을 전시 작품과 함께 만나보세요
Listen to Jason Martin explain his new work as we walk through the exhibition

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신작에 대해 설명하는 제이슨 마틴을 전시 작품과 함께 만나보세요 Listen to Jason Martin explain his new work as we walk...

작가는 추상과 구상을 대립항으로 세우는 대신, 두 관념 사이에 존재하는 관계에 주목하도록 한다. 마틴의 절제적이면서도 반복적인 붓놀림은 작품 중심부에 위치한 하나의 점에서 수렴된다. 작품의 구성은 서양 구상화의 전통에 기반이 되는 르네상스 시대의 원근법을 참조한다.

Jason Martin encourages us to relate the two concepts of abstraction and figuration, rather than presenting them in opposition to one another. As his repetitive, mechanical brushstrokes fold in towards the heart of the painting into a focal point, the composition references the experiments with perspective of the Italian Renaissance, which is the basis of the Western figurative tradition.

우리는 공간을 풍경의 연장선으로 보는가, 아니면 투시도적 공간과는 별개인 행동의 장으로 이해하는가? 나는 둘 중 그 어느 것도 부정할 수 없다고 생각한다. 단일적인 특성이라기보다 두 가지 측면 모두 동시에 고려될 수 있다고 여긴다.

— 제이슨 마틴, 2022

Do we find the spaces an extension of landscape or are these spaces stages of performance that have no engagement with perspectival space? I like to think neither can be denied, only simultaneously considered.

— Jason Martin, 2022

마틴은 전통적인 캔버스나 린넨 대신 단단하고 안전한 알루미늄을 지지대로 사용한다. 알루미늄 지지대 위에서 작가의 붓놀림은 보다 극대화되어 표현되고, 작품의 물질성 또한 더욱 돋보인다. 작품이 품고 있는 은은한 광채는 지지대의 금속적 특성에서 기인한 것으로, 작품의 배경이 되는 지지대가 빛을 포착하고 반사함으로써 드러난다.

Martin uses aluminium because it provides a more firm and stable support than a traditional canvas or linen. This allows him to be more expressive with his brushstrokes and more physical in his painting. At the same time, the metal ground captures and reflects light, lending the paintings their radiant luminosity.

Untitled (Caribbean blue / Viridian), 2021
Oil on aluminium
120 x 120 x 10 cm (47.24 x 47.24 x 3.94 in)

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마틴은 18세기 이탈리아 화가 지오반니 바티스타 티에폴로가 구현한 연한 분홍색과 파란색, 그리고 부드러운 흰색과 노란색에 큰 영감을 받았다. 작가는 이번 작품을 위해 ‘천상계의 하늘’과 ‘열대지방의 해안’을 떠올리게하는 ‘투명한 색채’를 사용했다고 설명한다. 작가는 또한 천연 안료를 사용하여 다양한 색을 조합해보는 등 꾸준한 작가적 실험을 행해왔다. 작품의 제목에 등장하는 캐리비안 블루(Caribbean blue), 울트라 마린 바이올렛(Ultramarine violet), 코랄 오렌지(Coral orange) 등은 작품에 사용된 안료의 색 이름에서 착안했다.

For his palette, Martin references the pale pink and blues and soft grey and yellow hues of 18th century painter Giovanni Battista Tiepolo. He describes the colours of his new works as ‘transparent’, reminiscent of ‘celestial skies’ and ‘tropical waters’. Using natural pigments, he creates his own mixtures in oil and names each work after the paints he used, including Caribbean blue, Ultramarine violet and Coral Orange.

Giovanni Battista Tiepolo, ceiling fresco in the master staircase of the bishops’ palace in Würzburg, Bavaria, completed in 1752

Jason Martin, Untitled (Mixed white / Caribbean blue), 2021, Oil on aluminium, 178 x 178 x 11 cm (70.08 x 70.08 x 4.33 in)

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Untitled (Mixed white / Scheveningen blue), 2021
Oil on aluminium
178 x 178 x 11 cm (70.08 x 70.08 x 4.33 in)

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사각형 알루미늄 배경과 작품 내부로 향하는 마틴의 섬세한 붓놀림은 작가가 일본 레지던시 활동 당시에 발견한 보자기 특유의 포장 방식을 연상시킨다. 한국 전통의 보자기는 정방향의 천으로, 물건을 싸거나 덮기 위한 용도부터 특별한 선물이나 의식을 위해 사용되기까지 다양한 형태로 활용된다.

The square format of the paintings, as well as the inward motion of the brushwork, recalls the folding of cloth typical of bojagi, which the artist discovered during his residency in Japan. In this traditional Korean textile technique, square pieces of cloth are skilfully constructed from fabric scraps and used as wrappings for gifts, special occasions or rituals.

Untitled (Mixed white / Ultramarine violet), 2021
Oil on aluminium
178 x 178 x 11 cm (70.08 x 70.08 x 4.33 in)

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약 25년 전, 일본의 차(茶) 거장이 내게 기모노 보관을 부탁했다. 런던에서의 어느 날 일본 가마쿠라에서 온 야마다 소헨이 내게 보자기에 포장된 정장 기모노를 맡겼는데, 아직까지 찾아가지 않았다. 곱게 지어진 매듭을 내 능력으로 다시 구현할 수 없다는 것을 알기에 한번도 열어보지 않았다.

— 제이슨 마틴

At least 25 years have passed since I was entrusted with the safekeeping of a Japanese tea master’s kimono. Yamada Sohen from Kamakura left me this bojagi-wrapped kimono in London, but he has not yet retrieved this formal garment and I have never opened it to see what is inside, as I could never repeat the tied bow. There is a mystery to this that I do not want to risk losing.

— Jason Martin

Untitled (Mixed off white), 2021 Oil on aluminium 100 x 75 x 8 cm (39.37 x 29.53 x 3.15 in)

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Untitled (Mixed white / Coral orange), 2021 Oil on aluminium 100 x 75 x 8 cm (39.37 x 29.53 x...

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작가는 이번 전시를 통해 두 점의 종이 작품들 또한 선보인다. 회화의 초석이 되기도 하는 하는 종이 작품들은 작가로 하여금 다양한 색과 움직임에 대한 실험을 가능케 한다. 저온 염색법의 특성상 공정 과정에서 일련의 유동성이 나타난다. 마틴은 염색 과정에서 에메랄드 그린, 울트라마린 블루, 옐로우, 루비 레드 등 안료들이 혼합되고 통합되도록 하며, 안료 간의 상호작용이 이끄는대로 그만의 탐구를 이어간다.

Works on paper allow the artist to experiment with movement and colour before turning to larger-scale formats in oil. The fluidity of the cold process dye he employs enables him to explore the interaction between pigments, as he lets himself be guided by the merging tints of emerald green and ultramarine blue, yellow and ruby red.

Untitled (Emerald green / Ultramarine blue), 2021
Cold process dye on watercolour paper
76 x 56 cm (29.92 x 22.05 in)

Untitled (Ruby red), 2021
Cold process dye on watercolour paper
76 x 56 cm (29.92 x 22.05 in)

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회화는 궁극적인 결과에 닿기 위해 항해하는 일종의 명상이다. 모든 잡념을 비우고 현재 당면한 변수들에 집중해야 한다.

— 제이슨 마틴, 2022

Painting is a form of meditation, as to reach positive results it is necessary to empty our mind of distractions and focus on the parameters at hand.

— Jason Martin, 2022