작품 제목: 아름다운 시절, 세 그루 나무 (1) 아름다운 시절, 세 그루 나무 예오체큥 http://www.busanbiennale.org/sub01/05_fix.php?no=5224amp;cat_no=2002amp;seq=101510amp;type=2amp;year=2008amp;type2=3amp;type3=amp;page=2아름다운 시절, 세 그루 나무이 작품은 형체가 부여된 환영illusion이다. 그것은 자연의 화려함을 상상세계로 변형한다. 이 미술가는 단순하지만 호기심을 자극하는 형상을 창조하여, 일상적인 지각의 확실성과 우리를 둘러싼 세계에 대한 우리의 이해에 의문을 제기한다. 그것은 진보된 인공세계의 특징들을 어머니 자연의 요소들과 결합한다. 강철 구조가 미지의 거대한 가구를 떠올리는 한편, 함축적인 형태는 숲·나무·꽃·구름·하늘 등을 상기시킨다. 이 장대한 형상에 매혹되어 그 아래로 들어설 때, 사람들은 그 독특한 공간의 꿈꾸는 듯한 분위기가 하늘과 지상을 연결하는 초현실의 사다리를 통해 하늘의 빛이 산란함으로써 생김을 알게 될 것이다. 시적이고 참으로 낯선 lt;아름다운 시절, 세 그루 나무gt;는 익숙함과 독특함의 유희를 통해 사람들에게 현상학적인 경험을 제공한다. amp;copy;탄 앤 팽(미술사, 난양 순수예술 아카데미) A Blossom Season, Three Trees Chee Kiong Yeo http://www.busanbiennale.org/english/sub01/05_fix.php?no=5486amp;cat_no=20022amp;seq=101510amp;type=2amp;year=2008amp;type2=3amp;type3=amp;page=1A Blossom Season, Three TreesA Blossom Season, Three Trees is an illusion materialized. It is a transformation of nature? splendor into a world of imagination. To question the certainties of our everyday perceptions and our understanding of the world around us, the artist created a simple yet intriguing form that combines features of the advanced manmade world with the elements in mother nature-the steel structure evokes a colossal furniture of unknown kind while the versatile shape brings to mind forest, trees, flowers, clouds, sky, etc. When the publics are lured by this magnificent form and take shelter under it, they will discover that the dreamy atmosphere within the unique space is caused by the sky light diffusing through a surreal ladder bridging the heaven and the earth. Poetic and beautifully strange, A Blossom Season, Three Trees plays with the simultaneity of familiarity and peculiarity to provide the publics with a phenomenological experience. For the past five years out of the 15 years of his artistic career, Yeo Chee Kiong has been creating a series of fascinating works which challenge the viewers?wits. Usually simple and reaching the extent of abstraction, his forms are in fact symbolic representations that suggest meanings while at the same time inducing chains of imagination in the viewers?mind. In the artist? own word, he ?ttempts to create a partially indefinable sculptural sensibility of the material world that is ?ealistic?and ?maginary?at the same time.?Inspired by ideas of phenomenology and its connection with Eastern philosophy, Yeo? concept involves the notions of the self as the subject ?? shared-cognitions of human beings as ?ntersubjectivity? ?erception? ?ntentionality? etc. Putting these together, his sculptures deal with the complexities between the object, the viewer? visual perception, and the work? meaning. Started as a figurative sculptor, Yeo took a turn from his past romantic expressionism to conceptual representation in the recent years. However, his belief in the supremacy of the tangible form is still firm. Differing from contemporary artists who reject ?rt-objects?as disposable medium of information delivery, Yeo? sculptures are essential forms crucial for situating the viewers in a unique arena. It is in this arena that the viewers?ould empirically feel and experience that ?omething?which is simultaneously definable and unknown-the poetics of reverie. ⓒTan Yen Peng _ Art History, Nanyang Academy of Fine Arts 자료 출처(Credit): 부산비엔날레 홈페이지 촬영: 오용웅(오발탄 Ovaltan)촬영 일자: 2014년 10월 16일촬영 장소: 부산광역시 해운대구 APEC 나루공원카메라: Nikon D90렌즈: Nikon AF NIKKOR 24mm 1:2.8이미지 조정 gt; 자동레벨 사이즈 3543 X 2353
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