작업 소개

57STUDIO는 국립현대미술관의 전시 프로그램인 ‘젊은모색2019’ 전시의 미디어 콘텐츠로 아티스트 인터뷰 시리즈를 기획 및 제작하였습니다. 이번 전시의 부제인 ‘액체 유리 바다’는 서로 다른 주제와 매체를 각자의 개성으로 다루는 참여 작가 9명에게서 발견한 공통의 키워드에서 출발하였습니다. 인터뷰 시리즈는 각 작가의 작품 세계와 전시 취지를 효과적으로 전달하기 위해 제작되었으며, 작가들의 창작 과정, 작업에 대한 생각, 그리고 전시에 대한 개인적인 관점을 담아 관람객들이 전시에 대한 이해와 몰입도를 높일 수 있도록 구성되었습니다.

이은새 작가는 회화를 다루는 작가입니다. 이은새 작가는 특히 화려한 색과 강렬한 선 그리고 감각들을 캔버스 위에 펼쳐내 보이는 작가인데요. 특히 자신과 자신의 주변에서 일어난 이해할 수 없거나 부조리하거나 모순됐다고 생각하는 일에 대해 관심을 가지고 있습니다. 이번에는 특히 가족이라고 하는 우리가 가장 익숙하게 생각하면서도 또 낯선 가족의 모습들을 화폭 위에 다양한 방식으로 불러오고 있습니다.

– 최희승 큐레이터

57STUDIO planned and produced an artist interview series as part of the media content for the Young Korean Artists2019, a program by the National Museum of Modern and Contemporary Art. The exhibition’s subtitle, Liquid, Glass, Sea, was inspired by a common keyword discovered across the nine participating artists, who each approach different themes and media with their own unique perspectives. The interview series was created to effectively communicate each artist’s artistic world and the exhibition’s intent. It captures the artists’ creative processes, their thoughts on their work, and their personal views on the exhibition, helping viewers deepen their understanding and engagement with the exhibition.

Lee Eun-sae is an artist who works with painting. She is known for showcasing vibrant colors, bold lines, and sensations on canvas. Her focus is on the things she finds incomprehensible, absurd, or contradictory that happen in her life and around her. In this particular series, she delves into the concept of family—a familiar yet also unfamiliar subject—and brings various representations of family to life on her canvas in different ways.

– Choi Heeseung (Curator)

My name is Lee Eunsae. I’m a painter. For this exhibition, I focused on family or community. While my work takes the image of the family, it portrays a family as a gathering of those who come together in a more autonomous way. They are families formed consciously and not through typical patriarchy. As I haven’t formed a family of my own, I think about the kind of family I wish to form and actual families of friends and people around me. I started thinking about family during the holidays when I saw a photograph of family on my dad’s side, and I thought it was so typical and boring. I wanted to subvert that sort of typical form of the family.

While I always work by composing all my images, I compose my overall work with things that I saw and thought about at the time. Although I’m painting figures these days, my work focused on drunken women last year, and before that, I concentrated on landscapes or the form of women as objectified through the media. I’m mainly drawn to breaking forms that are standardized or typified. While this remains the same throughout my work, things that capture my attention in different times change.

The National Museum of Modern and Contemporary Art, Gwacheon is a family-friendly venue. One of my paintings will be based on the photograph of a family, taken in front of the museum. While I haven’t carried it out yet, this work will be about using illusions to unearth aspects about the family which I haven’t been able to see before.

When I work, I’m very interested in drawing and consider its process important. So I often repeat drawing the same image, or experiment with different ideas when I work. When I feel that I’ve expressed everything I wish to through painting, I would stop working on it even if it looks incomplete. Therefore, I desire to transfer the form of the brush strokes in my drawing onto the canvas.

I would develop the drawing further If a certain situation needed more expression as an image. But if detailed portrayal isn’t necessary, and in the case of figure painting, if the meaning of gesture or expression is somewhat evident without further development and completion, I question if there is meaning in creating a fully detailed and completed illusion. However, there is no one right and ideal form. What is ideal, though, is accepting diversity and variety and not treat others with criticism or ridicule.