반영, 반영 이미지, 환상성, 거울, 창문, 존 사코우스키, Mirrors and Windows, 레안드로 에를리치, 혼합매체, 메타 반영
본 연구는 현대 시각예술에서 반영 이미지가 어떻게 미학적으로 활용되고 있으며, 그 반영성은 예술 작품에서 어떠한 미적 효과를 보이는지 ‘환상성’의 측면에서 검토하는 데 그 목적이 있다. 지금까지 반영 이미지에 관한 연구는 거울의 역사, 거울의 반영 현상, 반영에 대한 미학적 담론이라는 세 가지 주제로 전개되어온 측면이 있다. 본 연구에서는 거울과 창문이라는 두 가지 매체를 통해 바라본 반영 이미지를 고찰하였다. 특히 반영 이미지의 환상성을 극대화하여 표현하는 레안드로 에를리치(Leandro Erlich, 1973- )의 작품을 연구 대상으로 삼았다. 구체적으로는 반영 이미지를 매체와 결부시켰을 때 어떠한 환상성의 양상을 보이는가에 대하여 중점적으로 고찰하였다. 본 연구자는 미술을 반영의 역사로 바라보는 일관된 관점에서 연구를 진행하였다. 즉 미술의 기원이 그림자 반영 이미지의 모방이라는 주장에 의미를 두었다. 또한 회화의 재현, 사진의 등장과 그 이후 매체들에 의해 드러나는 환상성의 특징을 거울과 창문의 관점으로 살펴보았다. 1978년에 모마MoMA에서 존 사코우스키는
The purpose of this study is to investigate how reflected images are used in contemporary visual arts aesthetically and what kind of aesthetic effect their reflectivity would have on works of art in the aspect of ‘fantasy’. Previous studies on the reflected images focused on three major topics, which include the history of mirror in social aspects of the times, physical phenomena of reflection, and aesthetic discourse about reflection. The present study considered reflected image from the perspectives of mirrors and windows. Especially, it focused on works of Leandro Erlich, who maximized the expressions of fantasy of reflected image. It specifically delved into the patterns of fantasy when reflected images were combined with media. The investigator employed a consistent perspective of looking at art as the history of reflection throughout the research, finding significance in the argument that the origin of art was the imitation of shadows and reflected images and examining the characteristics of fantasy revealed through the reproduction of paintings, emergence of photographs, and later media from the perspectives of mirrors and windows. In 1978, John Szarkowski held his Mirrors and Windows exhibition at MoMA, putting the acts of exploring himself with a camera in the realm of mirrors and those of capturing the world with a camera in the realm of windows. Of the several topics, various themes have been metaphors of mirrors and windows. However, this exhibition holds important significance from the perspective of aesthetic issue about media. Keeping in mind his concept, the investigator adopted the perspective of mirrors and windows in more mechanism-based phenomena of photographs and applied the perspective as an attribute of mirrors and windows revealed in the fantasy of his reflected images. In addition, the development patterns of reflected images’ fantasy expression were examined through the analysis of classical paintings, photographs, and moving images works that expressed fantasy based on the topic of reflected images. Leandro Erlich is one of the greatest artists that made the most effective use of fantasy of reflected images. He induced fantasy that immediately expanded the line of vision through mirrors and expressed fantasy that transcended overlapping facts, illusions, and time and space through windows. It is especially noteworthy that he materialized reflected images without using a mirror or window in some of his works, and it was defined as meta-reflection in the present study. His meta-reflection is a kind of apparatus helping to understand the flow from analog “reflected images” to digital “image reflection.” In that sense, investigating the fantasy of Erlich’s reflected images proposes the interpretive possibilities of capturing contact points between the present and the future in contemporary art. There is a phenomenon of meta-reflection beyond the mirror and window frames in the era of digital virtual reality. The present study on the fantasy of reflected images will hopefully make even the smallest contribution to the understanding of contemporary cultural phenomena.