CHOI Byungso
Untitled, 1975
Baby's breath flowers, flower vase, base, chalk
Dimensions variable
1975년 대구시립도서관에서 열린 이강소와의 2인전에 출품한 작품이다. 전시장에 놓여있던 큰 바구니에 저렴했던 안개꽃을 수북이 담아놓고 툭 쳐서 바닥에 떨어진 몇 개의 꽃잎을 분필로 표시했다. 꽃, 연필, 신문지 등 일상에서 무심히...
1975년 대구시립도서관에서 열린 이강소와의 2인전에 출품한 작품이다. 전시장에 놓여있던 큰 바구니에 저렴했던 안개꽃을 수북이 담아놓고 툭 쳐서 바닥에 떨어진 몇 개의 꽃잎을 분필로 표시했다. 꽃, 연필, 신문지 등 일상에서 무심히 지나치는 값어치 없는 무명의 오브제에서는 한국 사회를 살아가던 최병소, 외부의 현실을 직면하던 예술가의 흔적을 찾아볼 수 있다. 집요하고 처절하게 붙잡았던 연필과 신문지들은 매체의 순수성에 저항하고 형식주의에 귀속된 예술가이기를 거부하는 동시에 생계를 유지해야 하는 한국 예술가로서의 삶을 의미한다고 볼 수 있다.
Untitled was first exhibited in a two-person exhibition with Lee Kang-so at the Daegu City Library in 1975. Filling a large basket with cheap baby’s-breath flowers (gypsophila) then hitting the top of the bunch, CHOI Byungso would mark where the petals had fallen with white chalk. Traces of CHOI, an artist who was not afraid to confront the realities of Korean society, can be found in forgotten and worthless objects such as flowers, pencils, and newspapers, that are inadvertently overlooked in everyday life. Pencils and newspapers, which the artist obsessively and persistently held onto, represent his life as a Korean artist who resisted medium purity and refused to be attributable to formalism all the while having to make a living.
Untitled was first exhibited in a two-person exhibition with Lee Kang-so at the Daegu City Library in 1975. Filling a large basket with cheap baby’s-breath flowers (gypsophila) then hitting the top of the bunch, CHOI Byungso would mark where the petals had fallen with white chalk. Traces of CHOI, an artist who was not afraid to confront the realities of Korean society, can be found in forgotten and worthless objects such as flowers, pencils, and newspapers, that are inadvertently overlooked in everyday life. Pencils and newspapers, which the artist obsessively and persistently held onto, represent his life as a Korean artist who resisted medium purity and refused to be attributable to formalism all the while having to make a living.