g: Artist

¿¡µðÅÍ. ¹Ú¼±ÁÖ, µðÀÚÀÎ. ¼Û¼Ò¿µ

 

¹°°ú À×Å©·Î ¾´ ½Ã

¾Ë·º»êµå·Î »ê³ª

ÀÏ·¯½ºÆ®·¹ÀÌÅÍÀÌÀÚ ±×¸²Ã¥ ÀÛ°¡ ¾Ë·º»êµå·Î »ê³ªÀÇ ÀÛǰÀº ½Ãó·³ À¯·ÁÇϸç, µ¿½Ãó·³ õÁøÇÏ´Ù. ±×ÀÇ º×Àº »ö°ú »ö »çÀ̸¦, ¿©¹é°ú ¿©¹é »çÀ̸¦ Áö³ª¸ç Èò Á¾ÀÌ À§¿¡ Çü»óÀ» ¸¸µé¾î³»°í, ±×ÀÇ Ç¥Çö´ë·Î ¡®µ¶ÀÚÀûÀ¸·Î »ý¸íÀ» °¡Áø¡¯ À̹ÌÁö´Â º¸´Â ÀÌ¿¡°Ô ¾î¶² °¨Á¤À» ÀüÇÑ´Ù. »ý°¢ÇØ º¸¸é, ¸¶¹ý °°Àº ÀÏÀÌ´Ù.

 

¾Ë·º»êµå·Î »ê³ª(Alessandro Sanna) /1975³â ž´Ù. ÇöÀç ÀÌÅ»¸®¾ÆÀÇ °¡Àå Áß¿äÇÑ ÀÏ·¯½ºÆ®·¹ÀÌÅÍ Áß ÇÑ ¸íÀ¸·Î Æò°¡µÇ¸ç, ÀÏ·¯½ºÆ®·¹ÀÌÅͷμ­, ÀÛ°¡·Î¼­ À¯·´ Àü¿ª¿¡¼­ ÀÎÁ¤¹Þ°í ÀÖ´Ù. ±×ÀÇ ÀÛǰÀº ÀÌÅ»¸®¾ÆÀÇ ±¹¸³ Àϰ£ÁöÀÎ <Il sole 24 ore>, ÀÌÅ»¸®¾ÆÀÇ ¸í¹® ÃâÆÇ»ç EinaudiÀÇ Ç¥Áö ÀÛ¾÷ µî¿¡ ¾²¿´´Ù. 35±Ç ÀÌ»óÀÇ Ã¥À» Ãâ°£Çߴµ¥, ±×Áß¿¡´Â ÀÌÅ»·Î Ä®ºñ³ë³ª ÀÜ´Ï ·Î´Ù¸® °°Àº ÀÛ°¡µé°ú ÇÔ²²ÇÑ ÀÛ¾÷µµ ÀÖ°í, 2007³â¿¡´Â ÇÁ¶û½º ÆþÇǵΠ¹Ì¼ú°ü°úÀÇ Çù¾÷À¸·Î ²¿¶óÀÌ´Ï¿¡¼­ ¡ºMostra di pittura¡»¶ó´Â Ã¥À» ³»±âµµ Çß´Ù. ÀÌÅ»¸®¾Æ¿Í ÇÁ¶û½º, À̽º¶ó¿¤, Çѱ¹ µî¿¡¼­ Àü½Ã¸¦ °¡Á³À¸¸ç, 2006³â°ú 2009³â ¾Èµ¥¸£¼¾»óÀ» ¼ö»óÇß´Ù. ÇöÀç ÀÌÅ»¸®¾Æ ¸¸Åõ¾ÆÀÇ ±³¿Ü¿¡¼­ ÀÛ¾÷ÇÏ¸ç »ì°í ÀÖ´Ù. www.alessandrosanna.com

 

 

Christmas in New York

°³ÀÎ ÀÛ¾÷ / 2012

 

 

¿äÁòÀº ¾î¶² ÀÛ¾÷À» Çϰí ÀÖ³ª

µ¿½Ã¿¡ ¿©·¯ °³ÀÇ ÇÁ·ÎÁ§Æ®¸¦ ÁøÇàÇϰí ÀÖ´Ù. ½ºÆäÀÎÀÇ ÇÑ ÃâÆÇ»çÀÇ ÀÇ·Ú·Î ÀÌÅ»·Î Ä®ºñ³ëÀÇ ¡º¸¶¸£Äڹߵµ(Marcovaldo)¡»¿¡ ÀÛ¾÷À» Çϰí ÀÖ°í, ¸î¸î °³ÀÎ ÀÛ¾÷µéÀ» ÁøÇàÇϰí ÀÖ´Ù. ±×Áß Çϳª´Â Àμâ¾÷¿¡ Á¾»çÇϴ ģ±¸ÀÇ ÀÇ·Ú·Î ÁøÇàÇÏ´Â ¡º¸ðºñµñ¡» ÀÛ¾÷Àε¥, ±×´Â ¾ó¸¶ Àü¿¡ ±Û ¾øÀÌ ÀÏ·¯½ºÆ®·¹À̼ÇÀ¸·Î ÀÌ·ç¾îÁø °íÀüµéÀ» ÃâÆÇÇÏ·Á°í µ¶¸³ ÃâÆÇ»ç¸¦ ½ÃÀÛÇß´Ù. ±×¸®°í ÃÖ±Ù 3³â µ¿¾È ³»°¡ »ç´Â °÷¿¡ ÀÖ´Â °­ÀÎ Æ÷(Po)ÀÇ »ç°èÀý¿¡ ´ëÇÑ Ã¥ ÀÛ¾÷À» Çϰí ÀÖ´Ù. ÀÏÁ¾ÀÇ ±Û ¾ø´Â ÀÏ·¯½ºÆ®·¹ÀÌ¼Ç ¼Ò¼³·Î, ³ª´Â ¹°°ú º×µé ±×¸®°í ºûÀ¸·Î ÀÌ ¼Ò¼³À» ¾²°í ÀÖ´Ù. ³» ÀÏ»ýÀÇ Ã¥ÀÌ µÇÁö ¾ÊÀ»±î ½Í´Ù.

Can you explain any projects you have been working on lately?

I¡¯m currently working at several projects at the same time: I¡¯m working on Marcovaldo by Italo Calvino for a Spanish publisher and I¡¯m doing some personal research, like for example a Moby Dick commissioned by a printer, a friend of mine, who¡¯s starting an independent publishing house to publish illustrated classics without words. I¡¯ve also been working for the last three years on a book project about the four seasons on the river of my region, The Po. It¡¯s a kind of illustrated novel without words that I¡¯m writing with water, brushes and light. It might be the book of my life.

 

¾î¸° ½ÃÀýºÎÅÍ ±×¸²À» ±×·È´ÂÁö, ±×¸²À̶õ ´ç½Å¿¡°Ô ÀÚ¿¬½º·´°í ¼±ÃµÀûÀÎ °ÍÀ̾ú´ÂÁö ±Ã±ÝÇÏ´Ù

11»ìÂë ÀÚÈ­»óÀ» ±×¸®±â ½ÃÀÛÇߴµ¥, ºû°ú ±×¸²ÀÚ, ºñ·Ê°¡ ¾î¶»°Ô ±â´ÉÇÏ´ÂÁö ÀÌÇØÇÏ·Á°í ³ë·ÂÇß¾ú´Ù. ÈÆ·ÃÀ» ¹Þ´Â °ÍÀÌ ÇʼöÀûÀ̶ó°í È®½ÅÇß¾ú´Ù. Áö±Ýµµ ±×°ÍÀÌ ¸Â´Ù°í »ý°¢ÇÑ´Ù. ¹°·Ð Ÿ°í³­ Àç´ÉÀº ÀÖÁö¸¸, ¸ÅÀÏ ¿¬½ÀÀ» ÇÏ¸ç ³» ¸Ó¸®°¡ ±¼·¯°¡µµ·Ï ÇØ¾ß ÇÑ´Ù. ±×¸²À» Àß ±×¸®´Â ¹ýÀ» ¹è¿ì´Â À¯ÀÏÇÑ ¹æ¹ýÀº ¾ÆÄ§ºÎÅÍ Àú³á±îÁö ±×¸®´Â °ÍÀÌ´Ù. ±×Ä¡Áö ¾Ê°í.

Did you draw a picture from a child? Drawing, is it something natural and innate to you?

At the age of eleven I started drawing pictures of myself, trying to understand how lights, shade and proportions work. I was convinced that having discipline was fundamental. Still now I think this is true. Of course I had a natural talent, but I needed to make my head work doing daily exercises. The only way to learn how to draw well is drawing from the morning to the evening. Continuously.

 

¾î¶² °æÇèÀ̳ª ÈÆ·Ã, ±â¾ï, ƯÁ¤ÇÑ »ç¶÷À̳ª ÀÛ°¡ µî Áö±ÝÀÇ ´ç½ÅÀÌ ÀÖ´Â µ¥ Å« ¿µÇâÀ» ¹ÌÄ¡°Å³ª ±â¿©ÇÑ °ÍÀÌ ÀÖ´ÂÁö

³ª¸¦ ÀεµÇÏ°í ³»°¡ ¹«¾ùÀ̾ú´ÂÁö¸¦ ÀνÄÇϵµ·Ï ÇÑ À¯ÀÏÇÑ ¼±»ý´ÔÀÌ ÇÑ ºÐ ÀÖ´Ù. ³ª´Â ¸¶Ä¡ ¿¬¼ÒµÇ±æ °¥¸ÁÇÏ´Â ºÒ °°¾Ò´Ù. ³ª´Â ¿¹¼ú Àü¹Ý¿¡ °üÇÑ ¸ðµç °ÍÀ» ¾Ë°í ½Í¾îÇß°í, ±×³à´Â ³»°Ô Ã¥µé°ú À½¾Ç, ¿µÈ­µéÀ» °¡Á®´Ù ÁÖ¾ú°í ÃãÀ̳ª Çdzª ¹Ù¿ì½¬ÀÇ °ø¿¬µéÀ» º¼ ¼ö ÀÖµµ·Ï ±ØÀåÇ¥µéÀ» ÁÖ°ï Çß´Ù. Á¦ 2ÀÇ ¾î¸Ó´Ï¿Íµµ °°¾Ò´ø ±×³à´Â ³»°Ô ¼ÕÀÇ ±â¼úÀûÀÎ ´É·Â ±× ÀÚü´Â ÃæºÐÇÏÁö ¾Ê´Ù°í, ¼¼»óÀ» ÇâÇÑ ³ªÀÇ È£±â½ÉÀ» ±æ·¯¾ß ÇÑ´Ù°í °¡¸£ÃÆ´Ù. ±×·¡¾ß¸¸ À̹ÌÁö¸¦ ÅëÇØ ¼¼»ó¿¡ ´ëÇÑ »ý°¢À» ¼¼»ó¿¡ ´Ù½Ã ÁÙ ¼ö ÀÖ´Ù°í.

Is there something that strongly influences on you, contributing to make you who you are now? (Experience, training, particular person or artist, certain memory, etc.)

I¡¯ve only had one teacher who guided me and recognized me for what I was: a fire eager to burn. I wanted to know everything about art in general and she used to bring me books, music, movies, she used to get me tickets to the theater to see dance and Pina Baush¡¯s show. A second mum taught me that the manual and artisanal ability by itself is not enough, you must cultivate your curiosity for the world in order to give back an idea of the world through images.

 

 

Composer (ÁÂ)

New Yorker spots USA / 2011

Piano Player (¿ì)

°³ÀÎ ÀÛ¾÷ / 2012

 

 

Don Chisciotte e la risoluta volontà del sogno

Tre Lune Edizioni / 2005

 

 

ÀÛ¾÷¿¡¼­ º×ÀÇ ¼±ÀÌ µ¸º¸ÀδÙ. ÀÛ°¡°¡ ¡®¼ÕÀ¸·Î¡¯ ¾î¶»°Ô ÀÛ¾÷Çß´ÂÁö¸¦ ´À³¥ ¼ö ÀÖ´Ù. »çÁø ȤÀº ´Ù¸¥ µðÁöÅÐ ¸Åüµé¿¡ ºñÇØ ±×¸²ÀÌ °¡Áö´Â ¸Å·ÂÀº ¹«¾ùÀ̶ó°í »ý°¢Çϴ°¡

³» ¼ÕÀº Èò Á¾À̷κÎÅÍ À̹ÌÁö¸¦ ¸¸µé¾î³»¾ß ÇÑ´Ù. ȯ¿µ ȤÀº ±âÀûÀÌ ÀϾ¾ß ÇÑ´Ù. À̰ÍÀ» °¡´ÉÄÉ Çϱâ À§ÇØ ³ª´Â ¿ø½ÃÀûÀÎ ¿ä¼Ò¸¦ ÀÌ¿ëÇÑ´Ù. ¹Ù·Î ¹°ÀÌ´Ù. ±×¸®°í´Â º×À» ÀÌ¿ëÇÑ´Ù. º×Àº °í¿äÇÏ°í ¸ÅȤÀûÀÎ µµ±¸·Î, ¸¶Ä¡ °í¾çÀÌó·³ ³ª¸¦ µû¸¥´Ù. ³»°¡ ±×¸²À» ¼±ÅÃÇÑ ÀÌÀ¯´Â, À̹ÌÁö¸¦ ¸¸µé¾î³»±â À§ÇØ ³Ê¹« º¹ÀâÇÑ ¸Åü¸¦ ÇÊ¿ä·Î ÇÏÁö ¾Ê±â ¶§¹®ÀÌ´Ù. º×µé, Èñ¼®µÈ »ö±òµé, À×Å©, Á¾ÀÌ¿Í ¹°. À̰ÍÀÌ ÀüºÎ´Ù.

Brush strokes are vivid in your works. From those painting, we can feel how the illustrator works with his ¡°hands¡±. What is the appeal of drawing compared to photography or digital mediums?

My hands must pull out the images from a white paper. An apparition or a miracle must happen. To make this possible I use a primordial element: water. Then I use the brush. The brush is a silent and seductive instrument and it keeps me company, like a cat. I chose drawing because I don¡¯t need a ¡°medium¡± that is too sophisticated to create images. Brushes, diluted colors, ink, paper and water. That¡¯s it.

 

´ç½ÅÀÇ ÀÛ¾÷Àº ¡ºDue alberi¡», ¡ºPoesie di giaccio¡»¿¡¼­Ã³·³ ½ÃÀûÀ̱⵵ Çϰí, ¡ºFish face¡», ¡ºAbc di boccacce¡»¿¡¼­Ã³·³ À§Æ® Àֱ⵵ ÇÏ´Ù. ÀÌ·¯ÇÑ ½ºÅ¸ÀÏÀº °³ÀÎÀûÀÎ ÃëÇâÀÇ ¹®Á¦Àΰ¡

»ç½Ç, ±× µÎ °¡Áö ½ºÅ¸ÀÏÀº ºñ½ÁÇÏ´Ù. ¾ÆÀ̵ð¾î¿Í ÄܼÁÆ®°¡ Å×Å©´Ðº¸´Ù ¿ì¼±ÇÑ´Ù. ±×¸®°í Å×Å©´ÐÀº ±× ³ª¸§´ë·Î µ¶¸³ÀûÀÌ¸ç µ¶ÀÚÀûÀ¸·Î Á¸ÀçÇÑ´Ù. ±×·¯³ª ³» À̹ÌÁöµéÀº Àüü°¡ ´Ù ¾î¿ì·¯Á® º¸À̸ç, µ¿½Ã¿¡, °¢°¢ÀÇ À̹ÌÁö´Â ±×°ÍÀÇ ÄÁÅØ½ºÆ®·ÎºÎÅÍ ºÐ¸®µÇ¾î µ¶ÀÚÀûÀ¸·Î »ì¾Æ°¥ ¼ö ÀÖ´Ù. ³ªÀÇ ¹æ½ÄÀº À̹ÌÁöµé¿¡°Ô »ý¸íÀ» ÁÖ¾î µ¶¸³¼ºÀ» °®°Ô²û ÇÏ´Â °ÍÀÌ´Ù. ±×°É ÇØ³½´Ù¸é, ±×µéÀÌ ³ª¸¦ ´õ ÀÌ»ó ÇÊ¿ä·Î ÇÏÁö ¾Ê±â ¶§¹®¿¡ ÇູÇÏ´Ù. Èò Á¾ÀÌ, ¹°, »ö±òµé, ¿¬Çʵé, ºó ¸¶Ä¿µé°ú »ÏÁ·ÇÏ°í ³³ÀÛÇÑ º×µéÀº ³ªÀÇ ¹è¿ìµéÀÌ´Ù. ³ª´Â ±×µé¿¡°Ô µû¶ó¾ß ÇÒ ´ëº»À» ÁÖ±ä ÇÏÁö¸¸, ±×µéÀÌ ÁïÈïÀûÀ¸·Î ¿¬±âÇÏ±æ ¿øÇÑ´Ù¸é, ±× ¶ÇÇÑ È¯¿µÇÑ´Ù.

Your works are sometimes beautiful and poetic like in Due alberi, Poesie di giaccio and sometime witty like in Fish face, Abc di boccacce. Are these styles a matter of your personal taste?

Actually, these two styles are similar. The idea and the concept have precedence over technique, and technique, in its way, is independent and lives autonomously. My images but be seen all together and each image can be removed from its context and can live autonomously. This is my method: giving life to images in order to give them independence. If I manage it, I¡¯m happy because they no longer need me. White paper, water, colors, pencils, empty markers and pointed and flat brushes are my actors. I give them a script to follow but if they want to improvise they¡¯re welcome to do so.

 

Santa Clauses

°³ÀÎ ÀÛ¾÷ / 2011

 

 

Èæ¹é ÀÛǰ¿¡¼­´Â ÅØ½ºÃ³°¡ ÀλóÀûÀ̸ç, ´Ù¸¥ ÀÛǰ¿¡¼­´Â »öä°¡ ÀλóÀûÀÌ´Ù. »öÀ» »ç¿ëÇÏ´Â µ¥ ÀÖ¾î ¿øÄ¢À̳ª Ưº°È÷ ¼±È£ÇÏ´Â ¹Ù°¡ ÀÖ´ÂÁö

³ª´Â »öÀ» »ç¿ëÇÏ´Â µ¥ ÀÖ¾î ¾ÆÁÖ ½ÅÁßÇÑ ÆíÀÌ´Ù. °ãÃÄÁü¿¡´Â ±×¸® ½Å°æÀ» ¾²Áö ¾Ê°í, ±â²¯ÇØ¾ß µÎ ¹ø Á¤µµÀÇ º×ÁúÀ̸é ÃæºÐÇÏ´Ù. ³ªÀÇ »öµéÀº Ç×»ó ±×°ÍÀ» µÑ·¯½Î°í ÀÖ´Â Èò»ö°ú °ü·ÃÀÌ ÀÖ¾î¾ß ÇÑ´Ù. °­ÇÑ ÄÜÆ®¶ó½ºÆ®´Â °ÅÀÇ Ãß±¸ÇÏÁö ¾Ê°í ´ë½Å Á¶½É½º·´°Ô, °ÅÀÇ ´Ü»öÁ¶·Î °ø°£°ú ºñÀ²¿¡ °üÇÑ ¾ÆÀ̵ð¾î¸¦ ´Ü¼øÈ÷ µå·¯³»°íÀÚ ÇÑ´Ù. ³ª´Â ´Ã ¿¬ÇÊ ¾øÀÌ ÀÛ¾÷Çϸç, ¸ðµç °ÍÀ» ¡®ÅÍÄ¡¡¯¿¡ ¸Ã±ä´Ù. ±×°ÍÀº ²À, ȤÀº ¹Ù¶ó±â´Â, ±¸»óÀûÀÌ°í ±¸Ã¼ÀûÀÎ °ÍÀÌ µÈ´Ù. ¿¹¸¦ µé¾î Ƽ¼ÅÃ÷³ª ¾ó±¼À» Ç¥ÇöÇÏ·Á¸é, ³ª´Â Ƽ¼ÅÃ÷³ª ¾ó±¼À» ±×¸®Áö ¾Ê°í ÀÚ¿¬½º·´°Ô ÅÍÄ¡°¡ Ƽ¼ÅÃ÷³ª ¾ó±¼À» ´à¾Æ°¡°Ô ¸¸µç´Ù. Áß¿äÇÑ °ÍÀº °Ñº¸±â¿¡´Â Ãß»óÀûÀÎ ÅÍÄ¡µéÀ» ¿Ïº®ÇÏ°Ô ±¸¼ºÇÏ´Â °ÍÀÌ´Ù.

In your works in black-and-white, the texture is interesting and impressive. At the same time, the colors in your works are always impressive. Do you have any rule or preference in using colors?

I¡¯m quite modest in the use of color. I don¡¯t insist much on the layers, at most maybe a couple of passes are enough. My colors must always have something to do with the white surrounding them, I hardly ever look for strong contrasts but discreet almost monochromatic accompaniments that simply give back an idea of space and proportion. I always work without pencil and I entrust everything to the mark that must, or I hope it does, become a figurative specificity. If I want, for example to represent a t-shirt or a face I don¡¯t draw a t-shirt or a face but I spontaneously make a mark that resembles a t-shirt and a face. The important thing is to perfectly organize these apparently abstract marks.

 

Àüü ÀÛ¾÷ °úÁ¤¿¡¼­ °¡Àå Áñ°Å¿î ¶§´Â ¾ðÁ¦Àΰ¡

°¡Àå Èï¹Ì·Î¿î ¼ø°£Àº °èȹÀ» ÇÒ ¶§¿Í, ¾Æ¹«·± ÀÇ¹Ì ¾øÀÌ ³» ¸¶À½´ë·Î ±×¸²À» ±×¸®¸ç ¿¬½ÀÇÒ ¶§ÀÌ´Ù. °Ñº¸±â¿¡¸¸ ¹«ÀǹÌÇѵ¥, ¿Ö³ÄÇÏ¸é ±×·² ¶§¸é ³ª´Â Ç×»ó ³» °ÔÀÓ Àüü°¡ ¾î¶°ÇÑ ±ÔÄ¢µéÀ» °®°í ÀÖ´Ù´Â °É ÀÌÇØÇÏ°Ô µÇ±â ¶§¹®ÀÌ´Ù. ±× ±ÔÄ¢µéÀº ¼ö³â¿¡ °ÉÃÄ ³» ½º½º·Î ¸¸µé¾î³½ °ÍÀÌ´Ù.

What is the most lovely and enjoyable moment in your whole working process?

The most interesting moment is when I plan and when I exercise my mind to make drawings without any meaning. Only apparently meaningless because then I always figure out that my whole game has rules that I¡¯ve created over the years.

 

ÀÛ¾÷À» À§ÇÑ ¿µ°¨°ú ¾ÆÀ̵ð¾î´Â º¸Åë ¾î¶»°Ô ¾ò³ª

¾î¶² °Íµµ Çϴÿ¡¼­ ¶³¾îÁöÁø ¾Ê´Â´Ù. ³»°¡ ÇÏ´Â ÀÏÀÌ ¿ÞÂÊÀ¸·Î, ¿À¸¥ÂÊÀ¸·Î, °¡¿îµ¥·Î ¹°À» Èê·Á¹ö¸®´Â ÀÏÀÏÁö¶óµµ °è¼ÓÇØ¼­ ÀÛ¾÷ÇØ¾ß¸¸ ÇÑ´Ù. ¼Õ³î¸²ÀÌ ÁöÃİ¥ ÁöÁ¡ÀÌ µÇ¾î¼­¾ß ¼ø¼öÇÑ »ý°¢ÀÌ Á¾ÀÌ À§¸¦ ¸Éµ¹±â ½ÃÀÛÇÑ´Ù. ±×¶§°¡ µÇ¸é ¾ÆÀ̵ð¾î¸¦ ¾ò±â ½ÃÀÛÇÏ´Â °Í °°´Ù. ¶Ç ´Ù¸¥ ¹æ¹ýÀº ¹ÛÀ¸·Î ³ª°¡ ³ª¸¦ µÑ·¯½Î°í ÀÖ´Â ¼¼°è¸¦ º¸´Â °ÍÀÌ´Ù. ³» ÁÖº¯ÀÇ Àü¿ø, ³» °¡±îÀÌ¿¡ »ç´Â »ç¶÷µé, ³ªÀÇ µþ, ³ªÀÇ °³, ³ªÀÇ ¾Æ³». ±×¸®°í Æ÷ °­À» µû¶ó °È´Â´Ù. ³» Á¤½ÅÀÌ ¼ûÀ» ½¬°í, »õ·Î¿î ¾ÆÀ̵ð¾îÀÇ ½ºÆÄÅ©°¡ ¿Â´Ù. ³ª´Â ±×°ÍµéÀ» ¸ðÀ¸°í, ²Éº´¿¡ ²È¾Æ Àڶ󳪵µ·Ï ÇÑ´Ù.

How do you get the idea and inspiration for the works in general?

Nothing falls from the sky. I have to work constantly even if what I do is losing water left, right and center. I need to reach a point where I am tired of my hand¡¯s fluidity and I start to be pure thought hovering over the paper. Maybe then I begin to get some ideas. Other ways are to go out and see the world that surrounds me; the countryside near me; people who live close to me – my daughter, my dog, my wife – and walks along the Po river. My mind gets oxygen and the sparks of new ideas come. I collect them and then I put them into a vase to let them grow.

 

Due Alberi

Pjoject for San Zeno Foundation, Italy / 2011

 

* º» ±â»çÀÇ Àü¹®Àº <ÁöÄÝ·Ð> 10¿ùÈ£¿¡¼­ È®ÀÎÇÏ½Ç ¼ö ÀÖ½À´Ï´Ù.

 

 
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