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The Second Chapter : Interview with Neryhs Wo (Korean ver.)

   ‘예술가의 뮤즈’를 탐구하는 이번 여정의 일곱 번째 대화는 다학제적 예술가 네리스(Neryhs)의 세계로 우리를 초대합니다. 홍콩에서 태어나 런던과 멜버른에서 수학한 이 작가에게 창작이란 깊은 취약성을 드러내는 행위이자, 개별적인 정신 사이에 필연적으로 존재하는 간극을 잇는 다리를 건설하는 과정입니다. 네리스의 작업 세계는 가슴 뭉클한 모순에 뿌리를 두고 있습니다. 타인에게 온전히 이해받고 싶은 인간의 갈망과, 완전한 연결이란 본질적으로 불가능하다는 인식 사이의 대립이 그것입니다. 개인적인 트라우마와 '생존 모드'의 시간을 지나온 그녀는 이제 예술을 단순한 미적 추구가 아닌, 필수적인 '치유'의 형태이자 삶에 건네는 '무조건적인 사랑'의 그릇으로 바라봅니다. 그녀의 작업은 고독의 무게를 자기 발견이라는 확장된 자유로 변모시키며, 잃어버린 자아를 되찾는 고요하지만 강력한 선언이 됩니다. 이번 인터뷰에서 네리스는 최근의 변화를 상징하는 작품 <27th>를 통해 자신의 진화를 반추합니다. 이 작품은 삶의 한 계절을 마무리하는 '종착선'이자 새로운 시대를 여는 '출발선'이 되는 전환점을 마주하고 있습니다. 그녀는 자신의 창작 과정을 '알아차림(noticing)'이라 설명합니다. 예술가는 명료함의 불꽃 속으로 용기 있게 뛰어들어 무의식 속에 숨겨진 진실을 들추어내야 한다는 것입니다. 네리스에게 캔버스와 설치 공간은 상처를 선명하게 마주하는 장소이며, '회화적 은유'를 통해 차마 말로 다 할 수 없던 것들이 비로소 형상을 갖추게 되는 공간입니다. 관객을 대하는 그녀의 태도 또한 인상적입니다. 예술을 '사랑'과 유사한 무엇으로 보는 그녀는, 작품의 의미가 관객 각자의 고유한 지각을 통해서만 비로소 완성된다고 믿습니다. 이는 작가의 본래 의도를 넘어선 대화이며, 우리 모두를 그녀가 남긴 파편들 속에서 각자의 이야기를 발견하도록 초대합니...

Egon Schiele's Portrait: Capturing Human Anxiety and the Inner Self

Austrian Expressionist Egon Schiele captured the anxieties of his time and his own inner turmoil on canvas. His works are characterized by distorted figures and rough, sharp lines that powerfully reflect his emotions. The subjects in Schiele's paintings often lay bare the anxiety and pain hidden beneath their skin, allowing viewers to see a reflection of their own fears and struggles.


In the early 1900s, Europe was experiencing a period of political and social upheaval. The decline of the Austro-Hungarian Empire and the looming specter of World War I generated widespread uncertainty and fear, exemplified by the increasing social unrest and the questioning of traditional values. In this context, artists began to question the established norms and societal order. Egon Schiele sought to explore the essence of human existence and individual anxiety within this shifting landscape, often using distorted figures and intense facial expressions to convey the rawness of these emotions. Through his work, Schiele portrayed the tortured human condition, visually representing the turmoil of his era. His subjects often appear in painful, twisted postures, with piercing gazes or unstable expressions that confront the viewer. These distorted depictions reflect Schiele's own internal conflicts as well as the chaotic society around him.


Two recurring elements in Schiele's works are 'nudity' and 'distortion.' He used these to lay bare the essence of humanity. Schiele's nudes are not about idealized beauty but rather a raw exposure of human nature, as seen in works like 'Nude Self-Portrait' (1910), where the vulnerability of the human form is laid bare. The figures born from his brushstrokes are filled with suppressed desires, loneliness, and fear. Their rough, furrowed expressions visually convey the complexity of their emotions. The skin tones are often pale or yellowish, with emphasized bones and muscles, highlighting human frailty and mortality. This stark depiction forces us to confront the unvarnished truth of our inner selves, which we often prefer to ignore.


One of Schiele's most powerful works, 'Self-Portrait' (1910), encapsulates his artistic vision. The composition's harsh lines and muted color palette convey a sense of anguish and introspection. In this self-portrait, Schiele vividly reveals his inner pain, inviting viewers to share in his turmoil. His gaze seems to challenge the viewer, with a face twisted by pain and anxiety. His eyes convey profound despair, while his elongated, distorted hands symbolize the chaos he faced internally. Through this self-portrait, Schiele acknowledges his own imperfections and confronts the fundamental vulnerability of human existence.


Schiele's works are also imbued with deep anxieties stemming from his personal experiences, such as losing his father to syphilis when he was fourteen, which greatly impacted his worldview and artistic output. He lost his father at a young age and grew up in an unstable environment, which led to an obsession with life and an equally powerful fear of death. These experiences profoundly influenced his artistic world, reflecting the loneliness and transience of human existence. These emotions are evident throughout his works, further emphasized by his use of color and composition. Schiele often contrasted bright colors with dark backgrounds to accentuate the emotions of his subjects, frequently placing them in empty, desolate settings to enhance their sense of isolation, as in works like 'The Family' (1918).


Egon Schiele's art is intentionally far from beautiful or graceful, as he sought to strip away superficial aesthetics to reveal the raw essence of humanity. His works often evoke discomfort, forcing the viewer to face the darkest parts of the human psyche. Yet it is through this discomfort that we come to understand the complexity of human emotions. Schiele's works compel us to face the contradictions within ourselves, offering a deep understanding of human nature. He was not merely interested in depicting the human body; he delved into the depths of emotion within it, staying true to the essence of Expressionism.


Schiele's distorted portraits symbolize the anxieties of his era and the solitude of the individual, reflecting the broader societal upheaval and existential dread that characterized early 20th-century Europe. His art demands that we accept the pain and vulnerability inherent in the human experience and find our true selves amidst the discomfort. Even a century later, the raw portrayal of humanity in Schiele's work continues to resonate deeply with us. Every time we encounter his art, we are brought closer to the truth of human existence, beyond vibrant colors or beautiful compositions, as we confront the raw, unfiltered nature of our own vulnerabilities.






References

1. The Decline of the Austro-Hungarian Empire and Social Changes: General historical references.

2. The Connection Between Schiele's Personal Experiences and His Works: Biographies and artistic analyses of Egon Schiele.

3. Analysis of 'Self-Portrait' (1910): Commentary on the work and studies in Expressionism.


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