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http://creativecommons.org/licenses/by-nc-nd/2.0/kr/legalcodehttp://creativecommons.org/licenses/by-nc-nd/2.0/kr/

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2011 2016

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2. 52

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Abstract 96

- vi -

1 , 50x70cm, , 2011

2 1, 220x110cm, , 2011

3 1, 130x130cm, , 2012

4 2, 130x130cm, , 2012

5, 130x160cm, , 2012

6 Flower drawing, 190x130cm, , 2012

7 , 130x160cm, , 2012

8 , 130x320cm, , 2012

9 1, 130x160cm, , 2012

10 2, 130x160cm, , 2012

11 1, 130x194cm, , 2012

12 2, 194x260cm, , 2012

13 3, 194x260cm, , 2012

14 4, 194x260cm, , 2012

15, 160x160cm, , 2012

16 , 160x130cm, , 2013

17 , 170x110cm, , 2013

18 1, 130x130cm, , 2013

19 2, 130x130cm, , 2013

20Y, 60x80cm, , 2014

21 2, 160x390cm, , 2013

22 1, 97x130.3cm, , 2014

23 2, 70x70cm, , 2014

24 , 180x100cm, , 2015

25 , 160x100cm, , 2015

26 , , 2015

27(), 112.1x436.5cm, , 2015

28 1, 60x80cm, , 2015

- vii -

29 2, 30x30cm, , 2015

30 - , 63.5x113.5cm,

, 2015

31 1, 24x30cm, , 2015

32 2, 20x35cm, , 2015

33 3, 30x24cm, , 2015

34 3, 24x30cm, , 2015

35 , 30x24cm, , 2015

36 , 20x35cm, , 2015

37 , 24x30cm, , 2015

38, 24x30cm, , 2015

39 , 24x30m, , 2015

40, , 24x30cm, , 2015

41 , 45x53cm, , 2016

42 1, 45x53cm, , 2016

43 , 45x53cm, , 2016

44 2, 45x53cm, , 2016

45 , 45x53cm, , 2016

46 , 112.1x582cm, , 2016

- viii -

[ 1] (, 1459~1508), ,

, 242.6x156.4cm, 15 , ,

[ 2] 9, 130x160cm, , 2012

[ 3] , 2012

[ 4] 33, 30x24cm, , 2015

[ 5] 31, 24x30cm, , 2015

[ 6] 27, 112.1x436.5cm, , 2015

[ 7] 28, 60x80cm, , 2015

[ 8] 5, 130x160cm, , 2012

[ 9] 13, 194x260cm, , 2012

[10] 12, 194x260cm, , 2012

[11] 14, 194x260cm, , 2012

[12] 7, 130x160cm,

, 2012 () 8 , 2012 ()

[13] 6, 190x130cm, , 2012

[14] 10, 130x160cm, , 2012

[15] 11 , 2012 () 10 , 2012 ()

[16]

[17] (Giorgio de Chirico, 1888~1978),

- ix -

, 21.5x28cm, 18, ,

[23] 25, 160x100cm, , 2015

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3) , , , 2014,

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6) , , pp.103-136.

7) Rollo May, , , , 1989, p.22.

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T. S. 1925 ,

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vol.35, 2015. p.174.

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10) Rollo May, , pp.33-35.

11) Lois Tyson, , , , 2012,

pp.55-57.

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13) Slavoj iek, , , , ,

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pp.49-50.

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pp.26-27.

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pp.101-102.

41) Rudolf Arnheim, , , , 1995, pp.47-96.

- 43 -

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44) Gilles Deleuze, , , () , 1995, pp.84-136.

45) Heinrich Wlfflin, , , , 1994, p.100.

46) , , , , 1991, p.9.

47) Roland Barthes, , p.98.

- 45 -

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194x260cm, , 2012

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49) Ernst H. J. Gombrich, , , ,

1985, p.78.

- 46 -

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55) Sarane Alexandrian, , , , 1984, pp.28-51.

- 54 -

[ 17]

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58) Daniel L. Schacter , , p.368.

- 56 -

[ 18] 44, 45x53cm, , 2016

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62) C. Norberg Schulz, , p.59.

- 60 -

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- 63 -

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- 64 -

[ 23] 25, 160x100cm, ,

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, , , 1997

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, 2003

, , , , 1995

, , , 2001

, , , 2007

, 2: , , 2011

, , , 2001

, , , , 2002

, , , 2000

, , , 1999

, , , 2006

, , , , 2010

, , , , 1991

Arnold Hauser, , , , 1983

C. Norberg Schulz, , , , 1997

Daniel L. Schacter , , 8 ,

, 2011

Ernst H. J. Gombrich, , ,

, 1985

Gilles Deleuze, , , () , 1995

Heinrich Wlfflin, , , , 1994

Jean Robertson, Craig McDaniel, , ,

, 2011

Lois Tyson, , , , 2012

- 69 -

Pierre Francastel, , - , () ,

1998

Roland Barthes, , , , 2006

Rollo May, , , , 1989

Rudolf Arnheim, , , , 1995

Rudolf Arnheim, , , ,

1984

Sarane Alexandrian, , , , 1984

Slavoj iek, , , , ,

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Sylvan Barnet, , , ()

, 1995

, ,

, 2013.

, :

, , , vol.4,

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, ,

, 1995

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, , vol.115, 2010, pp.23-45.

, ,

,

, vol.35, 2015, pp.173-176.

, ,

, 2009.

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, - ,

, 2004

, , ,

2014.

, :

, , Vol.24, 2009, pp.203-232.

, ,

, 2002

, , ,

vol.11, 2012, pp.250-252.

- 71 -

1 , 50x70cm, ,

2011

2 1, 220x110cm, , 2011

- 72 -

3 1, 130x130cm,

, 2012

4 2, 130x130cm,

, 2012

- 73 -

5, 130x160cm, ,

2012

6Flower drawing,

190x130cm, , 2012

- 74 -

7 , 130x160cm,

, 2012

8 , 130x320cm, , 2012

- 75 -

9 1, 130x160cm, , 2012

10 2, 130x160cm, , 2012

- 76 -

11 1, 130x194cm, , 2012

12 2, 194x260cm, , 2012

- 77 -

13 3, 194x260cm, , 2012

14 4, 194x260cm, , 2012

- 78 -

15 , 160x160cm, , 2012

- 79 -

16 , 160x130cm,

, 2013

17 ,

170x110cm, , 2013

- 80 -

18 1, 130x130cm,

, _2013

19 2, 130x130cm,

, 2013

- 81 -

20Y, 60x80cm, , 2014

21 2, 160x390cm, , 2013

- 82 -

22 1, 97x130.3cm, , 2014

23 2, 70x70cm, , 2014

- 83 -

24 , 180x100cm, , 2015

- 84 -

25 , 160x100cm, , 2015

- 85 -

26 , , 2015

- 86 -

27(),_112.1x436.5cm, , 2015

28 1, 60x80cm, , 2015

- 87 -

29 2, 30x30cm, , 2015

30 - , 63.5x113.5cm, ,

2015

- 88 -

31 1, 24x30cm, ,

2015

32 2, 20x35cm, , 2015

- 89 -

33 3, 30x24cm,

, 2015

34 3, 24x30cm, ,

2015

- 90 -

35 , 30x24cm,

, 2015

36 , 20x35cm, , 2015

- 91 -

37 ,_24x30cm,_ ,_2015

38, 24x30cm, , 2015

- 92 -

39 , 24x30m, , 2015

40, , 24x30cm, ,

2015

- 93 -

42 1, 45x53cm, ,

2016

41 , 45x53cm, ,

2016

- 94 -

43 , 45x53cm, ,

2016

44 2, 45x53cm, ,

2016

- 95 -

45 , 45x53cm, ,

2016

46 , 112.1x582cm, , 2016

- 96 -

Abstract

Study on Expression of Anxiety

through Concealment

-Based on Kim, Yeims artworks-

Kim, Yeim

Oriental Painting Dept. of Fine Art

The Graduate School

Seoul National University

This thesis aims to present my works systematically through

analyzing the motive for creating, theoretical grounds, selecting

materials, figurative features, and expressive techniques of my works

regarding anxiety which were created between 2011 and 2016.

Researching anxiety is the writing for my painting and awareness

as a member of the society as well. The purpose of this study is to

accept the anxiety itself positively rather than overcoming the

negative perspectives on anxiety or healing the inner side, and to

explore how anxiety is expressed through the medium of painting.

Since anxiety is a universal feeling, it is not limited to my life

alone. Rather, it speaks for all of us living in contemporary. This

precious feeling is closely related to art, and I hope the concerns I

tried to put into my paintings would provide unconstrained space for

the audience which they could sympathize with.

- 97 -

This thesis is organized as follows.

In Chapter , I briefly suggested the purpose and subject of my

works which contain the contemplation on anxiety.

In Chapter , I discussed the meaning of my works and the

theoretical background to support it. First, I examined anxiety, which

is the source of creation, from the perspective of the East Asian art,

and explored the relationship between anxiety and art. Next, I

described the feeling which I experience as a member of the society

based on the feeling of anxiety.

In Chapter , I discussed my works in which the hidden anxiety

was expressed. The first part is about the very moment when

anxiety came out, and I explained why the feeling was revealed at

this particular time, night, and described the experience when all the

familiar landscapes suddenly seem unfamiliar. In the second part, I

mentioned the image of protective film which symbolizes anxiety and

the personal meaning of it, and introduced expressive techniques

which utilize it.

In Chapter , I described my works from the perspective of

technique. The first part mentioned the symbolism and meaning of

the image I borrowed in order to express the very moment when

familiar landscapes became unfamiliar, and explained the figurative

features and techniques. In second part, I examined the combination

of ordinary images which were collected for the surreal landscape and

the effect of marginal space shown from the composition.

Finally in Chapter , I summarized the body and suggested

future directions based on my study.

keywords : anxiety, concealment, appearance, protective film,

protective coloring, subjective form

Student Number : 2013-21193

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