This study is on ways of producing kinetic art that reflects formative characteristics of relief kinetic art. This study reviewed kinetic art, theory of Merleau-Ponty’s physical perception and properties of formative expression, and analyzed rundpla... This study is on ways of producing kinetic art that reflects formative characteristics of relief kinetic art. This study reviewed kinetic art, theory of Merleau-Ponty’s physical perception and properties of formative expression, and analyzed rundplastik and relief-type kinetic art. According to the analysis result, directly opposed characteristics of rundplastik and relief-type kinetic art were deduced, and 『Transmission』 series of relief-type kinetic art were produced by reflecting research results. Kinetic art is the type of art that pursues movement and an art genre that explores esthetics of movement aside from immovable surface. It is an art that expands to four dimension by adding temporality on three dimensional sculpture and gets classified into kinetic art that manually moves without power and that moves actively through power. Kinetic art using power gets classified into kinetic art that used natural energy as power and the ones that used mechanical power. This study is set kinetic art using mechanical power as the research range. This study organized elements of physical perception into movement of body, temporality, and experience based on Merleau-Ponty’s book 『Phenomenology of Perception』. Movement of body states that perception gets formed by active movement of physical body, temporality is perceiving movement according to the flow of time, and experience is creating inner meaning of object through experience. The three elements are put together to form physical perception. Perspective, repetition and rhythm, symbol and illusion were set as properties of formative expression. Perspective is for creating presence and a sense of space, and repetition and rhythm are for creating motion through viewer’s moving eyes. Symbol and illusion are used as a media of communication between object, viewers and elements which create inner meaning of artwork. This study set a standard to analyze formative characteristics according to the physical perception through theoretical study. Analysis standards consisted of perspective, repetition and rhythm, symbol and illusion according to physical movement, temporality, experience. And using the standard were analyzed 10 pieces of rundplastik and relief-type kinetic art. The rundplastik kinetic art showed the biggest formative changes according to physical movement. And rundplastik kinetic art showed relationship-centered characteristics through formative expression around a relationship between viewer and artwork, creating rhythm through regular repetition, and reproducing movement of nature. The relief kinetic art showed the biggest formative changes according to temporality. And object-centered characteristics through formative expression around characteristics of object by limiting movement of viewers, creating irregular rhythm, and creating optical illusion by unpredictability and unexpectedness. My works, 『Transmission』 series of relief-type kinetic art critically expressed passive position of the public in popular culture. Antonio Gramsci’s hegemony theory was interpreted and used as the structure of artwork, and expressed object that moves passively by unseen forces by comparing it to the audience. 『Transmission #1』 and 『Transmission #2』 are made using object-centered expression by composing object in flat structure and creating regular rotation of motor into irregular rhythm through random arrangement, creation and crack of shapes. Also, unpredictability and unexpectedness were heightened using magnets by embedding all the power and delivering non-visible force. 『Transmission #3』 intended to be both object- centered and relationship-centered expression by composing three-dimensional object where the Object changes regularly along with the intended organic movement through irregular rhythm and unpredictability by making internal power and body of object with magnet. Kinetic art is an art of expressing movement, is a wide-ranging genre without any limitation of media, material, or technique. Being a wide-ranging genre, it requires systematic classification and establishment of formative characteristics through segmentalized studies. Also, visual formativeness cannot be explored in stand alone because formativeness of artwork appears in a relationship between viewer and artwork when shared at the same time. The significance of this study is in suggesting a new standard of classifying kinetic art and finding formative characteristic of kinetic art from a new perspective on the point of physical perception. ，韩语论文，韩语毕业论文 |
