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차례
? 자연을 품은 정영숙의 작품을 들여다보며_ 4 ? 작가 노트_ 6 1부_ 자연의 질서 ····································································11 ??Echo 1 ····················································································12 ??Echo 2 ····················································································15 ??Echo 3 ····················································································18 ??Reside ·····················································································19 ??달빛-숲 ····················································································20 ??영원성(Timeless) ······································································23 2부 공존(共存)과 상생(相生) ························································27 ??공존(共存) ··················································································28 ??자연을 품다 ··············································································30 ??공존(共存)의 시간 ·······································································31 ??선을 지키다 ··············································································34 ??자연을 품다 ··············································································36 ??상생(相生) 시리즈 ·······································································38 ??상생(相生)Ⅰ ···············································································39 ??상생(相生)Ⅱ ···············································································42 ??상생(相生)Ⅲ ···············································································45 3부_ 남해의 색 ········································································48 ??그리운 바다 ··············································································49 ??Blue Moon ··············································································50 ??다시 봄(Again, spring is coming) ············································55 ??푸른 언덕 ·················································································57 ??들녘에서 1 ···············································································58 ??들녘에서 2 ···············································································59 ??들녘에서 3 ···············································································60 ??쉼(휴)/ Rest ············································································61 4부_ 숨 고르기 ········································································68 ??삶(life) ······················································································69 ??삶-축제 ····················································································74 ??파란상념 ···················································································79 |
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정영숙은 자신을 ‘환경운동가’라고 칭하며 환경을 지키는 삶을 이어가고 있다. 친환경적인 삶은 그녀가 활동하는 영역에 국한되지 않고 깊은 내면으로까지 이어져, 천연의 재료를 이용한 염색작업으로 이어지며 ‘자연의 질서’를 작품으로 표현하고 있다.
천연 염색에서 밝고 어두움을 나타내는 색상의 종류는 자연에서 얻어진 재료로 색소를 추출해서 사용하는 점이다. 화학염료와 명확하게 구분이 되는 부분이기도 하다. 한약재로 쓰이는 재료가 많다보니 환경친화적이라는 주장에 깊이가 더해진다. 색상의 단계를 두어 색을 만드는 것은 천연염료의 양으로 정해지기 보다는 염색물에 담갔다 수세하고 건조하는 과정을 수없이 반복하여 얻어지는 것이 대부분이다. 그래서 색상의 단계를 주어 색을 만드는 일은 염색 노동의 횟수와 비례한다. 그녀는 이러한 과정을 통하여 환경친화적인 재료와 하나가 된다. 친환경적인 삶을 표방하며 생태적인 삶을 고집하는 사람들에게서 나타나는 공통점은 다소 불편하더라도 스스로 많은 일을 해결해 나가는 부분이다. 그녀 또한 고된 노동을 수반하는 염색과정에 스스로 몸을 맡기며 작업에 임한다. 그래서 생성된 천연의 색은 지극히 한국적일 수밖에 없으며 ‘자연의 질서’를 지향한다. 정영숙의 작품에서는 천과 한지에 색을 입히고 그것을 세워 촘촘하게 붙여나간 작업이 많이 보인다. 이것은 자연을 바로 세우고자 하는 개인적인 의지의 발현이 아닐까 생각해 보았다. 작품에 사용하는 재료는 인위적으로 가공하지 않은 날것의 냄새가 배어있으며, 버려지는 자투리 천과 섬유의 올은 일정한 간격에 맞춰 손으로 찢어 세운 한지와 잘 어우러진다. 이 모든 재료를 한 화면에 집결시키는 것은 ‘삶의 공존’을 나타내려는 저자가 표방하고자하는 메시지가 아닐까 생각해 보았다. |