현대미술에서 실재에 관한 논의가 자리하는데 있어 하이퍼리얼리즘(Hyper- realism)은 중요하다. 하이퍼리얼리즘이 관여하는 실재는 하이퍼리얼리티이다. 다른 말로 ‘파생실재’라고도 불려지는데, 이는 인위적으로 만든 가상실재이다. 가상실재는 현대미술의 한 언저리에서 파생실재이미지를 전면에 내세운다. 파생실재이미지의 특이점은 원 실체에 주목하지 않는 것이다. 이러한 이유로 파생실재이미지에 관한 논쟁은 ‘리얼리즘 이상의 리얼리즘’이 제시하는 화면으로 시선이 집중된다. 이제 “이미지는 실재와 무관하다”는 보드리야르식의, 실체와 관계없음에 대한 사유는 이미 많은 이들의 논쟁거리가 되고 있다. 이러한 문제의식은 하이퍼리얼리즘을 연구하는데 있어 중요하다. 본고에서는 하이퍼리얼리즘을 초기적 측면과 동시대적 관점으로 구분해 각각의 파생실재이미지를 분석한다. 초기 하이퍼리얼리즘이 세상을 객관적으로 보는 것에 관한 것이라면, 동시대 하이퍼리얼리즘은 작가의 내적 공간에 관한 것이다. 때문에 이 글은 하이퍼리얼한 이미지의 시대적 관점에서의 재해석, 즉 파생실재이미지에 대한 재고찰이 중심을 이룬다. 하이퍼리얼리즘에서 창조된 초현실(하이퍼리얼리티)은 또 다른 기호를 산출하며 기호 스스로가 하나의 주체가 된다. 여기서의 기호는 어떠한 근원도 어떠한 지시대상도 찾을 수 없는 하이퍼리얼리티의 기호이다. 본고는 하이퍼리얼리즘의 역사성과 현재적 의미를 이해하려는 목적으로, 초기 하이퍼리얼리스트인 리차드 에스테스와 척 클로스의 주요 작품과 동시대 하이퍼리얼리스트인 마크 데니스의 작품을 분석하고자 한다. 에스테스와 클로스 등의 초기 하이퍼리얼리스트들은 객관적으로는 현실을 건조하고 냉엄하게 바라보고 주관적으로는 감정을 철저히 배제한 이미지를 구사해, 오로지 감상자의 눈과 정서로만 화면을 읽어내도록 하고 있다. 이에 반해 동시대 하이퍼리얼리스트인 마크 데니스의 화면에서는 작가의 감정적 텍스트가 확연히 보이는 자세를 취한다. 도시의 무의미한 거리를 빛의 반사를 통해 자신의 프레임으로 새롭게 화면을 구성해낸 에스테스와, 회화의 오랜 주제인 초상화를 하이퍼리얼리즘으로 번역한 클로스는 감상자에게 새로운 미적 경험을 선사한다. 사진을 작업의 도구이자 수단으로 사용한 이들 작가들의 작품에선 사진과 복제, 실물과 복제의 구분이 사라진다. 데니스의 그림은 우리에게 이미 익숙한 유명 작품이미지를 차용해 자신의 의미론적 해석을 덧붙이는 방식으로 작업을 한다. 데니스의 이미지에서 읽혀지는 환영적 방식은, 여러 대가(大家)들의 원작이 지니는 의미를 해체하고 왜곡시키면서 자신의 시뮬라크르한 코드를 입력시키는 방식을 취한다. 그의 화면에서 보여 지는 시뮬라크르한 이미지는 차용된 화면 위에 작가의 감정이 추가된, 원본과는 전혀 상이한 파생실재이미지다. 이들이 만들어낸 새로운 화면은 원래의 대상을 소멸시키며 시뮬라크르를 잉태한다. 다시 말해 에스테스와 클로스, 데니스가 보여주는 극사실적 화면은 원래 대상이 가지고 있는 실재 그 이상의 실재를 보여주며 스스로 실재가 된다. 이는 모사된 이미지가 실재를 대체하는 상황을 시뮬라시옹의 공간으로 정의하면서 모사할 실재가 없어진, 실재보다 더 실재 같은 세계를 하이퍼리얼리티의 세계로 언급한 보드리야르의 개념과 그 맥을 함께 한다고 볼 수 있다. 보드리야르의 주장대로라면 실재로부터 해방된 이미지는 실재보다 더 실재적인 것을 만들 수 있다. 이러한 하이퍼리얼리즘의 이미지는 현대사회의 특징과 결부된 중요한 흐름 중 하나로 정의될 수 있다. 특히 마크 데니스의 이미지가 던지는 파생실재의 강한 충격은 21세기 하이퍼리얼리즘의 현재적 의미를 설명하기에 적절한 암시가 될 수 있다고 생각된다. 요컨대 본 논의를 통해 시대를 아우른 하이퍼리얼리즘의 특성을 정초(定礎)할 수 있었다는 데 그 의의를 둔다.
To have a discussion about the existence place in contemporary Hyperrealism is important. The existence is that this hyperrealism involved hyperreality. In other words, it called 'hyperreality', which is artificially created by virtual reality. Virtual reality is nominate in front of the image of hyperreality from one edge of the contemporary art. Singularity of the image of hyperreality will not pay attention to the original entity. For this reason, the debate on the image of hyperreality is gaze focused on the screen to present a 'realism beyond realism'. Now "image has nothing to do with reality" no reason for the relationship with the reality of Baudrillard's, are already many of these debates. These critical mind are important for study the hyperrealism. In this hyperrealism and to distinguish the initial aspect and contemporary perspective to analyze the respective image of hyperreality. If the initial hyperrealism of seeing the world objectively, contemporary hyperrealism relates to the internal space of the artist. Since this article forms a reinterpretation center for the study, that image of hyperreality from the perspective of contemporary hyperrealistic images. The surreal(hyperreality) created from the hyperrealism produces another symbol that becomes single subject by itself. This symbol is hyperreality’s symbol that can’t find any source or referent. This article tries to analyse the works of early hyperrealists Richard Estes and Chuck Close with the object of understanding historicity and characteristic of hyperrealism. Early hyperrealists like Estes and Close objectively look the reality with dryness and coldness and subjectly make use of image that exclude feeling thoroughly, which makes appreciators read off screen with their eyes and emotion. Per contra the screen of contemporary hyperrealist Marc Dennis take the posture of showing the emotional text of artist. Estes who constitutes meaningless streets of city to screen through reflection of light with his own frame afresh and Close who translates portrait, the old theme of painting, to hyperreality present new aesthetic experiences to the appreciators. The distinction between photographs and copies and the distinction between real materials and copies disappears in these artists’ works using photographs as tools and means of work. Dennis’ pictures was made in the manner of adding own semantic interpretation borrowing famous works’ images familiar to us. The manner of phantasm was read in Dennis’s image adopt the way of inputting his own code of Simulacre dismantling and distorting meaning of several maestro’s original works. The image of Simulacre read in his screen is image of hyperreality, that is completely different from original work, being added emotion of the artist. The new screen made by these artists gestates Simulacre putting original object out of existence. In other words, extremely realistic screen that Estes, Close and Dennis show becomes existence by itself showing existence beyond existence that original object has. This is in the line with Baudrillard’s concept that refer world of more actual than existence, world that existence disappears to world of hyperreality defining Simulation’s space as situations of substituting existence with copied images. According to Baudrillard’s opinion, image liberated from existence can make things that more actural than existence. This image of hyperrealism can be defined as one of the important flows associated with characteristic of modern society. It seems that especially the strong impact of hyperreality castered by image of Marc Dennis can be a proper implication to explain the current meaning of 21st century. In the last this article has a significance that forming the foundation of characteristic of hyperreality embracing periods.
To have a discussion about the existence place in contemporary Hyperrealism is important. The existence is that this hyperrealism involved hyperreality. In other words, it called 'hyperreality', which is artificially created by virtual reality. Virtual reality is nominate in front of the image of hyperreality from one edge of the contemporary art. Singularity of the image of hyperreality will not pay attention to the original entity. For this reason, the debate on the image of hyperreality is gaze focused on the screen to present a 'realism beyond realism'. Now "image has nothing to do with reality" no reason for the relationship with the reality of Baudrillard's, are already many of these debates. These critical mind are important for study the hyperrealism. In this hyperrealism and to distinguish the initial aspect and contemporary perspective to analyze the respective image of hyperreality. If the initial hyperrealism of seeing the world objectively, contemporary hyperrealism relates to the internal space of the artist. Since this article forms a reinterpretation center for the study, that image of hyperreality from the perspective of contemporary hyperrealistic images. The surreal(hyperreality) created from the hyperrealism produces another symbol that becomes single subject by itself. This symbol is hyperreality’s symbol that can’t find any source or referent. This article tries to analyse the works of early hyperrealists Richard Estes and Chuck Close with the object of understanding historicity and characteristic of hyperrealism. Early hyperrealists like Estes and Close objectively look the reality with dryness and coldness and subjectly make use of image that exclude feeling thoroughly, which makes appreciators read off screen with their eyes and emotion. Per contra the screen of contemporary hyperrealist Marc Dennis take the posture of showing the emotional text of artist. Estes who constitutes meaningless streets of city to screen through reflection of light with his own frame afresh and Close who translates portrait, the old theme of painting, to hyperreality present new aesthetic experiences to the appreciators. The distinction between photographs and copies and the distinction between real materials and copies disappears in these artists’ works using photographs as tools and means of work. Dennis’ pictures was made in the manner of adding own semantic interpretation borrowing famous works’ images familiar to us. The manner of phantasm was read in Dennis’s image adopt the way of inputting his own code of Simulacre dismantling and distorting meaning of several maestro’s original works. The image of Simulacre read in his screen is image of hyperreality, that is completely different from original work, being added emotion of the artist. The new screen made by these artists gestates Simulacre putting original object out of existence. In other words, extremely realistic screen that Estes, Close and Dennis show becomes existence by itself showing existence beyond existence that original object has. This is in the line with Baudrillard’s concept that refer world of more actual than existence, world that existence disappears to world of hyperreality defining Simulation’s space as situations of substituting existence with copied images. According to Baudrillard’s opinion, image liberated from existence can make things that more actural than existence. This image of hyperrealism can be defined as one of the important flows associated with characteristic of modern society. It seems that especially the strong impact of hyperreality castered by image of Marc Dennis can be a proper implication to explain the current meaning of 21st century. In the last this article has a significance that forming the foundation of characteristic of hyperreality embracing periods.
