A Plane Towards Higher Dimensions with Dreams as the Medium, artist Kim Miran

Kim Nam Soo

#1. “The last trip was eight days ago. I came back after only three hours. The gap between trips hasno meaning at all.”(Octavia Butler, from the novel )
#2. “We need to look up to the surface from the inside. In the abyss of the human mind there is a dark and bottomless mirror. There, the sight of our anxious minds facing the Light with Darknessis more than just an image. (…) We look for with bent bodies in the deep well for a huge world that’s like it’s trapped in a narrow circle deep in the underground.”(Victor Hugo, from )


The Proposal of Dream Matter
The “Lightwith Darkness”which Victor Hugo mentions is actually the same as the Chinese character明, which means brightness. This ray of “Light with Darkness”comes from the shadow of the moon reflected onto the surface of waters. The so-called “water moon”is a form of medium. With waves of glistening light, it is a story and also an image. It uses dreams as the medium to make the symbolized“water-mirror”into a mark. The ‘water-mirror’plays the role of communicating with our inside world. The flat drawings by artist Kim Miran reflects this “Light with Darkness”, a modern concept that’s both contemporary and classical, and is also a world for exploring wisdom and spiritualism.
The inner scenes presented by Kim Miran are not interiors or settings. If interiors are the fantastical expression of the “little people”inside of us, and settings are the product of the mix between our inner mind and outer sightings, then the inner scenes artist Kim Miran expresses are glistening worlds of the “water-moon”which shines on our own wisdom and rationality. Of course, the “water-moon”is intangible, like it’s told in “How could we possibly pick the moonlight in the sky?”(Zen Master Tong An Chang Cha, from ) Even though it is intangible, but can we dream it? Can it be expressed through the ‘water-mirror’?

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The series depicts trees growing in the water, and the forests created by them. The water wraps like clouds around the bottom of trees and creates borderlines; the tree roots sink deeply into the opaque water, showing off their smooth and fine torsos, while restlessly spraying their green leaves into the sky. Although the subtitle for this series is “Inner Shine”, but artist Kim Miran actually wants the water that gives the tree life, the fascinating and mysterious symbols of dream in the forest to become the source for vitality. In this dream with glistening waves that’s both a story and an image;the “Light with Darkness”is not hidden, shrunken, or backed away, but instead unreservedly expressed as the primal tension of life itself.
‘Inner Shine”not only indicates that the rhythm, structure and form of the overflowing primary colors in these works are only able to existas colors under light, but also that the source of the light is as vaporous as the ‘water-moon’, and as strong as a sudden flash of lightning before our eyes. When the green branches and leaves look up to the sky like burning wood, when the branches are drenched in the water’s atmosphere and turned into a blue-green light, the form of light is clearly depicting the dreams, no, the device which depicted the dream in the dream. Finally, the shine of light is both an expression of the scene where the entire drawing is turned into light, and also a chance for the audience facing the light to call out the ‘Inner Shine’(entoptic) in their minds.

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The title comes from the water mirror. It is very interesting that the artist chose to visually express its function of leading us into the inner world. Kim Miran’s flat world is a hologram-like hint lead by the dream-in-dream. Even a water moon reflected in a little cup looks impossible to reach. This deepness reflects what is called ‘Dream Matter.’‘Dream Matter’is a new particle which Kim Miran had discovered in the process of adjusting and designing her dream-in-dream, it is the physical particle which makes updreams. This is an extension line from modern quantum physics which is able to feel vibrations from everywhere and grasp their movement. Suppose “time is made up of time particles,”(Daijiro Morohoshi, from ) then would it be possible to mixtogether the particles which make up dreams, self-consciously use the dream-in-dream, and recreate reality through the matter in dreams? Is this the primal yearning which ties paintings and sanctity together? But why, now that even post-modernism has become the past, would we want to achieve this through Kim Miran?

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TThe Device of Lucid Dreams
#3. “The ones who drink in their dreams may cry in the morning; the ones who cry in their dreams may hunt in the morning. When they are in their dreams they do not know it. They divine their dreams in their dreams, and only know that it was a dream after they wake. Only then do they truly realize that everything is a big dream.”(From Essay on the Uniformity of All Things)
Artist Kim Miran’s two-dimensional drawings propose of traveling in lucid dreams, in other words becoming a dream-naut. Lucid dreams are dreams where people realize that “this is a dream”or the way people keep solving their “dream-in-dreams”when they dream them. Traveling through lucid dreams is the act of turning reality into dream matter through dreams, and is the act of connecting the dimension of dreams with the unconscious and conscious to move them into a new stage. Artist Kim Miran wants to encourage us to see reality as scenes ina dream, like “solving a dream in a dream”as ancient philosopher Zhuangzi had realized.
If we interpret Kim Miran through the topology of Chuang Chou’s butterfly
dream, she is not simply receiving inspiration from emotionally taking in the void of dreaming, but from contemplating about reality through middle and even higher dimensions. So, through objectivizingthe possibility of the butterfly dreaming of becoming a human and expressing it, the artist not only confirmed the symmetrical composition between butterflies and humans, it also corresponds with the so-called ‘dream-in-dream.’Philosopher Shao Kang-Jie from Song Dynasty believes that ‘reverse contemplation’is the act of turning around the way we see things. ‘Reverse contemplation’is not facing interiors and settings, and shpuld instead be seen as a form used to solve dreams. Not looking from aside, but to construct a ‘me-you’relationship through the adventures of becoming another organism.
Dream-naut Kim Miran who paints lucid dream worlds reconsidered the argument of “how do you know about the fish’s happiness”between Huizi and Zhuangzi on the Hao Bridge, in other words the realization of ‘solving dreamsin dreams.’Therefore works such as , all contain an excitement towards how the interface which constructs dream matter is able to communicate with reality, and how it reaches the deep unconsciousness way deeper than the imaginary locations depicted in the paintings.When our inner scenes interweave through the self-aware forms of dreams and come in contact with the hidden knowledge and prophecies, is it actually hinting us that we are able to reach those multiple higher dimensions?
Reality can actually be said as drawings created after analyzing the dream scenes and which depict the devices that allow dream-travel. This trip is from the inside to the out, an experience of the ‘Inner Outer.’Not looking for the inside in the regulated world which we all belong in, the ‘Outer Inner’, but looking for “the state which marks the end”and rushing out of the open door. But that’s not to fantasize about “the place that is not here”or to realize that “this is what the place I live in looks like.”It is a territory hidden with a primal mystic energy, with emergency exits that suddenly appear in Kim Miran’s favorite alleyway corners, or street lamps casting long shadows that instantly transform into ghosts and monsters. This is of course very controversial.
To express the media in the water-moon images as the territory of dreams and dream matter is actually to threaten the depths of the cognitive condition, cultural concepts, and cultural order. It is safe to say that nomadic sciences refuse to become the “modern conquered knowledge”as coined by Michel Foucault. But now we have to borrow the knowledge of brain sciences, modern physics and scientific philosophy to cause any real kind of rebellion, we must rebel with conquered knowledge. Let’s say that human DNA isdouble spiral structures shooting photons, like a yellow and a blue dragon wrapped around each other and giving off “inner shine.”Kim Miranused to systematically interpret this kind of molecule-level life phenomenon as the dimension of “mechanical unconsciousness”in science, but now she is able to easily pull out the truth from her own experiences, that “the truth exists not in one, but many
dreams.”(Pier Paolo Pasolini). She made an extremely risky and bold theory into art.
“Dreams are composed by physical dream particles, and those particles directly affect our reality.”(Artist Kim Miran)
Dream is the irreplaceable medium that humans will not let go of even when they reach the point of “modern”on their march towards civilization. Philosopher Bruno Latour believes that even when the Western-centric hegemonic systemhad become the standard “modernism”, people still chose to solve problems through the medium of dreaming. It is not hard to realize that the cleansing process which regulates “modernism”is simply the process of translation. The “translation”here means the symbolization of the gap between dream and reality. There were many people before Latour who claimed that symbolistways of creating connections such as Kekule’s phenyl ring dream or Descartes’s three dreams would lead people to forget that they can interpret reality by coming in contact with reality themselves. Cassirer for example, believed that what is truly important when building relationships is “the spirit of knowing one’s spirit through expanding oneself.”(from )
Kim Miran admits that dreams can be an important element for solving problems in reality, and also inspects the territory of the symbolizeddream and realitywith a brand new perspective, in other words the “dreamtime.”This is an ecological world view which can give people contemplating about myths and reality in the middle of the South Asian and Oceanic seas a lucid dream form called “dreamtime.”Kim Miran creates dreamtime with ever-extending branches and flourishing tendrils.

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The Drama betweenthe Forest’s Metamorphosis and the Tendrils
Dreams that can affect reality are more like prophetic rather than lucid dreams. Even though this dream was discovered by Freud, but he never dug in very deep. He understood dreams as a compensation mechanic for reality, simply reflectingthe day residue from reality, and remained in the dimension of anti-consciousness, and ignored the inexplicable synchronicity shown by prophetic dreams. 20thcentury quantum physics used the synchronicity law mocked by Einstein as “a ghost-like remote effect”in the field of science. Synchronicity as a chain of independent events irrelevant to cause and effect was seen by psychoanalyst Carl Jung and physicist Wolfgang Pauli as an experimental quantum physics concept that could also be applied to the deep mentality of human psychology. If micro-matter such as the ‘dream matter’are able to achieve meaningful synchronicity in dreams, then the dream-nauts can use this concept to lead humans to a new dimension. This is artist Kim Miran’s point of focus, and is a dream vision shedepicts in her world of art.
The seriescontemplates how to visually express the world view of the entopticlight inside our bodies. This world combines micro-unit particles (photons) simplified into geometric shapes with symbolized icons, and finally shows us an expanding dreamtime world. Thejuicy and exuberant
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broad-leaved trees growing in South Asia stretchout their tendrils, like the mythical thoughts which created the self-aware story of the cycle of life. This maybe expressed in art history scholar Kang Woo Bang’s words as “spiritualbiomes”, but more specifically, the broad-leaved tendrils and cosmic snakes wrapped around each other depicted by Kim Miran are the reality of dreams, or the symbolized reality carved into stones. A spiritual dimension, this gave Kim Miran a non-dimensional form of expression, but also hints at the ‘extra dimension’in physics which this corresponds to.Could it be the catalyzer of dimensions which exists in every dimension?
The forests which created ‘dream matter’, the ‘dream matter’radiated by the forest arecreated by these patterns of energy flow of the sentimentality of life.‘Patterns are god’(Kang Woo Bang)-created from ars combinatoria,the forest at the edge of the universe is slowly approaching us as we sail in our huge boat. As a master dream-naut, Kim Miran firmly grabs us into a world filled with the divinity of the bird-like animal gods in the red tree forests of South Asia. This forest biome can be compared to the Northern god Prometheus, or the Southern legend of Hainuwele.Nameless bodies produce and strengthenother life forms with their “fermented bodies”, with no feelings of regret or vengeance towards history. These “fermented bodies”morph from authorities to Gods, and these Gods will come back to the “House of Existence”in the forests (Nakazawa Shinichi). In the non-dimensional space and time in Kim Miran’s works, the forests speed up the life process by covering the vertical topological position of the sky. This world view belongs to the future, but also belongs to a climatically collapsed today.


Artist Kim Miran’s lucid dreams, the epiphany or understanding of “dream-in-dream”gives the imaginary image of the water-moon a tangible closeness through the life process of “fermentation”in the stage of the combination of water and trees in the five elements. The huge story created by forests through ‘fermentation’are shined upon by ‘Inner Light’, and the new prophecies and epiphanies born will hit upon the ‘Inner Shine’in our minds. Even though every person will have a different understanding of the impact of the dreamtime from the 2-dimensional platform of paintings, but to the people who are already aware of the danger of light and intuition disappearing from this world, the artist tries to warn them, through fluid means of information or as stone plates of life: the colors wrapped around light are always voices and bodies at the same time.

以梦为媒介引导至高次元的平面世界,金美兰画家。

金男洙

#1. “上次的旅行是在八天后。只待了三个小时便回来了。旅行与旅行之间的间隔不存在任何意义。”(Octavia Butler, 取自小说
#2. “我们要通过自身的内面去仰望表面。在人类内心的深渊里有一面黑暗深邃的镜子。在那里,我们以焦虑的身心面对着暗光的身姿不只是一幅图像而已。(…) 我们以弯曲的身体在深井里面寻找着一个如同被深深地困在地下一个狭窄的圆圈里面的庞大的世界。”(维克多雨果,取自<我人生的后期>)


梦物质的提案
维克多雨果所说的“暗光”其实指的就是汉字中的【明】。这道“暗光”来源于映在水面上的月影。所谓【水月】就是一个媒介。水波粼粼且熠熠发光,是个故事也是个画面。它以梦为媒介使被象征化的“水镜”成为了一个记号。那面‘水镜’也扮演着与内心世界沟通的角色。金美兰画家的平面绘画便是象征着这种‘暗光’的,同时具备现代性与古典性的一个当代的概念,也是一个探究智慧与灵性的世界。
金美兰画家所表达的内面风景并非内景或情景。若内景是将我们体内的‘小人’用幻想的形式表现出来的东西,而情景是将我们的内心与外界的景观相互交融出来的产物,那么金美兰画家的内面风景便完全是能够照耀自己的智慧与理性的一个波光粼粼的水月世界。当然,水月是可望不可及的。正所谓“空里蟾光撮得么?”(同安常察,<十玄谈>当中)虽然触不到,但是能够梦到吗?能够通过‘水镜’来表现吗?

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作品<被水迷住的森林>系列画出了在水中生长的树木,以及那些树木聚成的森林。水如云絮一般缠绕着树木的根部,划分出了境界,而树木们在那深不见底的水池里牢牢地扎了根,一边炫耀着那光滑细腻的身躯,一边向着天空高昂地挥洒自己的绿叶。这个森林系列的副名虽叫做“内面之光”,但金美兰画家是想让给树木生命的水,森林里奇妙又神秘的梦境的象征成为生命力的源泉。“暗光”这份情操在波光粼粼又熠熠生光,既是个故事也是个图像的梦境内出现的森林里不会被遮掩,萎缩,更不会怯懦,而是毫无保留地表现出了生命原本的张力。
‘内面之光’一面暗示着作品里丰富的原色的节奏,构造以及姿态是在光线下才能作为色彩而存在的事实,一面讲述了那道光的源泉既宛如‘水月’一般虚淡,也可能在某一瞬间突然以闪光的形式在我们眼前流出的事实。当绿枝翠叶如熊熊燃烧的树木一般仰望上天时,当那些树枝沉浸在水的气息中并化为青色的光芒时,那闪光的形式分明是画出了梦,不,是画出了梦中之梦的装置。最终,所谓闪光既是表达出绘画全体被光化的场面的形式,亦是让面对着光芒的观众们得以从自己的内心呼出‘内部闪光’(内视)的契机。

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<梦物质>这个标题源于‘水镜’。要把通过它进入内面世界的作用以视觉形式所表现出来是十分耐人寻味的。金美兰画家的平面世界是被梦中之梦所引导的一种全息图一般的暗示。映于小水杯当中的水月也有种看起来深不可测的错觉。这份深度所反映出的即是‘梦物质’。‘梦物质’是金美兰画家在自己调整并设计梦中之梦的过程当中所发现的新粒子,它是“构成了梦境的物质-粒子”。这是现代量子力学能够在感知到所有地方的波动的同时把握这些粒子的动态的从同立场出发的延长线。假设“时间里有时间粒子,”(诸星大二郎,取自<暗黑神话>)那么是否能够混合构成梦境的粒子并自觉性地去运用梦中
之梦,并将现实以梦境中的物质为基础再现出来呢。这是否就是将绘画与神圣性所连接起来的最原始的愿望呢。但是在后现代主义都以成为过去的现在,为什么要通过金美兰作家去实现这一尝试呢。

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清醒梦的装置
#3. “梦饮酒者,旦而哭泣;梦哭泣者,旦而田猎。方其梦也,不知其梦也。梦之中又占其梦焉,觉而后知其梦也。且有大觉而后知此其大梦也。”(取自<庄子>齐物论)
金美兰画家的平面绘画所提议的是清醒梦的旅行,即成为一个梦境探险者(dream-naut)。清醒梦是让人自觉“这是一场梦”或在梦见‘梦中之梦’时不断地自己解梦的行为。清醒梦的旅程是通过梦境将现实转化为梦物质的行为,也是将梦境这个次元与无意识和意识连接起来并移至一个新阶段的行为。金美兰画家想引导我们将现实看作一场如古代贤者庄子所意识到的‘梦中解梦’一般的梦之景观。
用庄周梦蝶当中的位相学去理解金美兰的话,她不只是从单纯地用情绪化的方式去容纳梦境的空虚这一行为当中,而是从中层和高层次元去思考现实的行为当中获得灵感。也就是说,通过物化蝴蝶梦见自己变成人类的可能性并将它表现出来,画家不但确立了蝴蝶=人类这一对称性构图,也对应上了所谓的‘梦中解梦’。宋代哲学家邵康节认为‘反观’即是去倒转看待事物的方式。‘反观’并非是去面对内景与情景,而应被看作一个解决梦境的形式。不是去旁看,而是从成为其他生命体的冒险当中(异类中行)构筑‘我-你’的关系。
画出清醒梦世界的梦境探险者金美兰画家从一个世界重新审视了惠子与庄子在濠梁上的“安知鱼之乐”之争,即‘梦中解梦’这一顿悟。因此<无次元>、<镜子自觉>这些作品里都包含着一种对于构成梦物质的界面是如何与现实取得交流,是如何与比图画中想象出的场所远更深邃的无意识进行联动的一种兴奋。当我们的内面风景贯通了梦境的自觉性形式并接触到了隐秘的知识与一种灵知的时候,这是否其实是在暗示我们能够去体验到这种多元的高次元世界?
现实其实可以说是以梦中的景色为基础进行再检讨之后,将能够实现梦中的旅行的装置表现出来的绘画。这趟旅程是由内观外的,所谓‘内部的外部’形式的体验。不是在我们共同所属的规律性世界当中寻找内部,即‘外部的内部’,而是通过摸索出“以此为终点的境界”成功推开某扇门并飞奔而出。但那并不是去遥想“不是这里的那里”或者幡然醒悟“我原来住在这样的地方”。那是在金美兰画家喜爱的胡同角落里会突然出现紧急出口,或使投出长长的阴影的路灯瞬间变成鬼怪的,确实蕴藏着原始玄幻力量的领域。这当然是相当具有争议性的。
将水月的水光图像当中的媒体性表现为梦境,梦物质的领域这一行为其实是在动摇人类的认知性条件、文化概念、以及文化性实践秩序的深处。大概可以说游牧科学是拒绝成为米歇尔福柯口中的“在近代被征服的知识”的。但如今我们必须借助脑科学,现代物理学以及科学哲学的帮助才能够进行实质的叛乱,我们必须用被屈服的知识进行叛乱。假如人类的DNA是发射着光子的双螺旋构造体,宛如喷涌着‘内部闪光’的黄龙与青龙相互缠绕。金美兰画家过去把这种分子层面的生命现象系统化地理解为科学上的“机械性无意识”次元,但现在她却从自己的经验当中淡然地引出了真相——“真理存在于多个,而不是一个梦境当中。”(皮埃尔保罗帕索里尼)她将一个十分危险且大胆的假设艺术化了。
“梦是由梦的物质粒子所构成,而那些粒子也直接影响着我们的现实。”(金美兰画家)
梦是指人类迈向文明的过程中达到叫“近代”的决定性地点时,也绝不会放手的重要媒介。哲学家布鲁诺拉图尔认为连以西方为中心的霸权主义体系成为了所谓“近代”的
时候,人们也选择了以梦为媒介去解决问题。不难发觉规制着‘近代’的净化过程其实就是一个翻译的过程。这里的翻译指的是梦想与现实之间的象征化。在拉图尔之前也有许多争议认为,通过凯库勒的苯环之梦或者笛卡尔的三个梦境这种象征化的方式建立关系的方法会使人忘记可以通过活生生地接触现实去理解现实。卡西尔就认为建立联系的方式与“通过展开自己才能了解自身精神的精神”(取自<象征性哲学>)息息相关。
金美兰画家在承认了梦境可以成为解决现实问题的重要因素的同时,也在重新用崭新的视线去审视近代以后的象征化了梦与现实的领域,即梦间(dreamtime)。这是一个能够给予在南亚与大洋洲的海水之中思考着神话与现实的人们被称为“梦间”的清醒梦的生态型世界观。金美兰画家用无限增长的树枝与茂盛的卷须构造了梦间。

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森林的变形与卷须的故事
会影响现实的梦比起清醒梦更像是预知梦。这个梦虽是费洛伊德发现的,但他却没有深究下去。他将梦境归为现实的补偿机制,单纯地反映了现实的白昼残留印象,并停留在了反意识的次元内,而忽视了预知梦奇妙的同步性。20世纪的量子力学将爱因斯坦曾以“幽灵一般的远隔作用”揶揄的同步性原理运用到了科学领域。同步性作为一个与因果联系无关的一系列独立性事件被精神分析学家卡尔古斯塔夫荣格与物理学家沃尔夫冈泡利认为是一个也可以适用于人类深层心理的量子力学的实验性概念。若微物质,也就是‘梦物质’一般的层次中可能实现的有意义的一致性是一些梦境的特征的话,那么梦境探险者们则可以反过来利用这个概念将人类领向一个崭新的次元。这既是金美兰画家所关注的焦点,也是她的画中的世界所遥望的梦想。
<内部闪光>系列是在思考怎么用绘画表现出我们身体内部的生物发光‘内视光’的世界观。这个世界将微单位的物质粒子,也就是光子,从被简化为几何形图案的发散开始,结合于被象征化了的图标,最后为我们展示出了整个在扩张的梦间风景。在南亚生长的汁多叶茂的阔叶树们伸出了各自的卷须,犹如创造了生命循环的自体性故事的神话性思维。虽然这也可以借用美术史学者姜友邦的话用“灵气化生”来表现,但金美兰作家所描绘的阔叶卷须与互相缠绕的宇宙之蛇表现的是被刻画在生命石板上的梦中的现实,也是现实的象征形式。
灵性的次元,这给予了金美兰画家无次元的表现方式,但也暗示了这在物理学当中对应的‘另一个次元’。那是否就是存在于所有次元的次元的催化剂?
诞生出了‘梦物质’的森林,森林所放射的‘梦物质’正是如这般将拥有生命感性的能量流以花纹的形式构成的。-‘花纹是神’(姜友邦)-用艺术组合术(ars combinatoria)组合而成的,全员乘上大船所前往的宇宙尽头的森林正慢慢地在眼前逼近。身为梦境探险大师的金美兰画家,让我们牢牢地被她所绘出的领域——充满了以南亚风格的红树林里鸟禽形态的鹿神或雷神为首的动物神持有的“灵肉的直接性”亦或是万物有灵的感性的世界——所吸引。将这种森林的化生用神话做比喻的话,那既像是北方天孙降临的普罗米修斯,亦如同南方尸体化生的海奴韦莱。

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无名的尸体成为“已发酵的身躯”并生育,茁壮其他的生命体,不带有任何对于历史的懊恼感或报复心。“已发酵的身躯”从权力者化作神,而神又会重新回到森林中的“存在之家”(中泽新一)。在金美兰画家无次元的时间与空间当中,森林通过遮盖天空的垂直性位相而自体加速生命的循环。这个世界观属于未来,也属于气候崩塌的今天。
金美兰画家的清醒梦,也就是“了解梦中之梦”的启迪或领悟是在水与树木交融的五行的某个阶段内通过“发酵”这一生命性的跳跃给予水月这一画面想象中的场所一种接触


般的亲密感。通过‘发酵’被创造出来的森林拥有的庞大的故事被‘内部之光’照耀,从中诞生的新灵知的预言和启示敲击着我们内心的‘内部闪光’。虽然每个人能从绘画这个二次元平面中直接感受到的冲击与现实和梦的结合体‘梦间’的程度都会有所不同,但对已经感受到了跨越了物质交流的光芒与直觉已经开始慢慢地从这个世界消失的危机的人们,不管是通过流动性的知识传播还是生命石板的形式也好,画家试着警醒他们每一个人。包围着光芒的色彩无论何时都既是声音也是身躯。

드림타임[dreamtime]을매개로고차원으로인도하는평면세계, 김미란작가

김남수(안무비평)

#1. “지난번에는여드레가지나간다음에갔어. 그리고세시간정도만에돌아왔지. 여행과여행사이의간격은아무의미가없어.”(옥타비아버틀러, 소설<킨> 중에서)
#2. “놀라운일이니우리는자신의내면을통해외면을바라보아야만한다. 인간의저깊은곳에는어두우면서깊은거울이있다. 그곳에서우리는어두운밝음을두려운마음으로마주하게되리니그것은이미지이상의것이다. (…)우리는그우물에몸을기울이면서그안에서마치저심연바닥에서처럼좁은원안에갇힌거대한세계를알아본다.”(빅토르위고, ‘내생애의후기’중에서)


꿈물질의제안
빅토르위고가말하는‘어두운밝음’이란한자로명[明]에해당한다. 이‘어두운밝음’은물위에서어른거리는달빛그림자로부터유래한다. 소위수월[水月]은하나의미디엄이었다. 일렁이면서빛이면서이미지이면서이야기였다. 그것은꿈을매개로한상징화로나아가는‘물거울’의기호이기도했다. 그‘물거울’은내면으로들어가는인터페이스의역할도빼놓지않았다. 김미란작가의평면회화는이러한‘어두운밝음’을표상하는가장현대적인동시에가장고대적인, 그러므로동시대적인착상의,예지와영성을탐문하는세계이다.
김미란작가가말하는내면의풍경은내경[內景]이나정경[情景]이아니다. 내경이우리신체내부의‘작은몸’들을판타지로표현하는것인가하면, 정경이우리의내면과저바깥의객관적풍경사이에서교융되는것이라고한다면, 김미란작가의내면풍경은온전히자신의예지와영성을비춰줄수있는수월의일렁이는세계이다. 수월은물론잡을수없는세계이다. 즉“허공속달빛을잡을수가있겠는가?”[空裏蟾光撮得麽](동안상찰, <십현담> 중에서) 그러나그것이잡히지는않아도꿈꿀수있다면?‘물거울’로서표현될수있다면?
작품<물에홀린숲> 시리즈는물속에서자라나는나무, 그나무들이이루는숲의풍경을그린것이다. 물은마치도는구름처럼그아래와분리되지않은채, 경계화시키고있고, 나무들은저물아래에보이지않는뿌리를아득하게두면서도매끈한줄기의몸체를뽐내며저허공에녹색의잎들얼마를절정처럼뿌리고있다. 이숲은‘내면의빛’이라는부제를달고있는데, 김미란작가는이물이생장시키는나무들, 그리고숲의경이롭고신비로운꿈상징을생명력의원천으로제안하고있다. ‘어두운밝음’의정조는이일렁이면서빛이면서이미지이면서이야기인꿈속에비치는숲에드리워져있고, 위축되거나움츠러드는기색없이생명력의긴장상태를한껏표현하고있다.

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‘내면의빛’은이작품들에가득한원색의리듬구조자체가빛에물든상태의색채로부터나온다는사실을암시하는부제이며, 그빛의원천은마치‘수월’처럼은은한어떤빛인동시에어느순간에는섬광의형식으로전격적인유출을보여주기도한다는사실을품는다. 마치활활타오르는나무들의이미지처럼녹색의줄기와잎들이위쪽을향할때, 그리고그줄기몸체들이물의기운에물들어버린듯푸른빛으로전체가화할때, 섬광의형식은이것이꿈
을그린, 아니꿈속의꿈을그린장치라는점을분명히한다. 섬광이란결국회화자체에서전체가빛으로화해가는[光化] 장면의형식이며, 그빛을마주하는관객들스스로자기내면에서호출하는‘내부섬광’[entoptic]의계기이다.

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그것이<꿈물질>이란이름의‘물거울’에서나타난다. 그것을통해내면으로들어가는인터페이스역할을도해한것은의미심장하다. 김미란작가의평면세계는꿈속의꿈으로인도받는일종의홀로그램같은것으로작용한다는암시이다. 작은물잔속에깃든수월이라도엄청난깊이감으로착시된다. 이깊이감을반영한것이‘꿈물질’이다. ‘꿈물질’이란김미란작가스스로꿈속의꿈을조율하고디자인하는과정에서착안한새로운입자[article]로서“꿈을구성하는물질-입자”를의미한다. 이는현대의양자역학이모든곳에서파동을감지하는동시에입자라는알갱이를파악하는동시적인관점의연장선상이다. 가령, “시간에는시간자[time-article]가있다.”(모로호시다이지로, <암흑신화> 중에서)꿈을구성하는입자를반죽하여꿈속의꿈을자각적인방식으로운용하고, 이현실조차도그꿈의물질적기초를통해재각성한다는것이라고할까. 이것은회화가신성성과연루되었던태초의염원같은것이아닌가. 그런데왜지금, 포스트모던조차지나간지금그러한시도가김미란작가에의해이루어지는것인가.

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자각몽의장치
#3. “꿈에술을마시며즐거워했던사람이아침에는섭섭해서운다. 꿈에울며슬퍼한사람은아침이되면즐거운마음으로사냥하러나간다. 우리가꿈을꿀때는그것이꿈인줄모르지. 심지어‘꿈속에서해몽’도하니까. 깨어나서야비로소그것이꿈이었음을알게되지. 드디어크게깨어나면우리의삶이라는것도한바탕의큰꿈이라는것을알게될것이네.”(<장자> 제물론중에서, 본문의작은따옴표는필자의것)
김미란작가의평면회화가제안하는것은자각몽의여행이며, 드림노트[dream-naut]가되는것이다. 자각몽이란“이것은꿈이다”라고자각하거나“꿈속의꿈”을꾼이후에그여전한꿈속에서해몽을하는행위이다. 자각몽의여행은꿈을통해현실을꿈물질로물들이는작업이며, 꿈이라는차원을무의식과의식이연대하는새로운단계로이동시키는작업이다. 김미란작가는마치그옛날의현자장주가각성했듯이‘꿈속에서해몽’을통해이현실이하나의꿈의풍경[몽경, 夢景]으로볼수있음을권유하는셈이다.
장주가말하는나비꿈의위상학역시김미란작가에의하면, 단순히꿈의허무를정서적으로수용하는행위에서나오는것이아니라중층과고차원으로현실을생각하는행위로부터유발된다. 즉나비가인간의꿈을꿀수있을가능성이‘물화’[物化]라는표현을획득하는것은나비=인간이라는대칭적구도를확보하는것이며, 이것은하나의‘꿈속에서해몽’에해당한다. 이를송대의철학자소강절은‘반관’[反觀]이라는보기의방식으로바꾼바있다. ‘반관’이란내경이나정경을마주하는것이아니라몽경을해결하는형식이라고봐도무방할것이다. 보지않음으로써, 혹은다른생명종이되는모험을함으로써[異類中行] ‘나-너관계’를맺는다는것이다.
드림노트로서자각몽의세계를그리는김미란작가는다리위에서혜시와장주가말다툼끝에결국“물고기의즐거움을알고묻는다”는, 즉‘꿈속에서해몽’이라는각성을전제로한세계로서제시한다. 그래서<무차원> <거울자각> 같은표제를가진작품들은꿈물질들로구성되는인터페이스가어떻게이현실과의교섭을이뤄낼지, 나아가이이미지의상상적장소가보다깊은무의식과어떻게연동될지일종의설레임에휩싸여있는듯하다. 우리의내면풍경이꿈의자각적형식을관통하고그비밀스런지식, 일종의그노시스에접촉할때, 실제로여러차원과고차원을체험하게된다는것을은밀하게역설한다고할까.
현실이사실은꿈의풍경[몽경, 夢景]을기반으로재검토되어야하며, 그몽경의여행을가능하게하는장치를회화로서보여주는셈이다. 이여행은내면을통해외면을바라보는것이며, 이런형식은‘내부의외부’를체험하는것이된다. 우리가속한공동체의규율적세계로서의내부를찾아다니는여행, 즉‘외부의내부’를확인하는것이아니라우리가살고있는“여기가끝나는경계”를더듬으며어딘가에있는문을열고나아가는것이다. 그렇다고‘여기아닌저기’를생각한다거나“내가실은이런곳에살고있었구나”를깨닫는것에그치는것은아니다. 그것은김미란작가가좋아하는막다른골목끝에갑자기나타나는비상구라든가깊은그림자를드리우고있던가로등이갑자기도깨비로변하는환[幻]과꼭두의힘을긍정하는영역이다. 이것은상당히논란을자아낼만한지점이기도하다.
수월의일렁이는물빛이미지라는매체성을꿈이라는, 꿈물질이라는영역으로표현한다는것은인간의인지적조건, 문화개념, 문화적실천의질서깊숙한곳을건드리는행위이다. 다분히근대이전의유목과학이자이미“근대에의해정복당해버린지식”(푸코)의반란극인셈이다. 그런데이러한상식과달리현재는뇌과학과현대물리학그리고과학철학의도움을받아이반란극이실재적인반란, 굴종지[subjugated knowledge]의반란으로출현하고있다. 가령, 인간의DNA에서는빛의알갱이즉포톤[photon]을뿜어내는이중나선구조로되어있어마치황룡과청룡이새끼꼬기하듯‘내부섬광’을분출시킨다고한다. 김미란작가는이러한분자적수준의생명현상을과거에는‘기계적무의식’차원에서장치화했다면, 지금은자신의체험적진실–“진리는하나의꿈이아니라여러개의꿈안에존재한다.”(파솔리니) –로부터담백하게이끌어내고있다. 대단히위험하면서도대단히대담한가설을예술화하면서.
“꿈은꿈의물질입자로되어있으며, 이꿈의물질입자는현실에도영향을직접미치고있다.”(김미란작가)
꿈이란것은인류가문명으로나아가는과정에서‘근대’라는결정적지점에도달할때역시퇴장하지않은중요한미디엄이었다. 철학자브뤼노라투르는소위‘근대’라는서구중심의헤게모니체제가표방될때도꿈을매개로문제를해결했다고주장했다. ‘근대’를규정하는정화[purification] 과정의뚜껑을열어보니, 사실은번역[translation] 과정이었다는것이다. 여기서번역은꿈과현실사이의상징화라고할수있다. 케쿨레의벤젠고리라든가데카르트의세가지꿈이라든가이상징화를통해서관계맺기의방식이생생하게이해되는것을망각해왔다고말하는것은라투르이전에도많았다. 가령, 에른스트카시러는관계맺기의방식을
“자신을전개하면서자신이정신임을알게되는정신”(<상징형식의철학> 중에서)의과정과관련된다고말한다.
김미란작가는꿈이현실의문제를해결하는중요한동인임을인정하는동시에그꿈과현실을상징화한영역, 즉드림타임[dreamtime]을근대이후의새로운비전으로제시하고있다. 아시아남방과오세아니아의물중심으로신화-현실을사고하는사람들에게드림타임이란자각몽이줄수있는생태적세계관이다. 김미란작가는나무줄기의무한증식으로그생명의덩굴손을뻗어나가는방식으로드림타임의구성을분명히한다.

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숲의화생과덩굴손의드라마
현실에영향을미치는꿈은자각몽보다는예지몽에가깝다. 이꿈은프로이트가발견했지만, 그는급하게얼버무리고말았다. 꿈을현실의보상기제로규정한그는꿈이현실의경험을반영하는소위‘주간잔유’[dayresidue]라는반-의식적차원에머물러예지몽의이상한동시성[synchronicity]을무시하고말았다. 20세기양자역학은물질의미시단위에서아인슈타인이“유령같은원격작용”이라고야유한동시성의원리를과학의영역으로수용하였다. 동시성이란인과관계없이독립적인사건들이연루되는현상으로서이는정신분석학자C.G. 융과물리학자볼프강파울리가인간의심층심리에적용시킨양자역학의실험적개념이다. 물질의미시단위, 즉‘꿈물질’같은수준에서가능한의미있는일치가어떤꿈들의특징이라면, 이것은거꾸로꿈을다루는드림노트[dream-naut]가인류를새로운차원으로인도할수있겠다. 이는김미란작가의착안이며, 그의회화세계가꿈꾸는비전이기도하다.
<내부섬광> 시리즈는이러한예지몽의차원이우리신체내부의생체발광현상인‘내부섬광’[entoptic]에의해어떻게회화적으로표출될수있는가를현시하는세계관의작품이다. 이세계관은물질의미시단위로서빛알갱이, 즉포톤[photon]이기하학적문양의소박한발산으로부터다시상징화된아이콘으로결합되고나아가전체적인드림타임의풍경으로확장하는가를보여준다.
여기에는아시아남방의수액많고잎넓은활엽수들이서로서로덩굴손을내밀어마치생명순환의자기관계적드라마를만드는신화적사고와매우유사하다. 이를미술사학자강우방선생은“영기화생”[靈氣化生]이란표현도사용하고있는데, 김미란작가는이덩굴손들의만수산드렁칡처럼, 혹은우주뱀들의교합처럼꿈속의현실이자현실의상징형식을생명서판으로보여주고있다. 영적인차원, 그것은김미란작가에게무차원[無次元]이란표현을얻고있는데, 그것은이것이물리학적으로는‘여분의차원’에해당한다는것을암시한다. 즉모든차원의곁에있으면서그차원을성립하게해주는촉매라고할까.

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‘꿈물질’이낳는숲, 숲이방사하는‘꿈물질’은이처럼생명적감흥이있는에너지흐름들을무늬–“무늬는신이었다”(강우방) –들의결합술[ars commbinatoria]로서구성하고, 모든이들이타고가는배와도같은, 그늘이우주가장자리까지미치는숲이우리눈앞에이윽고육박해온다. 드림노트의마스터로서김미란작가는이아시아남방스타일의망그로브숲이사슴신이나천둥신–새의형상–을비롯한동물신을품음으로써회화감상이갖는대화적인것을“영육의직접성”혹은애니미즘적인감흥의영역으로강하게끌어들인다. 이러한숲의
화생[化生]은신화학에따르면, 북방의천손강림신화로서‘프로메테우스’형에대비하여남방의사체화생신화로서‘하이누웰레’형에가깝다.
이름없이죽은자의몸체가‘발효된신체’가되어다른생명적인것들을생육하고번성하게하는것에는역사의억울함이나복수감정이없다. 그저‘발효된신체’의권능으로서신[神, God]이되며, 이신은다시숲이라는“존재의집”(나카자와신이치)으로되돌아간다. 김미란작가의이무차원의시간과공간에서숲은하늘이라는수직적위상을가리며자체적으로생명순환을가속화시킨다. 이세계관은미래의것이며, 기후가무너져가는오늘의것이기도하다.


김미란작가의자각몽, 즉“꿈속의꿈을알아채다”라는깨달음혹은깨침은물과나무가교섭하는오행의어느단계에서‘발효’라는생명적도약을통해수월[水月]의이미지의상상적장소를우리에게접촉하는듯한느낌으로제시하고, ‘발효’의효능으로만들어진숲의거대한드라마를‘내면의빛’에물든새로운그노시스의예언과계시로써우리내면의‘내부섬광’을두드린다. 이것이회화라는2차원평면에서어떤임팩트를가져오고현실과꿈의연루로서‘드림타임’을직접체험으로느끼게하는지는개인차가있겠지만, 이미물질적인의사소통을넘어서서빛과직관이사라지는세계의위기를감지한이들에게는유동적지성이자생명서판의형식으로강하게어필하리라기대한다. 빛을품은색채는언제나소리이며몸이다.