마가렛 드 파타 장신구의 특성 연구

Abstract

1920년대 이후 아트장신구의 영역을 확고하게 자리 잡게 한 마가렛 드 파타의 장신구가 가진 특성을 연구하여 독립적인 예술로서의 장신구를 표현하는 개념과 표현방식을 고찰하였다. 예술과 기술의 중용, 입을 수 있는 조각품, 민주주의 정신을 바탕으로 한 장신구의 이념은 인체를 배재하지 않는 범위 내에서 인체와 장신구가 하나의 조형물로서 표현되어지는 의미를 지닌다. 더불어 조형적 요소의 발전과 재료적측면의 새로운 시도들을 고찰함으로 현대 아트장신구의 발전에 응용되길 고대한다.

The concept of art jewelry begins with its independence from being something that merely decorates one s body; only then, the jewelry begins to have artistic significance and its own existential reason. Further, art jewelry allows for different forms of artistic and ideological expressions for both artists and wearers. In addition to being a form of expression for the artists, art jewelry is divided into something that is a part of, independent of, or dependent on the wearer s body. Wearable miniature sculptures, started by Margaret De Patta in the 1920s, are prime examples that push the societal and artistic boundaries of what accessories represent. Margaret De Patta convincingly expanded the traditional meanings of accessories by incorporating both architectural and sculptural aspects into her works. These cross-field connections challenged the society to think about what decoration means to us and newly established the concept of art jewelry as a piece of art that one can wear. Her work of art stands out from her contemporary peers due to her ability to convincingly communicate her artistic principles through in a formative manner. In my research, I attempt to understand her work of arts through the formative language and meanings embedded within it. De Patta s body of work is historically significant because it approached the public with a new definition of wearable art. As a researcher, I want to thematically examine the background and formative characteristics of her work, since her work, from arrangements to materials used, carries a central language and objective. Through this research, I hope to contribute to the evolution of the field of modern art jewelry.