팀 잉골드의 조응 개념을 통해 본 동시대 도자예술의 물질성 연구

초록

This study aims to investigate the formation of materiality in contemporary ceramic art by employing Tim Ingold's concept of Correspondence as an interpretive framework. In recent contemporary ceramic practice, material conditions such as clay, glaze, heat, gravity, and time have increasingly been embraced as active components in the making process. Rather than being regarded as variables to be controlled, material transformations are incorporated into the formation of ceramic works through the maker's ongoing engagement with materials. However, previous studies have primarily examined these tendencies in terms of formal or expressive characteristics, while relatively little attention has been given to how form emerges through the relationship between the maker and materials during the making process. To address this issue, this study reviews New Materialism as the theoretical background of contemporary material discourse and adopts Tim Ingold's Making as its principal theoretical framework. Particular attention is given to Ingold's critique of hylomorphism, Materials in Becoming, Flow, and Correspondence. Based on these concepts, the works of Claire Twomey, Kuwata Takuro, Yasunaga Masaomi, and Park Jong-jin are analyzed from the perspectives of becoming, flow, acceptance, and response to examine how Correspondence is manifested in contemporary ceramic practice. The findings suggest that the materiality of contemporary ceramic art should be understood not as the result of the maker's unilateral imposition of form upon matter, but as a relational process in which form emerges through the continuous acceptance of, and response to, the becoming of materials. In this sense, Correspondence is understood not as a fixed method or predetermined solution, but as a practical attitude of continually responding to the flow and transformation of materials. This study demonstrates that Ingold's concept of Correspondence provides a productive theoretical perspective for interpreting materiality in contemporary ceramic art and expands the understanding of ceramic practice from finished objects toward the relational process of making.

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