IT WAS EVIDENT THAT COLOURS AND FORMS HAD A SIGNIFICANCE
FOR STRICKLAND THAT WAS PECULIAR TO HIMSELF
— W. Somerset Maugham, The Moon and Sixpence (1919)
© 2025 Woohyun. All rights reserved.
Designed by taeho9raphy
IT WAS EVIDENT THAT COLOURS AND FORMS HAD A SIGNIFICANCE
FOR STRICKLAND THAT WAS PECULIAR TO HIMSELF
— W. Somerset Maugham, The Moon and Sixpence (1919)
© 2025 Woohyun. All rights reserved.
Designed by taeho9raphy
— W. Somerset Maugham, The Moon and Sixpence (1919)
© 2025 Woohyun. All rights reserved.
Designed by taeho9raphy
몇 해 전 겨울, 프랑스 남부의 항만 도시 니스에 다녀왔다. 그리 넓지 않은 이국의 땅에서 가장 부러웠던 것은 따사로운 햇빛도, 싱그러운 나뭇잎도, 투명한 바다도 아닌 엷은 파란색의 의자였다. 해변을 마주하고 길게 늘어선 푸른 의자들의 행렬은 거대한 화면 앞에 놓인 극장의 푹신한 좌석 같았다. 2월 치고는 따스한 날씨였지만 이따금 바람이 불어왔다. 그럼에도 사람들은 옹기종기 모여 앉아 바람과 파도를 정면으로 마주했다. 광활하게 펼쳐진 바다 앞에서 그들은 읽고, 듣고, 생각하고, 뛰었다. 서울에서는 좀처럼 경험하기 어려운 여유의 시간, 나도 주섬주섬 목도리를 고쳐 매고 책을 꺼내 앉았다. 간만에 시간을 근사하게 사용하고 있는 듯한 기분이 들었다. 세월이 꽤 흐른 지금도 그날의 여유로움을 기억한다. 속절없이 흘러가는 삶에 치여 지칠 때면, 잠시 멈춰 앉아 대자연 앞에서 평온을 찾으려 했던 그들의 지혜를 빌려본다. A few winters ago, I visited Nice, a port city in the south of France. What lingered with me most was not the warm sunlight, nor the fresh green leaves, nor even the clear, endless sea. It was the rows of pale blue chairs. Lined up along the coastline, facing the water, they looked like plush seats in a theater—an open-air cinema set before a vast, living screen. Though it was warm for February, a breeze would occasionally sweep through. Even so, people gathered closely together, sitting squarely before the wind and the waves. Before the boundless sea, they read, listened, pondered, and ran. It was the kind of leisurely moment rarely found in Seoul, so I straightened my scarf, pulled out a book, and sat down. For the first time in a long while, I felt I was spending my time beautifully. Even now, years later, I still remember that sense of ease. Whenever I feel worn down by the unrelenting pace of life, I borrow their wisdom—pausing for a moment, sitting still, and seeking calm before the vastness of nature.
니스에서
In Nice
니스에서 In Nice
강우현 Kang
안종욱 Ahn Jong Uk
0:00/1:34
2025
Oil on canvas
Kang’s Archive 2025
No.7
2025
Oil on canvas
2025
Oil on canvas

몇 해 전 겨울, 프랑스 남부의 항만 도시 니스에 다녀왔다. 그리 넓지 않은 이국의 땅에서 가장 부러웠던 것은 따사로운 햇빛도, 싱그러운 나뭇잎도, 투명한 바다도 아닌 엷은 파란색의 의자였다. 해변을 마주하고 길게 늘어선 푸른 의자들의 행렬은 거대한 화면 앞에 놓인 극장의 푹신한 좌석 같았다. 2월 치고는 따스한 날씨였지만 이따금 바람이 불어왔다. 그럼에도 사람들은 옹기종기 모여 앉아 바람과 파도를 정면으로 마주했다. 광활하게 펼쳐진 바다 앞에서 그들은 읽고, 듣고, 생각하고, 뛰었다. 서울에서는 좀처럼 경험하기 어려운 여유의 시간, 나도 주섬주섬 목도리를 고쳐 매고 책을 꺼내 앉았다. 간만에 시간을 근사하게 사용하고 있는 듯한 기분이 들었다. 세월이 꽤 흐른 지금도 그날의 여유로움을 기억한다. 속절없이 흘러가는 삶에 치여 지칠 때면, 잠시 멈춰 앉아 대자연 앞에서 평온을 찾으려 했던 그들의 지혜를 빌려본다. A few winters ago, I visited Nice, a port city in the south of France. What lingered with me most was not the warm sunlight, nor the fresh green leaves, nor even the clear, endless sea. It was the rows of pale blue chairs. Lined up along the coastline, facing the water, they looked like plush seats in a theater—an open-air cinema set before a vast, living screen. Though it was warm for February, a breeze would occasionally sweep through. Even so, people gathered closely together, sitting squarely before the wind and the waves. Before the boundless sea, they read, listened, pondered, and ran. It was the kind of leisurely moment rarely found in Seoul, so I straightened my scarf, pulled out a book, and sat down. For the first time in a long while, I felt I was spending my time beautifully. Even now, years later, I still remember that sense of ease. Whenever I feel worn down by the unrelenting pace of life, I borrow their wisdom—pausing for a moment, sitting still, and seeking calm before the vastness of nature.
니스에서
In Nice
Kang’s Archive 2025
#No.
No.7
니스에서 In Nice
강우현 Kang
안종욱 Ahn Jong Uk

0:00/1:34
니스에서 In Nice
강우현 Kang
안종욱 Ahn Jong Uk

0:00/1:34
니스에서 In Nice
강우현 Kang
안종욱 Ahn Jong Uk

0:00/1:34
Detail



IT WAS EVIDENT THAT COLOURS AND FORMS HAD A SIGNIFICANCE
FOR STRICKLAND THAT WAS PECULIAR TO HIMSELF
— W. Somerset Maugham, The Moon and Sixpence (1919)
© 2025 Woohyun. All rights reserved.
Designed by taeho9raphy
IT WAS EVIDENT THAT COLOURS AND FORMS HAD A SIGNIFICANCE
FOR STRICKLAND THAT WAS PECULIAR TO HIMSELF
— W. Somerset Maugham, The Moon and Sixpence (1919)
© 2025 Woohyun. All rights reserved.
Designed by taeho9raphy
— W. Somerset Maugham, The Moon and Sixpence (1919)
© 2025 Woohyun. All rights reserved.
Designed by taeho9raphy