Photographic Aesthetics Critic

Choi chul-joo's Photo Aesthetics Review1

Photographic Critic and Photographic Aesthetics Criticism [1] A modern photographic work that interprets the aesthetics of photography through photographic review and cultural design theory by Choi Chul-joo, a photographic critic and a doctor of cultural design: Bong-chae Jeong Photograph, Upo wetlands & waterless water grass

Bong-chae Jeong Photograph: Upo wetlands, waterless water grass

Photograph source: Jeong Bong-chae Gallery

Upo wetlands , waterless water grass

The water grass floating in the marsh shows the place of the wetland like a buoy.

Wetlands share water as a mediating stage that connects the land and the sea.

Bong-chae Jeong is the first photographic effect to show an unknown shape to the world by connecting the photography of Upo‘s unstable wetlands

This makes us realize the lack of wetlands that have changed due to changes in Upo after repeating the photographic structure that connects water grass and waterless water grass.

The water grass seen in Upo Wetland reveals a water shortage, and his photo "waterless water grass" which replaces meaningless water grass, erases the wetland white and shows the space where the water grass will be seen in the future.

It is not a metaphor for wetlands as a montage of his photo "waterless water grass," but rather a different meaning from the original Upo as the water grass is transferred to waterless water grass. It is the site of a wetland where water grass has disappeared for a certain period of time.

Bong-chae Jeong sets the target of the spot as Upo and records a picture drawn by the light reflected by the bird eating the water grass.

This documentary photo shows the meaning of waterless water grass by linking wetlands and water grass with time. It survives various wetland environments in Upo, but the water disappears on the ground, making it a waterless water grass.

It makes us realize the meaning of hiding in the water grass that runs counter to the wetland conditions of survival of the fittest.

In this way, his photo abstracts Upo's wetlands created by the ground and water surface in the same color, contrasts the current Upo with wetlands and water grass, and reflects the land where the water surface disappeared and the water grass without water in the sky.

Accordingly, he divides Upo into skies and wetlands, pairs appropriately with the wetlands, and arranges the background in the same color widely to match them. And he has a structuralistic formative beauty so that he can recognize the landscape of Upo combined with montage images by revealing the relationship between the water grass with the meaning of Upo and the waterless water grass.

Bong-chae Jeong's unique Upo photograph(the waterless water grass) is to remove the balance and harmony of the fine elements of water and replace the space with the same color that is inappropriate for the spatial relationship between Upo and Wetland with a monochromatic shade.

It prints water-free water grass that functions ecologically in Upo, where there are sky, river, and wetlands of the same color that cannot be distinguished. It is a montage of Upo Wetland, which he set as a photograph, and contains the formative nature of each object that must be made.

Upo water grass connects with urbanization where wetlands have been erased and becomes a waterless water grass.

This is a waterless water grass as a phenomenal image that hides the Upo wetland like a shadow corresponding to the shape of the water grass reflected in the water.

The waterless water grass refers to a white empty space where Bong-chae Jeong replaces Upo, where wetlands will disappear, and the Upo is removed from the space.

He declares that the water grass will disappear due to lack of water and that the Upo will be damaged as "waterless water grass."

This is a picture of the birds eating the grass and the current Upo, where the wetlands are disappearing.

His photograph of the disappearing Upo is paintingism. It creates a picture of a water grass without water that synthesizes the water grass, but expresses the aesthetic value of the water grass as a rational composition with a view that interprets the sentimental meaning.

In addition, the water grass is filtered into several branches and deviated from each other, and the misaligned branches of the "waterless water grass" are formed in a symmetrical hay shape, forming a frame of time.

In this way, Bong-chae Jeong completes a picture of a water grass without decorated water with a retroactive effect as the meaning of a wetland, and shows the water grass as a target to compare Upo, which has become a wetland without water. /Writing. Photography critic Choi Chul-joo (Doctor of Cultural Design)

Photography critic Choi Chul-joo