Art Critic Louis C [1]: 11~15
Contemporary Art Review by Louis Choi 1
Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism criticism example: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.[1] Contemporary art critic Louis Choi Chul-joo is a contemporary art critic who examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of a work with the theory of visual art. Picture-speaking language structure is a gaze reality image in which the image of abstract desire seems to be the semantic structure of the concept of desire. Contemporary art critic Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with the concept of desire abstract design along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of a work in the language structure and criticizes the reality of the concept of desire. Review of Korean News Cartoon [1] Trump's tariff on Chinese-made Apple is apple-shaped. (2018.9.10.) / Reporter Choi Chul-joo’s Cartoon Review
Choi Chul-joo, <Trump's tariff on Chinese-made Apple is apple-shaped>, a hand-painted picture on a computer
Louis Choi Chul-joo's "morning glory" refers to the concept of desire and the concept of abstract desire to establish the structure of reality as a subject by using "morning glory" as a real image.
This reality structure identifies Louis Choi Chul-joo's "morning glory" with a real image on a cloth with an immutable image that means the reality of the concept of desire.
Thus, the abstract meaning of the desire to become the reality of the morning glory is a real image created from a crooked image of a misaligned event, painted equally on the fabric on the back.
Review of Korean News Cartoon [1] Trump's tariff on Chinese-made Apple is apple-shaped. (2019.9.10.) Reporter Choi Chul-joo’s Cartoon Review
Trump's tariff on Chinese-made Apple is apple-shaped.
Le tarif de Trump, fabriqué en Chine, est en forme de pomme.
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon rib images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon rib image as an image.
Choi Chul-joo, <Trump's tariff on Chinese-made Apple is apple-shaped 3>, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p15-7-Trump's tariff on Chinese-made Apple is apple-shaped : Desire's imaginary world and metamorphic Desire Formula <D(I...I')d=I(D...D'i)i>.. By repeatedly applying <D(I...I')d=I(D...D'i)i>, formability is embodied in a reversible shade of light to the image of the work to acquire aesthetic value and its meaning appears / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Trump's tariff on Chinese-made Apple is apple-shaped> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory ' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i)
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p15-1, a hand-painted picture on a computer
Busan News Week Cartoon Review1 <1-1> To suffer under the restraint of one's words and actions(2018.9.10.)
<To suffer under the restraint of one's words and actions 自繩自縛> - Trump's Chinese-made Apple tariffs look like an apple.
As a visual cognitive system, symbols are the meaning of language.
The symbols you see have the symbolism of meaning.
A new cut of cartoon image becomes a visual language as a semantics when meaningful.
The image of Apple's cymbal in “Trump's Chinese-made Apple tariffs look like an apple.” is the shape of an apple and the reality of Apple's symbol are not the same.
This is a pictogram that forms a cognitive correlation and conveys meaning as a pictorial language.
Symbols are therefore images of universal meaning. In other words, the image spoken by the symbol becomes correlated, creating a linguistic area.
However, the linguistic domain consists of a non-visual followed by a "Wernicke's area" in which visual recognition is made in semantic language. The emergence of meaning through symbols here constitutes a semantic element when visual symbols are identified with semantic words. Thus, symbols represent visual meanings by having a symbolism. The process of recognizing the tastes is a self-examination.
In “Trump's Chinese-made Apple tariffs look like an apple.” Apple refers to the company, and the apple is in full shape. Therefore, it means that Trump will raise tariffs on products made by China-made Apple Inc. This is a symbol: Apple Inc.'s sense of symbolic recognition of symbolism for symbolism determines Trump's tariff increases by itself as "self-consciousness of self-reflection" in an incomplete form different from a full-size apple.
In the form of self-reflection, reality is the image of Apple's symbolism, another symbol separated from the shape of an apple. where arbitrary images set the impossible condition of self-consciousness to avoid being equated with false apple-shaped symbols as the condition of progress of consciousness.
And Trump and Xi Jinping, who are subject to tariffs and looking at responses as subjects of the linguistic sphere, show symbolic gravity by expressing comic feelings about their opposition to the tariffs imposed.
The character symbolizes the image of character and role as an expression of emotion. When a character tells a serial story to a other, it becomes a cartoon with a theme.
Some cartoonists metaphorically express its dual meaning by drawing a dual-meaning character symbolizing social or political metaphors.
Comic double meaning has the meaning of a cut cartoon, which includes the symbolic image and symbol of the symbolic meaning. A cartoon is created with a cartoon character's desire as a theme over and over again, and the others interprets the cartoon by combining and integrating the double semantic themes of cut cartoon from the virtual images of the cartoon with a reflective self-consciousness.
Therefore, Xi Jinping suffers from what Trump himself said as a treacherous "Trump's Chinese-made Apple tariffs look like an apple." meaning that Trump's Chinese-made Apple tariffs are shaped like apples. That is, Trump's act means the rampant abuse of power that levies tariffs on others.This is a symbol because the progression of the ritual, which recognizes Apple Inc.'s apple symbol as an apple, creates a self-reflection of treacherous <To suffer under the restraint of one's words and actions 自繩自縛> in the conscious. However, the meaning of the form of symbols in self-consciousness is a metaphor seen in the cartoon, and it does not go beyond the category of imitative cartoons. It enters the structure of meaning, a system of perception, accepting the meaning of symbolism. In other words, the structure of the visible meaning is transmuted into symbols of the symbolic meaning.
As the structure of symbolic meaning is ostensibly identical to the image of the symbol, the subject of consciousness forms the symbol of the modified meaning. Symbols formed here are symbols specific to the shape deficiency that appear to reflective self-consciousness, and have dual meaning of symbolic symbols and visuals in establishing cognitive relationships with others.
It is a cartoon effect that is found in the perception of the other with the insufficient image of forming a meaning as a symbolic symbol. It is the semantic structure of the cartoon, which defines the meaning of the symbolized symbol as a ritual.
Thus, the cartoon as a symbolic symbol sticks to the meaning of the imaginary symbol as a symbol. In other words, the meaning as a symbolic constraint in cartoons is defined as the symbolism that has been embodied by the cartoon's desire. / Writing. Contemporary art critic Choi Chul-joo (Media Artist & Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 11
Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [11] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary Artworks Review & Artist Artworks [1] Example of contemporary artwork: Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art Review / Media Art Steel Photography: "In Front of the "Bamboo Forest" Photo Review / Photo Aesthetics Review: Photo Critic & Image Concept Artist Choi Chul-joo's Photo Review & Modern Photo Aesthetics Review: Media Art Still Image Photo: "Media Art Steel Photo: In front of Bamboo Forest" 20201126-20201210, Minoo Media Art Museum
Abstract design as a conceptual semantic structure Abstract photography of modern art : The contemporary artwork posted on Facebook: Abstract Photo of Painting <In front of Bamboo Forest> Louis Choi Chuljoo, Louie's media art "bamboo forest" 2nd edition of contemporary artwork(Abstract photography), 20201126-20201210, Minoo Media Art Museum
Photo Review and Contemporary Photo Aesthetics Review Media Art <In front of Bamboo Forest>: "Bamboo Forest" Media Art 2nd Edition (Picture of Painting), 2023
Desire Concept Realistic Abstract Work: Choi chuljoo, In front of the bamboo forest 87- The special feeling of the body and mind 3: Desire's imaginary world and metamorphic Desire Formula <D(I...I')d=I(D...D'i)i>.. By repeatedly applying <D(I...I')d=I(D...D'i)i>, formability is embodied in a reversible shade of light to the image of the work to acquire aesthetic value and its meaning appears / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Photographs that reveal the spatiality and timeliness of photographs as continuity of light are close to pictorial photography. These pictorial photographs are transforming into abstract photographs pursuing the fantasy beauty of composition and form, not pictorial imitation.
Accordingly, Dr. Choi Chul-joo worked as the head of the academic research office of the Minwoo Museum of Modern and Contemporary Art dedicated to media art and created <Bamboo Forest>, which embodies the composition of media art based on light and painting, which are the basic characteristics of photography. And as the second work of "Bamboo Forest," "In front of the Bamboo Forest" is a photo of the abstract painting "In front of the Bamboo Forest" produced by abstract artist Louis Choi Chul-joo.
Louis Choi Chuljoo, <In front of the Bamboo Forest 196>: Louie's media art "bamboo forest" 2nd edition of contemporary artwork(Abstract photography), 20201126-20201210, Minoo Media Art Museum
A still image photo of <Bamboo Forest> that embodies the still image composition of media art through painting
20201126-20201210, Minoo Media Art Museum
20201126-20201210, Minoo Media Art Museum
20201126-20201210, Minoo Media Art Museum
20201126-20201210, Minoo Media Art MuseumPhotographs that reveal the spatiality and timeliness of photographs as continuity of light are close to pictorial photographs. These pictorial photographs are transforming into abstract photographs that pursue the illusion of composition and form, not pictorial imitation.
Accordingly, Choi Chul-joo, a doctor of cultural design, worked as the head of the academic research office of the Minoo Media Art Museum dedicated to media art and created <Bamboo Forest>, which embodies the composition of media art based on light and painting, which are the basic characteristics of photography. In addition, as the second work of <Bamboo Forest>, the image of the abstract painting <In front of the Bamboo Forest> produced by abstract artist Louis Choi Chul-joo was embodied as a media art still image.
A still image photo -25 : A still image of embodied in paintings
A still image photo -48 : A still image of embodied in paintings
A still image photo -78 : A still image of embodied in paintings
A still image photo -96 : A still image of embodied in paintings
A still image photo -116 : A still image of embodied in paintings
A still image photo -128 : A still image of embodied in paintings
A still image photo -216 : A still image of embodied in paintings
A still image photo -268 : A still image of embodied in paintings
A still image photo -345 : A still image of embodied in paintingsStill Image Photo-142: A still image of <In front of the bamboo forest> embodied in paintings
Still Image <In front of Bamboo Forest> Photo-142, A still image of <In front of Bamboo Forest> embodied in paintings : Painting <In front of the bamboo forest> overlapping the landscape image on the outside of the photo frame limited to the bamboo forest
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Still Image <In front of Bamboo Forest a>
Still Image <In front of Bamboo Forest b>
Still Image <In front of Bamboo Forest c>
Still Image <In front of Bamboo Forest d>
Still Image <In front of Bamboo Forest e>
Still Image <In front of Bamboo Forest f>
Louis Chul-joo Choi, the bamboo forest d94, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest a75, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest b74, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest a102, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest f86, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest a112, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest c91, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest d98, a hand-painted picture on a computer
The still image of <Bamboo Forest> embodied in paintings is a parody of existing bamboo photographs and is an inevitable formality that is conscious of the exact composition and light space calculated like Edgar Degas' photograph.
Realistically, the appearance of rain and wind encountered by chance is drawn as it is, showing the bamboo forest tailored to aesthetic time and the form of photographs that occur at that time. Unlike the media art <Bamboo>, in which bamboo forest photographs are drawn in dark blue, the picture image of the background overlapping on the front outside the limited photo frame of bamboo is <In front of Bamboo Forest>.
In media art, the meaning and effect of an image become the subject of the space with different temporality due to the time when the image does not affect the space within the surface area.
Therefore, the meaning and effect of the image that affects the space are the subjects of the space in that time.
The "bamboo forest," which paints the meaning and effect of images that affect space, is an image tailored to the perspective method copied from the photographic image. As a result, the aesthetic value of bamboo forests leaves traces with media art <In front of the Bamboo Forest>. The expression of the bamboo image reveals the relationship between the unstructured form hidden in the image as a non-existent picture and the subject of time.
The timeliness of <In front of the Bamboo Forest> is a picture of a virtual image drawn by creating a virtual space for media users and another time-based intervention, and the media art <In front of the Bamboo Forest> shows visual continuity.
This imprints the light and darkness of the bamboo overlapping the invisible bamboo forest, and objectifies the reality of the bamboo painting away from the picture.Here, the impression represents the relationship between the object of the image and the symbolic representation of the photograph, and the structuralist form of the bamboo as the object becomes an irrevocably stationary symbolic photograph. In a photo review of Kim Dae-soo's <Voice of the Bamboo>, Choi Chul-joo said that the structure of bamboo sounds is a structure that transforms sounds consisting of visual recognition and auditory photographic processes that "give life to the vertical line and intersect at an appropriate angle." However, bamboo paintings distort the meaning of bamboo photographs, which are identified differently from the similarities seen. This suggests that the picture and the picture do not existentially match.
Accordingly, an image in which a bamboo photograph of another shape and a realistic background photograph overlap should be drawn in the same manner as a media art still image photograph.
Choi Chul-joo's "In front of the Bamboo Forest" painting is metaphorical like the structure of language, so the meaning of one picture is not the same as the shape of bamboo, so it structures reality with unconscious pictures of non-existent rain and wind in another bamboo forest.
And he replaces the virtual image drawn by the subject of the bamboo forest with other media art and decorates the reality of the inner image of the bamboo forest. / Writing. Contemporary art critic Choi Chul-joo (Media Artist & Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 12
Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [12] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Abstract contemporary art that designed modern art abstract painting [11] Abstract Artist Louis Choi Chuljoo Abstract art work: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory" and "Bamboo Forest." / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: abstract artist Louis Choi Chuljoo "morning glory" & thread painting: morning glory B-06. 20201126-20201210, Minoo Media Art Museum
Louis Chuljoo, Thread Painting: morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth, 2022 = Back of "thread painting: morning glory 2020-b"
Art Review: Media Art's Qí Báishí's "morning glory" and Media Art's Thread Painting; Contemporary artist Louis Chul-joo Choi’s "morning glory", 2020, Museum of Minoo media art museum
Qí Báishí's Media-art "morning glory", Still image(4, 10, 23, 30, 39sec), Collection of Minoo Media Art Museum,
Qí Báishí's "morning glory" is a simple, linear form that aligns the bright shade of light with the leaves and stems. He collects aesthetic results that affect humans so that the morning glory does not deviate from its actual shape. His paintings, "morning glory" consists of the effect of ink-and-washy tea, which sets flowers straight to the top of the stem. He gives a humorous touch to the difference in brightness, allowing the morning glory to be distinguished as a living object. He added the movements of the flowers in an anomalous way to his painting of the morning glory. His painting of the morning glory is arranged with leaves, and the stem forms the entire composition. He equates the leaves and stems with the appearance of the morning glory tailored to the flowers, thus establishing a position that humans can understand. The joint of the stem falls into black ink and the stem connected to it is thin and cloudy, and overlaps with the space as an impression effect of black ink with no boundary line with the morning glory. And the shape of the leaves drawn by the difference in brightness of black ink is shaped and structured so that humans can rely on the shape of the morning glory.
Media art at the Minoo Media Art Museum has cast doubt on the production process by showing the process of dismantling and combining the completed works. Accordingly, Chul-joo Choi, a doctor of design at the Museum of Minoo media art museum redesigned the media art work and its image in the process of creating media art. Chul-joo Choi's media art <the morning glory> designs the place of flowers and sets the place of leaves and stems that depend on the shape of the flowers. Unlike the media art Qí Báishí's <the morning glory> which shows the process of painting flowers in the structure of stems and leaves in the entire image, the media art that designed the rest of the structure, starting with the flower of the morning glory is <the morning glory> by Chul-joo Choi, a doctor of design. He designs a flower that relies on a set being as a coincidence that black ink spreads. This is realised in the media art form of a computer and painting without the perspective of space.
Chul-joo Choi, Media-art; morning glory, Still-image (morning glory-4, -7, -15, -25, -35, -65, -75, -85, -95, -105)
abstract artist Louis Choi Chuljoo "morning glory", 2020.
In the process of producing the original media art, which is mechanically reproduced here, the picture format is thread painting. This painting embroidery the volume of light in the process of facing objects and ideally depicts the shadow of objects. It is a linear art that emphasizes "one line" in a new painting process combining oriental embroidery and ink painting. In other words, the image of the line, which was stopped during the process of drawing the media art <morning glory> was drawn with thread and paint.
In Kim Hong-seok's <Open and Closed> art review, art critic Louis Chul-joo Choi said the definition of a thread painting is "a trace of paint and yarn equivalent to the time remaining in the fabric, and it is exposed parts and margins."
Also, the structure of the shape was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things.”
and the aesthetic value was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things. The color of the shape reveals a hidden aesthetic value by giving time, not by marking, but by being considered the structure of the discoloured body.” in Thread Painting.
This is different from the aesthetics of M-Duchamp conceptual art that does not decorate materials.
Thread painting is a form of self-consciousness that has been implemented before realizing how things are perceived. The color of the shape does not indicate the distance of time, but shows the hidden aesthetic value as seen by the faded original formative structure. And beyond the literary character of conceptual art, it raises the formalities as a painting, paints the colors left behind, and ties them together with threads in a new formative structure.
Construct a shape in which the color of the linear structure exists so that the shape as a knot that hides the color by inserting the structure of the color into the thread so that it can adapt to a particular color.
Therefore, "Thread Painting" is a painting of yarn and paint on a cloth seeking linear aesthetics that denies the excessive literary nature of conceptual art.
Qí Báishí's Media-art/ morning glory, Still image(39sec)/ Chul-joo Choi, Media-art: morning glory,
Thread Painting; <the morning glory> is an image drawn on a cloth-like material of an object made by custom. <the morning glory> is a method of drawing an image that is reversed from left to right by constructing a shape that looks like an image of the Lacan's objet on a cloth-like material.
Therefore, his painting is a two-sided painting that does not distinguish the front and the back. To represent an image in terms of practical and cursory features to suit the subject. Here, painting as a object of change in customs is another image that appears to be a object. It disappears as a substance of a subject that is hidden and drawn in small pieces invisible from space.
A small object shows a space that can actually be reversed through the shape's thought movement. This refers to the meaning of a shape in which, a small object defines a space that can actually be reversible and refers to the meaning of a feature that is obscured by the actual changed movement of the feature.
Louis Chul-joo Choi, Media Art: morning glory, a hand-painted picture on a computer,
20201126-20201210, Minoo Media Art Museum
It is the color of light and the shape of a material such as cloth, and the inevitability of an impressionable space determines the position of a object. And by stopping the light and the object of the place, it forms a structure of conventional painting. This is a space where you can stay with the inevitability of a stopped structure. Thus, the meaning of the actual structure of the picture where the shape has stopped is formed by the reverse idea movement. Its conscious meaning as a structure is just a small piece of space that finds its place properties of matter. This small piece coexists as a properties of matter in numerous spaces when it is a similar object. The position is inserted into several spaces by the meaning of the thought movement, where one phenomenon and other meanings intersect. This is a thread painting, <the morning glory> which was created by repeating another space as an thought movement in the space of positioning.
The space here disappears and the morning glory turns into the color of light.
However, as a painting's meaning effect, it chooses a painting as the color of light on a fabric-like material or thread that has disappeared from the past space. Here, the painting distorts the image by changing the light into a line within a space that connects the surface of the morning glory with light.
Therefore, since the composition of the invisible preceding space cannot draw flowers, the beginning screen of the Media Art: <Qí Báishí, the morning glory> of Minoo Media Art Museum distinguishes the leading space by sketching stems and leaves and drawing flowers because the intro space is not the actual structure. Thread painting is a thread that depicts the shape of light that distinguishes objects in stationary media art. This is a thread painting limited to fabric in an empty space and the more you limit the habitual object to the shape, the more empty the space becomes, rather than the actual place, so it decorates the inner surface of the hidden cloth to find the meaning of the space as a small piece of artistic shape. As such, <the morning glory> is painted on cloth-like materials, forming an abstract spot with the inevitable spatiality of the object, thus gaining aesthetic value as a real habitual painting art.
Louis Choi Chuljoo, thread painting <morning glory>, 135X156cm, acrylic and composite materials on cloth, 20201126-20201210, Minoo Media Art Museum
Louis Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting
* The production process of thread painting designs an object that relies on a momentary coincidence, a presence determined by the smudging of a brush at a set object. This realizes media art and painting in the descriptionless space of the atmosphere.
Thread painting is a desire form drawn as a gaze of another person in the process of producing the mechanically reproduced original media art.
* Thread painting (Definition): Thread painting is a form in which images created by media art <morning glory> can be drawn (additional embroidered) on the shape of an overlapping cloth whose back space is illuminated by hand painting. In other words, it is a picture of a shape shaded in crossing thread and a painting with reflective light in a small hole in the cloth.
* The symbolic meaning of media art "morning glory" in thread painting is that the color of its meaning decorates the reality of the custom universality facing the object with the color of light. The dark blank space contrasted with the light of this decorated shape is a shadow created by traces. Here, color as an actual object is a monolithic image of an educated custom that appears to be a gaze. This is a symbolic language that symbolizes a flower that is imitated. Here, the 'morning glory' image is a piece of meaning symbolized in a non-real space as a result of the desire meaning.
Louis Choi Chuljoo, thread painting: morning glory 2020-b, 135X156cm, acrylic and composite materials on cloth
Media art and painting without description of the perspective structure of the atmosphere are realized through thread painting. Here, in the process of producing the original media art that is mechanically reproduced by perspective description, the form drawn by the other's desireful gaze is thread painting "morning glory B-00-2-1".
The image as a result of the performance of thread painting is <morning glory B-00-2-2> in the form of a painting cloth that is reflected on the back by manually painting the generated image of action painting to Process Art. In other words, Choi Chul-joo's <morning glory B-00-2> was an action painting with an object of desire concept and a desire cencept image of desire cencept's <morning glory> exhibition on December 22, 2021 at Gwangan Gallery as a performance of contemporary image installation artist and contemporary art artist Choi Chul-joo.
Louis Choi Chuljoo, thread painting: morning glory 2020-b → bmorning glory B-00-2-2
The image and color of thread painting in that form show the aesthetic value of the other's desire structure in a hidden shape by forming an imaginary formative structure of a faded desire without marking it by giving a distance of time.
This is a conceptual art based on Choi Chul-joo's desire concept abstract art theory, and the formality as a painting beyond literature was drawn in the structure of thread painting as a new formulation by drawing the image of desire left after the emergence of the concept of desire. It is a picture that reconstructs the formulation in which the concept of desire exists with a linear structure so that the formulation can be adjusted to a specific color like a knot blocking the color by putting the structure of the color into the thread.
Therefore, the concept of "Thread Painting" in which the structure of the thread is added as a color is painted on the structure of color in the concept of cloth and desire that pursues linear aesthetics as artistry of desire.
Thread painting 'morning glory B-00-2-2' is an image of the desire of the other painted on a cloth-like material against the background of the desire of the chick to convey the custom of seeing it as an infant in Choi Chul-ju's concept of desire.
Louis Choi Chuljoo, thread painting: morning glory B-00-2-2 → morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth
In "morning glory B-00-2-2", a shape in which an object is seen, such as a desire image, is composed of a material such as fabric to generate an image in which the left and right sides are reversed. Therefore, his picture is a two-sided picture that does not distinguish between the front and the back. Here, a new picture emerges when the image on the back is converted to the front. This is a thread painting in which the image of a desire object that appears to be reversible light that rejects the center of the image of desire, which omits the volume of the chicken and replaces the reality that rejects perspective description.
The back of "morning glory B-00-2-2", "morning glory 2022-c", is a painting that has actually transformed into a system of notation for semantic representation. The painting reduces the planar dimensionality of "morning glory B-00-2-2" to the essence of meaning. This is a dual object that simultaneously shows everyday livestock and a family in a symbolic sense through chickens and chicks. The shape of the picture emerges the aesthetic meaning of the image of a desire structure that realistically depicts the concept of desire in the visual system in the thread painting where the image is installed.
This is a pictorial desire act that defines the object in perspective as a limited area, and produces the meaning of actualizing the back of thread painting by drawing the structure of distorted desire in the original space on the canvas.
The image of the shape of the object is created by embroidery, and the image of the cloth is expanded to embroidery, or the shape of the embroidery is transformed to widen the position of the cloth by flat painting.
This is conceptual image installation artist Choi Chul-joo's painting. As an installation of images, it is realized in flat painting without adding embroidery in media art and painting without description of the atmosphere.
Here, the shape drawn in the shade of reversible light and the thread painting in the small hole of the cloth are a picture that expands the position of the desire illuminated with reflected light.
Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2021/ *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum
Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2020
Louis Chul-joo Choi’s thread painting: morning glory B-06
In addition, thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.
The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.
The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze.
A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place.
However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space. / Writing. Louis Chul-joo Choi, head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Contemporary artist & media art painter)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 13
Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [13] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary Artwork Critic Louis Choi's art criticism of published on Facebook : Damien Hirst's work The Shark is not an artwork, but a conceptual representation.
Photo Source: Facebook
Louis Choi Chuljoo's Art criticism: Damien Hirst's work The Shark is not an artwork, but a conceptual representation.
Damien Hirst's work Shark, which follows commercial pop art that rejects romantic aesthetic acts created by the United States, is not an artwork but a conceptual representation.
The time has passed for his sketches to be wrapped in conceptual art and popularized as British pop art.
Concept is an act of art that meets reality. If reality becomes stuffed animal, not a painting, it is an excessive literary idea.
Pop art, which rejected real aesthetic behavior, emphasized various consumerism that deviated from social norms, but communicated with the media.
The conceptual value of Damien's work, which represents contemporary art in England, cannot be replaced by an aesthetic act that has stopped by mistaking it for Shakespeare's play.
Modern art stopped meaningless aesthetic activities through photography momentarily as it barely began to breathe in the prohibited regulations of the past time, but his shark, which is not different from the photographic image, is just an image using formaldehyde as a developer.
Conceptual artists focus on imagination in conceptual art, but their concepts do not represent the concepts of contemporary art.
Therefore, just because the concept of contemporary art cannot be known, a simple concept cannot be decorated with artistic value.
His brand, created by Tate and Saatchi Gallery, contributed to his work like a commercialized work, transforming aesthetic behavior into the value of precious metals.
And can the former head of interpretation of the Tate Museum, who raised Hirst's sketches to the level of Cubist Picasso, say similar sketches are different in concept!
Although the art act turned out to be non-realistic, the romantic painter who tried to meet the real repeatedly encountered the canvas painted as non-realistic and became contemporary art./ Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 14
Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [14] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary Artwork Critic Louis Choi's art criticism published on Google: Mark Rrthko composed the space of existence in which the composition of the color surface reveals symbolic meaning so that the unnamed abstract can experience consistent meaning in the phenomenon.
Mark Rrthko, Untitled(red on red), acrylic on cavas, 152.4*145.1cm, 1970, a collection of works in American Folk Art Museum
Louis Choi Chuljoo's Art criticism: Mark Rrthko composed the space of existence in which the composition of the color surface reveals symbolic meaning so that the unnamed abstract can experience consistent meaning in the phenomenon.
Images are the effect of repeating and combining two different contrasting colors.
The composition of the image is ideal for symmetrical balance. The composition of monochrome as a monotone brightness difference is an aesthetic frame(監造) , which is the work of selecting the brightness of color as one unified color by examining the image.
Rothko focused the color tone on the physical properties of the surface texture.The color tone of the visual texture visualizes the relationship between color and perceptual effects by recognizing the image reflected from the clear brightness difference.
The subject who perceives the color tone senses the symbolic perception effect of the fixed color. The effect is not an image of an object to be perceived, but a symbolic meaning that reveals the structure of the phenomenon covered by color. Here, he defines and abstracts the concept of how symbolic meaning will be expressed in the image color of the phenomenon.
This is in harmony by revealing the homogeneity with the surface of the contrast of colors with similar brightness differences. In addition, the image is abstracted by overlapping the inner and shape of the contrasting color boundaries that make up the shape.
The abstraction is the meaning of symbolic color surfaces consistent with images in phenomenal life.
In the 1940s, his paper paintings featured sorrows at the pinnacle of World War II, and the realistic colors on standard paper sparked a human sensibility as a classical composition.
This gave him the presence of a space that divides the work by color, silenced to give abstract ideas to viewers, and erased the title of the work.
Nevertheless, the atmosphere through color-encoded shapes and color variations gave his spiritual abstraction a boost.
His abstraction is the subject of divided colors, and the phenomenal structure is identified with the symbolic color surface by abstracting the phenomenal meaning into an image of spiritual sensitivity.
In this way, he constructed an abstract expression that expresses the size of the spiritual expression of color as the texture of physical properties.
The red in the painting Untitled, left where his death was known, looks like the color of a martyr who led his life as a painter. The picture hides the abstract name, which erases the phenomenal image of life and symbolizes the phenomenon in monotone red.
And he composed the space of existence in which the composition of the color surface reveals symbolic meaning so that the unnamed abstract can experience consistent meaning in the phenomenon./ Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 14-1
Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [14-1] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary Artwork Critic Louis Choi's art criticism published on Google: Kazimir Malevich: Black Square, Oil on canvas, 79.5 × 79.5 cm, 1915, Tretyakov Gallery, Moscow
Kazimir Malevich: Black Square, Oil on canvas, 79.5 × 79.5 cm, 1915, Tretyakov Gallery, Moscow
Kazimir Malevich: Black Square
It's the act of resetting the basics of art with the form and achromatic colors of modern art.
As an "extreme of form" that deviates from form by revealing the absolute meaning of the white background and form of infinite space, Malevich presents a turning point in the formation structure as a radical experiment in discovering the absolute 絶 of modern art from nothing and rewriting the essence of painting by interpreting the object in an ontological sense through "black square."
Kazimir Malevich's "Black Square" has established itself as a conceptual abstraction that denies realism. Realistic images are hidden inside the black square, refusing to reproduce the phenomenal structure, instead extinguishing light through the black surface. The square embodies the meaning of "absence of existence" as a linguistic symbol, hiding the world in its visible form and presenting Malevich's official language of absolutism. His official language fits the linguistic meaning by abstracting the existential concept of a realist object as a symbolic image. Thus, the black square becomes the hidden desire of the other, consistent with the other's unconscious desire.
Therefore, Kazimir Malevich "Black Square" is in a position where conceptual abstract paintings deny realism paintings. It is the linguistic meaning of a square image in which the realist image is obscured into black squares and light is erased with black without reproducing the phenomenal structure, and it is a form of Suprematistic Mallevich's sculpture that hides the formative bird world where the square is invisible as "the meaning of the square revealed in the absence of existence" without color.
His formative form abstracts the existential concept of a realist object in a linguistic sense, the same as a symbolic image. This is a closed square that equates the desires of the unconscious other with abstract concepts.
Due to the lack of conceptual abstraction, the absolutist form is transferred to the structure of desire, creating a fragmented subject in an abstract form. Through an iterative process of giving meaning, the subject reveals the formal character of art and abstracts desire into form to capture a real image consistent with the structure of desire. By decomposing the linguistic meaning of an absolute concept into an abstract form and transferring it to desire, it acquires the value of a new existential meaning as a conceptual realist image.
The painter Malevich suggests that form can be reborn at the same time while going through a process of self-denial, erasing form instead of square. By equating form with meaning, he declares: "When form becomes meaning, content disappears within form." Thus, Black Square reveals the boundaries between form that represents existence and hidden black objects through negation. In this way, the subject represents itself by rejecting form, dividing linguistic meaning, and projecting self through Black Square.
Thus, Malevich's absolutist form of formation shifts to a structure of desire lacking in conceptual abstraction and becomes a divided subject in abstract formation. Here, linguistic meaning is repeated, and in order to reveal the formality of the formative form, the subject abstracts into a desire structure and attempts to capture the same real image as the desired structure as a figure in a linguistic sense.
The linguistic meaning divides the linguistic meaning of the abstracted figure and acquires a new linguistic meaning of the conceptual abstract realism image that has transferred to the desire structure.
As a painter, he equates form and form to imply that form can be reborn in the place of a square that has erased form in the process of self-denial, and as soon as the form becomes the content as a linguistic meaning, the form disappears in the form.
In this way, "Black Square" reveals the boundary line between the formation and the obscured black figure as a being, and is a form that represents its existence, and by denying the formation through the black square, the divided subject expresses itself in a linguistic sense.
A subject divided in a linguistic sense, like an infant confronting a mirror image, he denies his reflected form and identifies it with the abstract image of the other. Painting space becomes a site where meaning is established through geometric symmetry and transformation. While the linguistic meaning of informal structure becomes content, it abstracts the informal meaning within form. In this process, meaning breaks away from seemingly meaninglessness and creates new aesthetic values. Black squares are monochromatic abstractions that hide the reversibility of light and are transformed into an aesthetic form.
As a result, the concept of symmetry transformation is abstracted into a black square as a meaningful action performed by the other in accordance with the abstract reality image of the other by equating the subject with the realist image of the conceptual abstract structure that denies the image reflected in the mirror as a child.
The linguistic meaning of the atypical figure structure that obscures the realist form becomes the content, and the content abstracts the atypical meaning that is obscured in the formative form. It is a conceptual abstract process in which meaning is discovered in meaninglessness with a concept of atypical meaning.
The abstract process shifts to new aesthetic values by creating the linguistic meaning of a black materialistic image from an atypical concept.
This is a monochromatic painting in which the formative structure of the painting is obscured in a monotone square, obscured by a superimposed black square of reversible light, and made into another orthogonal shape.
As it becomes the subject of black monochromatic painting, desire is structured as a figure like an unconscious statement, and the image is abstracted into a linguistic meaning by specifying the object.
"Black square" is a structure of desire that abstracts to specify the object desired by the other and selects a realism image as a linguistic meaning of the same concept.
Since abstract desire has no choice but to concept an object, the subject transitions beyond the inevitable abstract structure of desire to a realism image with the same linguistic meaning as conceptual abstraction for the purpose of the desire of others.
The lack of unconscious desire of the Russian avant-garde, which cannot specify the object in formative painting, divides and abstracts conceptual abstraction with geometric figures and monotone absolutist colors in the realist world with the concept of atonal linguistic meaning.
This recognizes phenomenal reality as an abstract reality in an abstract immaterial and fundamental painting structure in which the desire of the other is an abstract concept that exists in thought, that is, the reality of the concept, which is identified with logical laws.
Black Square functions as a structure of desire that abstracts the object that the other party seeks into a linguistic sense. Abstract desire inevitably conceptualizes objects and transforms the subject into a realist image that matches the desires of the other. In Russian avant-garde painting, unconscious desire, divided into deficiencies, appears as a geometric form and a monochrome supremacist color, and abstracts material reality into a conceptual form. The other's desire exists as abstract thinking, is identified with the laws of logic, and is recognized as an immaterial entity within the fundamental structure of painting.
By conceptualizing a reversible image of light that recognizes the abstract structure specified as an image of realism as an immaterial entity, the meaning of symbolic action is repeatedly designed to match the unconscious structure and the desires of others with the image of realism to obtain the linguistic meaning pursued by the other.
Therefore, the desire of the other is not only an abstract picture that exists unconsciously, but also a conscious semanticization repeatedly objectifies the existence of the object as an abstract realism picture.
Objectifying an object in an abstract realism painting fits the abstract structure of an object in contrast to the object as the scope of a space limited by reversible light that connects the linguistic semantic structure of the painting into an allegory and the size of the perspective.
Abstract paintings like this are placed in a position where the unconscious existence of a picture is denied and the form consciously hides its existence in geometric figures that remove linguistic images. And absolutism in the form of a square replaces the world of existence with abstraction.
The conceptually abstract absolutist square is embodied in a symbolic figure form, a formula similar to the linguistic meaning of the formation structure, so that the geometric form hidden in the absolutist structure disappears and stops in the process of self-denial, leaving only linguistic abstraction. However, on a white background, the black square revives the aesthetic form and reaffirms its abstract presence as a figure.
Abstract presence objectifies existence through the repetitive process of meaning that connects linguistic meaning with allegory. Reversible images of light define spatial limitations and viewpoints, contrast objects with objects, and align realist images with abstract structures. Thus, abstraction occupies a place of negation and hides its existence within its geometric form. And by replacing the world of abstract existence with abstraction, absolute squares are realized as symbolic figures./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)
Choi Chul-joo, Art Critic----------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 15
Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [15] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Kim Hong-seok's opening and closing is an imitation of light that recognizes the shape of a hidden object over time by reversing the reflective color of the front surface.
a Design <開閉(Opening and closing)> of Kim Hong-seok's Abstract Structure, 20190501-20190515 Hansae Museum
開閉(Opening and closing), No.10 on canvas, ink stick, paintings and cotton thread, 1981.
開閉(Opening and closing), No.10 on canvas, ink stick, paintings and cotton thread, 1981.
Louis Choi Chuljoo's Art criticism: Kim Hong-seok's opening and closing is an imitation of light that recognizes the shape of a hidden object over time by reversing the reflective color of the front surface.
The paints and thread that correspond to each other in time are traces of what has been revealed and margins.
A cylindrical thread that separates the margins is a white thread as a material.
The blue paint that existed close to the thread determines the length of the white thread by its visual universality.
Thread that form the shape show the effect of forming a formative meaning when the series of thread becomes a formative structure without explaining the object.
The structure of the white thread is serialized as a formative meaning, so that the blue is congruent at the intersection of the desire of the other.
This is a pictorial structure in which the meanings of colors are retroactive and the colors are orthogonal to thread.
It is Kim Hong-seok, who composes a sculpture on a single background of close time thread and paints.
He shows a style of painting by painting the shape of a cylinder with several thread and colours that compose and dismantle the object with a single line of thread.
He weave pictures in a line structure of thread.
Therefore, he equates the structure of thread with that of painting.
This shows the aesthetic significance of the bottom with repeated white thread at the top, while the lower part covers broken thread and blue on a brown background.
And the margins of the structure of another feature pass through the same space, filling the gap in time with blue.
The interval is a meaningless and incongruous structure of an entity divided by a disassembled thread that reveals the meaning of colour: a broken thread that does not improve its image as a symbolic meaning.
The thread of his <開閉> distinguishes the distance at which the time interval occurred by the length of the thread.
This forms the shape of the thread as an indistinguishable material on an essential basis.
It‘s painting of character is that monochromatic thread and fragmented blue thread perpetuate the difference in time by repeating the structure and margins of woven thread revealed by the difference in time.
That is, it defines the structure of a bright blue cloth and it repeats over time.
It is Kim Hong-seok's <Opening and closing> that produces a painting pattern as a structure that is indistinguishable from the object.
Therefore, <開閉> is not an existing structure.
This is the relationship between the pictorial pattern and the symbolic meaning, which is expressed in blue.
Blue is not the object of painting, but the object of the structure that forms it.
In other words, the blue orthogonal of the broken thread shows the overall shape by repeating the thread and margins of the vertical structure.
But the blue structure that disappeared in it shows no meaningful shape.
As a result, Kim Hong-seok tries to find significant shapes in the color structure.
His <開閉> is a form of self-consciousness that embodies what he saw before he realized how to perceive things.
The color of the shape reveals a hidden aesthetic value by giving time, not by marking, but by being considered the structure of the discoloured body.
He heats the visual form of <開閉> to boiling and binds the remaining thin blue to a thread as a new form.
Construct the shape in which the color of the line structure exists so that the shape as a knot blocking the color by inserting the structure of blue into a thread can be harmonized with a particular color.
Where the color is aware of the shape defect, leaving only a suitable area to avoid orthogonalization of the whole thread, and the structure of the entire color comprising the rest of the area disappears.
Still, he stops the gap of time and obtains blue from the colors of the existing space, leaving a meaningful mark of incomplete colors non-real.
It shows an unrealistic figure symbolizing <開閉> as a relationship between the non-real and symbolic meaning to an other, thereby concealing the actual aesthetic structure.
The semi-circular structure of the cotton chamber disappears into time, but the background brown and coordinated blue is a stationary space that rotates without becoming a single color.
This is the existing light that has entered the object in the past space of interpreting the logical meaning of a schematic structure.
The light reflects the color of the object in order to show the transformed shape, showing the fragmented object to pieces.
It imitates the shape of a time frame as a color reflected from a surface that can recognize an existing object, thereby reversing the shape of the target.
And it mimics the light that recognizes the shape of an object hidden in time by reversing the reflected colour of its present surface. / Writing. Art critic Louis Choi Chul-joo (Doctor of Cultural Design)
Art Critic Louis Choi Chul-joo