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브런치북 Modern Art Review 01화

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by 최철주 May 24. 2023

Artworks Review [1]: 11~15

Art Critique & Contemporary Art Review 1

Contemporary artwork review [1] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: 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"

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), 2023

Photo Review and Contemporary Photo Aesthetics Review Media Art <In front of Bamboo Forest>: "Bamboo Forest" Media Art 2nd Edition (Picture of Painting), 2023

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), 2023

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

Photographs 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 paintings

Still 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

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. Photo critic Choi Chul-joo (Media Artist & Doctor of Cultural Design)

Contemporary Art Critic Louis Choi Chul-joo

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Contemporary Artworks Review 11

Art Critique & Contemporary Art Review 11

Contemporary artwork review [11] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Pop Art Cartoon Abstract Painting & Art Review Modern Painter Work : contemporary art examples : Contemporary Abstract Art Artist Louis Choi Chul-joo's "morning glory" Art Review: Review of Korean Contemporary Artist Louis Choi Chul-joo's Art Works / Media Artist Louis Chul-joo Choi's Individual Exhibition Painting & Media Art Video Exhibition

(*Extended exhibition period 2020.12.11- 2021.1.29) : Contemporary artist Louis Chul-joo Choi's <Morning glory by Louis Chul-joo Choi>, <Disappeared pond>, <Bamboo Forest>, <"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do"=“Song·Ha·Sun·In·Chui·Saeng·Do” by Chul-joo Choi>,

20201126-20210129, Minoo Media Art Museum

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

As a background of culture, shape abstracts the concept of a realistic structure and determines its shape by reversible shading of light, but the background in which the shape disappeared as the whole is covered according to its shape time is summarized as contemporary light.

(Choi Chul-joo's Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)

Therefore, it sets Louis Choi Chul-joo's "Morning Glory," which replaces the current space in a certain culture, and abstracts the structure of realistic desire with the same reversible light shade as the shape time desired by the others.

Performances: Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration), Minoo Media Art Museum

contemporary artist's artwork: Louis Chul-joo Choi, "The morning glory-Still image"

Performances: Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration), Minoo Media Art Museum

contemporary artist's artwork: Louis Chul-joo Choi, Thread Painting 'morning glory' painting, 2020 / Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration)= 'morningglory' painting the desire of others with reversible light shades

contemporary artist's artwork: Louis Chul-joo Choi's Thread Painting 'morning glory', Minoo Media Art Museum

In the media art video of the Minoo Media Art Museum, Louis Chul-joo Choi's "The morning glory" not only depicts the process of dismantling and combining the completed works, but also depicts the image and process of media art by drawing thread painting.

The morning glory designed the flower's place and set the place for leaves and stems that depend on its shape. The position aligns the stem with the flower as the composition of the flower.

Unlike Media Art of Qi Baishi's "The morning glory" which shows the process of drawing 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 Louis Chul-joo Choi, a doctor of design.

Louis designs a flower's spot that relies on a set being, an ephemeral coincidence.

This is realized without explanation of the atmosphere in media art and painting. It is thread painting in the process of producing the original media art, which is mechanically reproduced here, in response to the desire of the others.

Designing the thread painting is to apply Lacan's metonymy and metaphors to painting work.

As metaphorical images replace one symbolic image with another, the original painting becomes thread painting as a symbol of the desire of the others.

This painting embodies the volume of light in the process of facing an object and ideologically depicts the shadow of an object.

In addition, he said in thread painting, "The structure of the form is a structure of pictorial thread painting in which the formative meaning is retroactive as a series of threads become a formative structure without explaining the object of the thread that formed the shape."

The color of the structure gives a distance of time, so that it is regarded as a formative structure of a faded original structure without marking it, showing the aesthetic value hidden as seen.

And beyond the literary character of conceptual art, painting a thread painting is a new type of structure that describes the shape of the thread, thereby raising the formality and ending it with color.

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.

contemporary artist's artwork: Louis Choi Chul-joo, Thread Painting 'morning glory', 135X156

cm, acrylic and composite materials on cloth, 2020 / Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration)

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.

This painting is a multi-faceted painting that does not distinguish between top and bottom, front and back. The image is represented by the actual shape and the visible aspect that matches the subject.

Painting here as a subject of change in customs is another image that appears to be a subject.

It is hidden and disappears as a material of a subject drawn in small pieces invisible from space.

In the actual space transmitted through the ritual movement, a symbolic image converted into the actual image of the object is a small piece of the object.

This refers to the meaning of a certain shape, and the small piece defines the space that can actually be reversible and refers to the meaning of the shape, which is obscured by the actual changed movement of the feature.

It is the color of shape and light, the embodiment of material such as cloth, and the location of the object is determined by the inevitability of the space that can hide the position of the object.

Instead of the media art exhibition space, the reversible timeliness of physical assets is to create a place with the color of light and recognize the position of the object in the color of light.

The space of abstract light gives a glimpse into the structure of a material object, but its position becomes the margin of space in which the subject of the object follows the change in 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 space hidden in the margin. This is an object position determined by the inevitability of symmetrical space, which matches the image of light in space for objects with pictures.

And the space of the image tailored to the target creates a separate space that connects a gap to a cloth in the form of a margin, and the color of the image is decorated with the actual color of the traditional universality facing the object.

contemporary artist's artwork: Louis Chul-joo Choi, Media-art "Disappeared pond" painting, 2020 / Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration)

contemporary artist's artwork: Louis Chul-joo Choi, Media-art "Disappeared pond", Still image, 2020

The media art "Disappeared pond" is a digital art of painting designed in monochrome and contours of objects, separating images of photographs in media art into conditions of light.

It is a reproduction of the digital pond of the Minoo Media Art Museum, incorporating impressionist paintings into the concept of pop culture and designing a photo of the pond as a painting.

A fish made of media art is the main body of a fish that moves with an alternative image of a real pond, and the design image of a virtual pond is a form of appreciating timeliness consisting of optical media art.

The form of performance as an object symbolically digitizes the actual pond of the media, but the interactive configuration appears in the non-realistic design image.

In fact, the digital pond is given a hypothetical meaning, so the fish there always sit in the pond, even if they imitate it. The pond effect imaginable here is a realistic representation of the image of the pond separated from the lotus flower, unlike the fish.

Another symbol is the verbal meaning of fish, an image that shows the process of repeating the association with lotus flowers and meeting the meaning associated with the design of fish symbols in ponds.

This is the meaning of the symbol interpreting the "Disappeared pond" designed as a simplification process.

Here, the design of lotus flowers with impressionistic images visualizes the characteristics of symbols so that "Disappeared pond" can interact, but the impressionist painting style emphasizes the circular color of light except black, which defines the form

The symbolic symbol hides the imitative nature of the painting composed of fish symbols, centering on some outward form of fact that it cannot be a fish due to the intervention of light.

In linguistic acts imitating pictorial symbols, the subject of imitability is revealed in the Lacan image and homogeneity.

This is an imitative image, because as the subject divides, meaning simultaneously reveals unconsciousness as a pictorial image. These subjects are the subjects of unconsciousness resulting from the serialization of imitative images by cogito.

In "Disappeared pond" the fish forms in white to distinguish light, and the pond designs lotus flowers by imitating impressionist paintings.

The design of the pond, in which fish symbols appear in "Disappeared pond" represents the linguistic meaning as a real being. Here the design of the essential elements of fish and ponds is abstracted into white fish and black ponds contrasted with the illumination of the conceptual lotus flower.

And the visual design image of the fish as a symbol by metaphor of the fragmented meaning is a white fish as a sign. The abstract design, which replaced the black pond intertwined with the fish with other meanings, expresses the meaning of the disappeared pond.

This dictates the meaning of symbolic action that characterizes the design, which is a repeated combination of distorted pieces of image in the course of pictorial imitation.

The meaning is symbolic language that symbolizes the image imitated. Here the image is a piece of symbolic meaning in an unrealistic space.

contemporary artist's artwork: Louis Chul-joo Choi, Media-artMedia-art; Bamboo Forest, Still-image painting, 2020 / Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration) = Bamboo forest painting depicting the desire of others with reversible light shades

contemporary artist's artwork: Louis Chul-joo Choi, Media-art; Bamboo Forest, Still-image

"The Forest of Bamboo" is a parody of existing bamboo photographs, and is an inevitable composition conscious of the exact composition and light space calculated like that of Edgar Degas.

As a realistic encounter, the images of rain and wind are depicted in a bamboo forest tailored to aesthetic timeliness and the photographic image that takes place at that time. Unlike the limited photo frame of bamboo, it is a media art called “the Bamboo Forest”, which depicts 347 painting styles of bamboo forests in design and shape.

The subject of the bamboo grove is subordinate to the desires of others and hides the fact that it is the subject of the image. To reveal the subject, the other's desire as a separate subject from the image of the bamboo forest is realized in painting the bamboo forest.

In media art, the meaning and effect of the image are object's material for that space with different temporality due to the time that the image does not affect the space within the surface area. In this way, the meaning and effect of the image affecting the space becomes the subject of the space in terms of its timeliness.

Therefore, the "bamboo forest" is distorted by reproducing photographic images.

As a result, the aesthetic value of the bamboo forest is the media art, "The Bamboo Forest," which reveals the connection between the unformed form and the subject of timeliness hidden in the image as a non-existent painting.

The timeliness of "Bamboo Forest" creates a virtual space for media users and the visual continuity of the media art "Bamboo Forest," which is a photograph of a virtual image drawn by a series of interventions of another time. And the media art "Bamboo Forest", which is a painting of virtual images drawn in a series of interventions of time, shows visual continuity.

This imprints the light and darkness of bamboo overlapped in the invisible bamboo forest, and objectifies the reality of the bamboo painting away from the photo. Here the impression represents the relationship between the object of the image and the symbolic expression of the painting, and as a target, the structuralist form of the bamboo becomes irreparably stationary symbolic photograph.

So the picture gives a static and symbolic impression on the subject of bamboo as a photographic structure. The impression represents the relationship between the subject of the object and the symbolic expression of the photograph, and as the subject, the structuralist sound as an image of bamboo becomes irrevocably stationary symbolic photograph.

However, the painting of bamboo distorts the meaning of the bamboo photograph, which is identified differently from what it looks like. This is just a token of photographs and paintings that are not realistically matched.

Therefore, take a photo to draw a different painting from the photo and make the same image as the picture.

The meaning of the Bamboo Forest, painted by Louis Chul-joo Choi, is metaphorical, such as the structure of language, so it is not the same as the shape of bamboo. As a reality that owns instantaneous time, it is an unexistent painting that overlaps rain and wind with other forms and images.

And he replaces the virtual image drawn by the lack of self-created location of the true form of the bamboo forest with other media art and decorates the actuality of the inner image of the bamboo forest.

contemporary artist's artwork: Louis Chul-joo Choi, Media-art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe

•Do=Song·Ha·Sun·In·Chui·Saeng·Do by Chul-joo Choi", Still image painting, 2020 / Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration)

contemporary artist's artwork: Chul-joo Choi, Media-art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do

=Song·Ha·Sun·In·Chui·Saeng·Do by Chul-joo Choi", Still image, 2020

Media art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is a cartoon image of a cartoonist Louis Chul-joo Choi, who reconstructed Shin Yun-bok's folk painting after seeing Kim Hong-do's “Song·Ha·Sun·In·

Chui·Saeng·Do” Therefore, another proposition of Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is "Song·Ha·Sun·In·Chui·Saeng·Do". This is a general reflection of the scene where men and women secretly go out to meet to express their love on windy days. Here, the cartoon image expresses affection, but the cartoon images are not involved in the symbolic image.

Thus, the boat play and bath scenes were reconstructed into cartoons that express the affection between men and women in the same way as the original painting by Shin Yun-bok, which depicts the daily lives of women in the Joseon Dynasty.

Considering the fact that Shin Yun-bok's paintings, which satirizes daily life, is similar to that of a cartoon, the cartoon composition of "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" was partially drawn and matched with a close-up scene like the one-cut series of "Roy Lichtenstein.“

Thus, as a cartoon media art of popular art, "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is seen as a series of cartoon cuts aimed at satirizing the status quo of Joseon Dynasty society with cartoon images.

In line with the scene of boat play and bathing by the river as a cartoon image, the sound is the Vivaldi's "summer" of the four seasons, giving a glimpse of the positive contemporary image.

As such, cartoon media art is carried out in a popular art way rather than in a media that reveals social problems.

In the middle of the summer, boat play, gisaeng, men who peeked at women bathing by the river, and boats were drawn in several cartoons to move boats playing in the river. The surrounding figures harmoniously reconstructed the relaxed light and shadow of the gisaeng, men, and landscape.

"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is shown in the media space as a media with cartoon images of the realistic representation of social mannerism, such as Manet's "The Luncheon on the Grass".

It balances the real customs with media art reproduced in animated images. Although the appearance of a woman in the Joseon Dynasty, where Shin Yun-bok bathes, shows sociality, but "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" which were reborn as unrealistic cartoons, focus on the pictorial cartoon characteristics of painting style.

The Manwha painting style of the Joseon Dynasty, which emphasizes media art by moving the cartoon image, was seen as a cartoon so as not to deviate from the relationship between the real landscape and the characters.

And to express the characteristics of media art, Sin Yun-bok's paintings were reconstructed to create a series of cartoon images based on the play culture of the Joseon.

Writing. Louis Choi Chul-joo, former head of the Department of Arts and Arts at the Minoo Media Art Museum (Contemporary Artist & Doctor of Cultural Design)

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Contemporary Artworks Review 12

Art Critique & Contemporary Art Review 12

Contemporary artwork review [12] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Pop Art Cartoon Abstract Painting & Contemporary art examples : Contemporary Abstract Art Artist Louis Choi Chul-joo's "morning glory" Art Review: Korean Contemporary Artist Louis Choi Chul-joo Art Performance / Korean Contemporary Art Seongnam Exhibition - Painting Installation Performance Art Review/ Contemporary Installation Artist Louis Choi Chul-joo Image Installation: Process Art Performance Louis Choi Chul-joo Painting Image Installation, 20201126-20201127, Minoo Media Art Museum

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.

Performances: Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration), Minoo Media Art Museum

painting depicting the desire of others with reversible light shades

In the media art video of the Minoo Media Art Museum, Louis Chul-joo Choi's "The morning glory" not only depicts the process of dismantling and combining the completed works, but also depicts the image and process of media art by drawing thread painting.

The morning glory designed the flower's place and set the place for leaves and stems that depend on its shape. The position aligns the stem with the flower as the composition of the flower.

Louis designs a flower's spot that relies on a set being, an ephemeral coincidence.

Designing the thread painting is to apply Lacan's metonymy and metaphors to painting work.

As metaphorical images replace one symbolic image with another, the original painting becomes thread painting as a symbol of the desire of the others.

This painting embodies the volume of light in the process of facing an object and ideologically depicts the shadow of an object.

The color of the structure gives a distance of time, so that it is regarded as a formative structure of a faded original structure without marking it, showing the aesthetic value hidden as seen.

contemporary artist's artwork: Louis Choi Chul-joo, Thread Painting 'morning glory', 135X156cm

, acrylic and composite materials on cloth, 2020 / Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration)

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.

Painting here as a subject of change in customs is another image that appears to be a subject.

It is hidden and disappears as a material of a subject drawn in small pieces invisible from space.

In the actual space transmitted through the ritual movement, a symbolic image converted into the actual image of the object is a small piece of the object.

It is the color of shape and light, the embodiment of material such as cloth, and the location of the object is determined by the inevitability of the space that can hide the position of the object.

Instead of the media art exhibition space, the reversible timeliness of physical assets is to create a place with the color of light and recognize the position of the object in the color of light.

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.

contemporary artist's artwork: Louis Chul-joo Choi, "Disappeared pond"painting, 2020 /

Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances(painting demonstration)

The media art "Disappeared pond" is a digital art of painting designed in monochrome and contours of objects, separating images of photographs in media art into conditions of light.

It is a reproduction of the digital pond of the Minoo Media Art Museum, incorporating impressionist paintings into the concept of pop culture and designing a photo of the pond as a painting.

The form of performance as an object symbolically digitizes the actual pond of the media, but the interactive configuration appears in the non-realistic design image.

This is the meaning of the symbol interpreting the "Disappeared pond" designed as a simplification process.

The symbolic symbol hides the imitative nature of the painting composed of fish symbols, centering on some outward form of fact that it cannot be a fish due to the intervention of light.

In linguistic acts imitating pictorial symbols, the subject of imitability is revealed in the Lacan image and homogeneity.

In "Disappeared pond" the fish forms in white to distinguish light, and the pond designs lotus flowers by imitating impressionist paintings.

This dictates the meaning of symbolic action that characterizes the design, which is a repeated combination of distorted pieces of image in the course of pictorial imitation.

The meaning is symbolic language that symbolizes the image imitated. Here the image is a piece of symbolic meaning in an unrealistic space.

contemporary artist's artwork: Louis Chul-joo Choi, Bamboo Forest painting, 2020 /

Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances (painting demonstration) = Bamboo forest painting

depicting the desire of others with reversible light shades

contemporary artist's artwork: Louis Chul-joo Choi, Bamboo Forest painting, 2020 /

Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances (painting demonstration)

"The Forest of Bamboo" is a parody of existing bamboo photographs, and is an inevitable composition conscious of the exact composition and light space calculated like that of Edgar Degas.

Therefore, the "bamboo forest" is distorted by reproducing photographic images.

Therefore, take a photo to draw a different painting from the photo and make the same image as the picture.

contemporary artist's artwork: Louis Chul-joo Choi, "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do=Song

·Ha·Sun·In·Chui·Saeng·Do by Chul-joo Choi" painting, 2020 / Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances (painting demonstration)

contemporary artist's artwork: Chul-joo Choi, Media-art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do=Song·Ha·Su

In line with the scene of boat play and bathing by the river as a cartoon image, the sound is the Vivaldi's "summer" of the four seasons, giving a glimpse of the positive contemporary image.

As such, cartoon media art is carried out in a popular art way rather than in a media that reveals social problems.

In addition, in order to express the characteristics of media art, Shin Yun-bok's paintings were reconstructed to create a series of cartoon statues based on Joseon's play culture, and painting performances were performed as an art activity process.

Writing. Louis Choi Chul-joo, former head of the Department of Arts and Arts at the Minoo Media Art Museum (Contemporary Artist & Doctor of Cultural Design)

Contemporary Artist Louis Choi Chul-joo

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Contemporary Artworks Review 13

Art Critique & Contemporary Art Review 13

Contemporary artwork review [13] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Pop Art Cartoon Abstract Painting & Art Review Modern Painter Work / Contemporary art examples : Contemporary Abstract Art Artist Louis Choi Chul-joo's "morning glory" Art Review: Review of Korean Contemporary Artist Louis Choi Chul-joo's Art Works [2] / Media Artist Louis Chul-joo Choi's Individual Exhibition Painting & Media Art Video Exhibition: Contemporary artist Louis Chul-joo Choi's <Morning glory by Louis Chul-joo Choi>, 20201126-20210129, Minoo Media Art Museum

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Contemporary artist Louis Chul-joo Choi's <Morning glory by Louis Chul-joo Choi>, 20201126-20210129, Minoo Media Art Museum = Contemporary Artist Louis Choi Chul-joo Art Performance/ Contemporary Art Seongnam Exhibition - Painting Installation Performance Art Review / Contemporary Installation Artist Louis Choi Chul-joo Image Installation: Process Art Performance Louis Choi Chul-joo Painting Image Installation

Qí Báishí's Media-art: morning glory / Chul-joo Choi, Media-art: morning glory Still image(39sec)

/ Chul-joo Choi, morning glory painting

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)

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.

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.

Chul-joo Choi, morning glory e-002, a hand-painted picture on a computer, 2020

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.

(Choi Chul-joo's Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)

Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2020

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 Choi Chul-joo, former head of the Department of Arts and Arts at the Minoo Media Art Museum (Contemporary Artist & Doctor of Cultural Design)

Contemporary Artist Louis Choi Chul-joo

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Contemporary Artworks Review 14

Art Critique & Contemporary Art Review 14

Contemporary artwork review [14] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Pop Art Cartoon Abstract Painting / Contemporary art examples :Contemporary Abstract Art Artist Louis Choi Chul-joo's "morning glory" Art Review: Review of Korean Contemporary Artist Louis Choi Chul-joo's Art Works / Media Artist Louis Chul-joo Choi's Individual Exhibition Painting <Front of the Bamboo Forest> & Media Art Video <Bamboo Forest> Exhibition:

Contemporary artist Louis Chul-joo Choi's <Bamboo Forest>, 20201126-20210129, Minoo Media Art Museum

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Louis Choi Chul-joo, Abstract painting <Front of the Bamboo Forest-298> as a treacherous conceptual art structured with reversible shades of light

Abstract painting <Front of the Bamboo Forest> as a treacherous conceptual art structured with reversible shades of light.

The meaning of photographic images as abstractions is because they are symbolic image language of the desire of others, which symbolizes imitated images. Here, the symbolic language image is a semantic fragment of desire structured with the shade of reversible light in an unrealistic space.

Louis Choi Chul-joo, Media-art; Bamboo Forest, Still-image(Bamboo Forest-196)

Louis Choi Chul-joo, Abstract painting <Front of the Bamboo Forest-196> as a treacherous conceptual art structured with reversible shades of light

The meaning of the picture in <Bamboo Forest> is abstract because it is not the same as the form of bamboo because it is metaphorical like the structure of language. Therefore, in order to construct a photographic image with the desire of others, the treacherous conceptual art abstraction <In front of the bamboo forest> with a reversible shade of light is drawn to represent the actual photographic image structured into another bamboo forest.

In addition, the meaning of the abstract painting <In front of the bamboo forest> takes a virtual image drawn by the lack of a location created by himself with different media art to replace the image with photo and decorate another photographic aesthetics as an inner image of the bamboo forest's meaning.

Louis Chul-joo Choi, Media-art; Bamboo Forest, Still-image

Louis Choi Chul-joo, Media-art; Bamboo Forest, Still-image(Bamboo Forest-298)

"The Forest of Bamboo" is a parody of existing bamboo photographs, and is an inevitable composition conscious of the exact composition and light space calculated like that of Edgar Degas.

Therefore, the "bamboo forest" is distorted by reproducing photographic images.

Therefore, take a photo to draw a different painting from the photo and make the same image as the picture.

Writing. Louis Choi Chul-joo, former head of the Department of Arts and Arts at the Minoo Media Art Museum (Contemporary Artist & Doctor of Cultural Design)

Contemporary Artist Louis Choi Chul-joo

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Contemporary Artworks Review 15

Art Critique & Contemporary Art Review 15

Contemporary artwork review [15] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Pop Art Cartoon Abstract Painting / Contemporary Art Pop Art Cartoon Abstract & Art Review Modern Painter Work [15] Contemporary art examples : Contemporary Abstract Art Artist Louis Choi Chul-joo's "morning glory" Art Review: Review of Korean Contemporary Artist Louis Choi Chul-joo's Art Works / Media Artist Louis Chul-joo Choi's Individual Exhibition Painting & Media Art Video Exhibition (*Extended exhibition period 2020.12.11- 2021.1.29)

Contemporary artist Louis Chul-joo Choi's <Disappeared pond>, 20201126-20210129, Minoo Media Art Museum

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Exhibition-related painting performance: Painting 'Disappeared Pond' Demonstration1, Minoo Media Art Museum

Exhibition-related painting performance: Painting 'Disappeared Pond' Demonstration2, Minoo Media Art Museum

Painting Performance: A painting performance related to media art exhibition and exhibition from November 26, 2020 to November 27, 2020 (picture 'disappeared pond' demonstration), and a painting work produced by head of the academic research department of research at the Minoo Media Art Museum

The space of the image tailored to the pond where the other's desire has disappeared creates an image space in a separate desire sense where the margin-shaped fish connects the gaps, and the color of the image is decorated with the actual color of seasonal universality facing the fish.

contemporary artist's artwork: Louis Chul-joo Choi, Painting "Disappeared pond", 2020 /

Painting produced from November 26, 2020 to November 27, 2020 through media art exhibition and exhibition-related performances (painting demonstration)

contemporary artist's artwork: Louis Chul-joo Choi, Media-art "Disappeared pond", Still image, 2020