Review of Contemporary Artist
Art Critic Choi Chuljoo At Criticism 14
Contemporary Art Criticism [14] Contemporary Art Critic Louis Choi Chul-joo Design of Contemporary Art : Desire Conceptual Abstract Art Design & Art Critic Louis Choi Chul-joo Abstract Art Theory of Concept Abstract Painting, Concept Abstract Art Installation & Contemporary Artist Louis Choi Chul-joo Abstract Art Design Criticism: Art Review: Contemporary artist & Media Artist Chul-joo Choi's Individual Exhibition Media Art Video Exhibition: <Morning glory by Louis>, <Disappeared pond>, <Bamboo Forest>, <"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do"=“Song·Ha·Sun·In·-Chui·Saeng·Do” by Louis Chul-joo Choi>, 20201126-20201210, Minoo Media Art Museum
Conceptualization of Desire: Conceptualization of Desire Art is a visualization of progress and results as objects of imagination and existence, facing artistic ideas and portraying the desires of others as objects of imagination and existence. Louis Choi Chuljoo's Conceptual Abstract Art faces artistic ideas and visualizes progressive phenomena and consequences as objects of Desire's imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 Louis Choi Chul-joo' theory of abstract art)
Shape image as a conceptual semantic structure: It refers to another image of the background of a real concept that represents a real morning glory by repeating the color of the shadow on the object image of desire, and it is the object of the concept of desire that depicts the shadow structure created from non-real images with reversible light.
The object is abstraction as a contemporary desire concept artwork, which is repeated by symbolizing and overlapping the desires of others with reversible shades of light in "morning glory" the background design concept of contemporary desire concept artwork.
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.
(Louis' 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.
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.
(Louis' Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)
Louis Chul-joo Choi’s morning glory 108 - poster image
Realistic structures are reflected in the shape of shadow colors by light. It's the contours and shadows that are determined by the reversible shades of light that reveal that shape. This is the concept of desire, the art of realistic abstraction, which actually forms an abstract image of the concept of desire.
Louis Chul-joo Choi, "The morning glory-Still image
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.
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.
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.
Louis Choi Chul-joo, 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 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.
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, 2020
Media art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is a cartoon image of a cartoonist Louis Choi Chul-joo, 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 Chul-joo Choi, head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Contemporary artist & media art painter)
Contemporary Art Critic Choi Chul-joo
media art morning glory by Louis Chul-joo Choi :
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.
