Art Review: Media Art's Qí Báishí's "morning glory" and Media Art's Thread Painting; Chul-joo Choi’s "morning glory", 2020.8.21.
Qí Báishí's Media-art "morning glory", Still image(1, 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 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 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 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-1, -4, -7, -15, -25, -35, -45, -55, -65, -75, -85, -95, -105, -108: a hand-painted picture on a computer)
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 was drawn with thread and paint.
開閉(Opening and closing), No.10 on canvas, ink stick, paintings and cotton thread, 1981.
* Busan National University of Education's collection (20190501-20190515, Exhibition of Hansae Gallery)
In Kim Hong-seok's art review, art critic 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 discolored 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.
Thread Painting; is an image drawn on a cloth-like material of an object made by custom. 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.
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, 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: 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, 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.
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, which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space.
Writing. Chul-joo Choi, head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Art critic)
