ART REVIEW [Choi Chul-joo's Photo Review] Photographer Choi Jung-woon's <Ultimate Beautiful PARKJIHOON>, Hansae Museum, 20181027-20181028
Ultimate Beauty PARKJIHOON
The ultimate beauty is the aesthetic transformative force the subject can handle.
It is not a physical extremity but a boundary of the ultimate beauty with an aesthetic yield point.
Shape create new forms of darkness and light that create images that are not seen on objects.
However, figure of light repeats the darkness and light that create the image, creating a new shape that has not been seen on the target. This is the combination of the object and the light to show the object's actions as a form of light
Its ultimate factor is a group of factors that form beauty and coexist with a close factor that maintains its survival value so that it does not fall over the boundary. That is, the proximity factor maintains the shape of the aesthetic ultimate
Choi Jung-woon wants to take a picture that is close to the aesthetic ultimate.
The object of her beauty is a boy. The boy draws aesthetic ultimate with shapes and sounds.
Instead of a lack of sound, or an interpretation of sound, in its form, the desire of aesthetic ultimate is brought into being as an image.
Therefore, she pauses the time that the boy's aesthetic ultimate sees, hides the sound, and film as a other's desire.
However, her photo, like Sontag, captures the act of a light without the object being seen as a trace.
So, Choi Jung-woon's photo fixs to the proximity factor of an aesthetic ultimate.
It is not a photograph of a boy who has reached the limit of beauty, but an image of a boy who has created aesthetic ultimate.
It's a non-material as an image, so she replaces a photo of interpreting the behavior of a other's desire for aesthetic ultimate.
Her photo is an act of the object, an image where a chain of images intersects with an aesthetic ultimate that overlaps the desire of the other and the subject's self-image.
Therefore, she borrows an aesthetic ultimate of an object and interprets its image, but it is not equated to a physical object.
Nevertheless, she takes photographs by equating the aesthetic ultimate image with the viewers' non-material spirit.
It is completed by the effect that the object's aesthetic ultimate and the simultaneous function of the aesthetic spirit causes the figure to go back to the object's aesthetic ultimate photo.
She's photo is hiding in the object, and she's shown without hiding any images that can be filmed at aesthetic ultimate.
Here, the aesthetic ultimate behind her picture takes the eye of the viewers through the empathy of performance beauty to see the aesthetic ultimate impossible as a nonmaterial.
And she takes pictures of the drama and performance shown in the coincidence of the borderline of aesthetic ultimate. Beauty captured in the image of the boundary is not subject to but artistic value, just like a stationary sequence.
Thus, the unique framed picture of Choi Jeong-un, who appears to be a light rather than an object's perception, cannot resist aesthetics as a medium.
Choi Jung-woon tries to find the action of the object in an open space.
She clearly realizes the impropriety of an objective medium, such as a photo of a stationary person, as a picture of a moving person.
Her photo produces scenes of composition in which the image of the subject is expressed as aesthetically final. And the scene goes through a static time, leading to the dark side of the object.
She meets the demand for beautiful action like a picture that can be reached without leaving a single scene.
It is not the act of the object, but the effect of light on the object.
Thus, the object that appears to be beautiful is hidden in an unattainable dark area. In other words, objects that look beautiful are dark parts.
So her picture makes a beautiful boy who cannot be analyzed at the moment of light.
Writing. photo critic Choi Chul Joo
