Art Review: Review of Korean Contemporary Artist Louis Choi Chul-joo's Art Works [3] / 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
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)
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.
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.
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.
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)
