Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [26] Art Review News- Reading New Works: Modern Art Painting De..

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [26] Contemporary Artwork Critic Louis Choi's art criticism: Contemporary artist review: Contemporary Art Critic Louis Choi Chul-joo's Art criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism: Art Review News- Reading New Works: Modern Art Painting Design/ In contemporary art, the concept of design desire is embodied in Lee Ji-A's Facebook "Summer Valley" with a conceptual semantic structure as a realistic structure: The image is identified with a shaded structure similar to that of summer, so the sky blue rock forms an aesthetic structure as the inner subject of summer.

However, the symbolic structure of the valley hides the real of the object in the shadow of summer. Therefore, after drawing the shadow selected as the shadow structure of the object without covering the object's structure with shadows, Lee Ji-A can capture the gaze that appears to be a connection to the summer valley when drawing the shadow selected as the object's structure.

 

                                                                          Lee JiA, Summer Valley, Watercolor painting, 2021

 

 

Summer Valley  

Trees and rocks, which have a great influence of light, save the static scene by erasing the shadow area of the assimilated sky under the deep-textured water surface.

Therefore, Lee Ji-A's painting moves the object to the sides of light so that the shape can be understood.

The meaning of the color surface is that the images lined up in the valley in the temporality of summer form the shape of temporality as the subject.

The shape represents the theme of summer when the water surface is controlled by the texture of the surface valley in contrast to the color of the tree according to temporality.

The water surface and rock are fixed to the side of light to balance the colors of the valley and summer.

However, hidden shadows in the summer light area cannot be captured, so they are abstracted into the water surface by a different side of light from the actual color of light.

Here, she identifies the location of the object and the viewer with the color of the light she chooses and realizes it.

The place points to the repeated sounds of trees as the color of light.

The color of light reveals the hidden image of summer in the valley, allowing you to see the summer valley.

In addition, trees and rocks are simplified into their colors, making the visible landscape more emotional and reflecting on the spatial aspects of objects.    

The landscape induces the recognition of the valley hidden in temporality, illuminating the value of life with the same semantic structure as the structure of nature.

The selection of a brush that encompasses the range of light does not deviate from the structure of the form, but the range contains the beginning and the end, forming a composition that divides the entire picture. It does not contain an area that deviates from the range and is bounded by the margin of an empty space.     

Lee Ji-A's choice only shows that the object and light are continuous, but the structure of the shadow cannot be read within the range of the choice, and represents the structure of the shadow by the color of the boundary.

Through the semantic structure that reveals the summer valley, tree forests and rocks attract attention on the surface of the water so that you can feel realistic.     

The realistic form is seen as a monochromatic color of the shade, so the object only attracts the gaze with the reflective color of the shade hidden in the form rather than the surface quality.

The hidden shadow structure continues to draw attention, hiding the connection to the summer valley in the shadow.

This is because it is a shadow that cannot outline an object in the shade with the light from above.

Therefore, the gaze of the shadow structure hides the relationship with the summer valley in the shadow.

Hidden shadow images are contrasting lights illuminated by places in the shade of colors, and when they approach objects according to their images and concepts, the images become abstract.     

The conceptual abstract image that can distinguish the place of the shape envisions a dual-meaning structural image that structures the shape of the summer valley. The image is identified with a shaded structure similar to that of summer, so the sky blue rock forms an aesthetic structure as the inner subject of summer.

However, the symbolic structure of the valley hides the real of the object in the shadow of summer.

 

Therefore, after drawing the shadow selected as the shadow structure of the object without covering the object's structure with shadows, Lee Ji-A can capture the gaze that appears to be a connection to the summer valley when drawing the shadow selected as the object's structure./ Choi Chul-joo (Doctor of Cultural Design), an art critic.  

 

Choi Chul-joo, an art critic