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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 = Conceptual design Lee Kun-yong's <Body Thought>: An image as ..
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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 [27] 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/ The concept of design desire in contemporary art is embodied in Louis Choi Chul-joo's Facebook page. Accordingly, art criticism on contemporary art works = Conceptual design Lee Kun-yong's <Body Thought>: An image as a process of its course is interpreted as a conceptual thinking by projecting an image of a human body with the inevitability and similarity of the course without thinking abstractly about the object.
Therefore, when we escape the inevitable concreteness of hand action, we can approach the meaning of abstract colors without misunderstanding similar structures.
Photograph: Courtesy of Date Gallery
<Thinking of body: Rational ability of the body's mind>
The body is the image of the mind that looks like a human being.
A representative symbol of the body is to establish the standard of images by forming human figures in a certain form. The image is the way in which the body produces a collection of light reflected on the shape.
Thus, Lee Kun-yong’s <Thinking of body> embodies the actual way in which the body is dressed in light.
In that way, he paints aesthetic thoughts in the drawing process of the body, not the real shape derived from the effects of light.
Unlike the movement of the body's arms, he first found body drawing in a highly unstable chain of light that forms one physical form. This creates a thinkung pattern in which the body is combined with light and transformed into an image, changing from the state of light.
The thinking for the unvisible body follows the meaning of the visible shape.
A simultaneous function performed by a thinking here means that the image of the body appears to be the structure of physical behavior due to the retroactive effects of light.
He imitates the body with pictures and schematizes the proper function of consciousness over and over again.
The picture of his body is a linear sign that overlaps the movement of his arm in an empty space. This is seen as a sign of the body that exists in an empty space.
The more timely the body’s markings are repeated, the more reasonable the action is.
The more it is performed repeatedly by the body's performance, the more you think about the thinking.
However, one marked physical shape fixes and leaves other mental meanings than the area of the signature.
In other words, just like Descartes' two world theories when separating a body into an object and a mind, one body is an aporia, which is forced to give shape and desire reasons as the mind is equated with a cause.
For thought, he tries to communicate by drawing a sign of the social space where the body meets.
Thus, as the visible body is transformed into a thought, and the structured objective space is drawn as a picture of the body, Lee Kun-yong's painting has realistic modeling value.
This is a monochrome painting of a mind that equates the actual shape and mind of the body.
His monochromatic painting, which selects the thinking for the mind as a body, depicts a drawing repeatedly as a performance.
His drawing through the center is the standard by which things are carried out on the living path of the body.
His repeated drawings create a standard for non-material reality and portray the potential of a phenomenal body.
The body's thinking behavior uses his drawing to create and interact with his own image.
He symbolizes the framework of analysis in which he can experience the meaning of a limited phenomenon by repeating the body's drawings as the structure of the object.
This makes the body, which appears to be the last stage of drawing that can be drawn, a spirit that experiences a limited phenomenon into the interior.
That is, the spirit of experiencing the body of drawing in the last stage of drawing as a limited phenomenon makes it a self-contained entity inside.
In this way, he gives the body the meditative meaning of describing himself to the existing human spirit of the thinking environment.
And it gives the body an intermediate meaning that describes the shape that belongs to the existing human mind of the thinking environment.
Therefore, Lee Kun-yong's drawing takes into account the image of the body that is not separated from the thinking.
His ideas about the body capture the current meaning by portraying images of various forms of universal human behavior and unrealistic beings unrelated to what appears to be.
Draw a monochromatic surface of light that intersects with the same brightness as the body's appearance to create an thinking structure that expresses the lost prototype of the body.
It is the presence of monochromatic light that surrounds the body in a single color intertwined with a short time of light that makes it aware of changes in the body's relationship structure and appearance. Thus, short-time light, which causes the body to recognize changes in appearance, forms the structure of the relationship of presence with the appearance surrounding the body.
Lee Kun-yong draws an external structure of the body that does not exist on the surface of the light present in an empty space.
He paints by dividing meaning into the light of the body's picture to replace the body as an visible light that reveals the thoughts he has on his body.
The structure of drawing in the space is a phenomenon that appears to be the unconscious thinking of the body.
As a medium to the outside world, which is the margin in which one action is drawn, he thought of common behavior without separating the empty space one by one and responding to certain rules felt by the body.
His paintings, therefore, refer to the meaning of drawing drawn on the body by determining the restrictive behavior of the physical body.
However, he visits Drawing's place where physical behavior and thoughts are scheduled at the same time, as the body painted cannot be considered in the shape of the image being exposed.
Like Eco, he tries to find a valid point of view of aesthetic value in drawing.
Thus, by dividing meaning into drawing as a sign that directs one body, it forms the symbolic system of drawing as an original arrangement of drawing to achieve the open meaning and represent the phenomenal aesthetic value.
And by making the difference in repeated drawing stand out, the body drawing is shown combining the meanings divided by the drawing into one thinking.
He paints the structure of abstraction according to the inevitability of action.
The hand's behavior that appears in the shadow of the human body is a non-image structure, and even if the object is drawn as an abstract intentional activity, it is precipitated in a figure structure that remains in the hand's behavior and becomes a figure that is a realistic action.
This is because the composition of the picture is similar to an image as a combination of the state of light reflected on the object and the direction of the artist's gaze.
The act of hand movement is a sign of action
An image as a process of its course is interpreted as a conceptual thinking by projecting an image of a human body with the inevitability and similarity of the course without thinking abstractly about the object.
Therefore, when we escape the inevitable concreteness of hand action, we can approach the meaning of abstract colors without misunderstanding similar structures./ Writing. Chul-joo Choi, an art critic (Doctor of Cultural Design)
