Art Critic Louis Choi Chul-joo Criticism [35] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today Choi Chul-joo's Art Criticism / <Do you remember me?>; portraits are valuab

Art Critic Louis Choi Chul-joo Criticism [35] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today Choi Chul-joo's Art Criticism,  Contemporary Abstract Art Painter Criticism & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: <Do you remember me?>; portraits are valuable in the aesthetic structure of a person who sees a person as a philosophical ideal that has stopped in the place of everyday life and a series of semantic figures into paintings. The portrait must reveal the value of the portrait in the form of meaning revealed by the artist beyond philosophy by the status of the contemporary object.

 

                              Work posted on Facebook: Luis Szyfres, <Do you remember me?>

 

 

Szyfres' "Do you remember me?" 

The portrait of Marilyn Monroe is impressive in Warhol's "Double Marilyn." 

It is designed as a screenshot image of a picture, and the paint is poked out on the silk screen, showing a pop-art impression with a commercial painting that is different from the actual one.

Do you remember me? by Luis Szyfres is a painting that highlights Marilyn Monroe's classical style.

The reason why Monroe's paintings(Do you remember me?) are compared to Warhol's works is that Monroe, which he painted, is a neoclassical concept before pop art.     

 

Szyfres' "Do you remember me?" is a portrait of Monroe's neoclassical concept that takes advantage of the effect of light and the balance of form.

However, in "Do you remember me?" there is an impression that reveals the effects of color and color, but it stays in a formative portrait from the artist's point of view and does not objectify the phenomenal image known to Monroe's world. In other words, there is no solitary feeling of Monroe and the immoral impression of a famous movie star painted by Warhol. 

Nevertheless, Szyfres virtualized Monroe's paintings in an elegant aesthetic composition in a classical style,

He identifies Monroe's appearance as an object with a part of his face in the color of light and the background, so that the aesthetically virtualized Monroe's substance expresses elegance in an imitated red.

The red color creates multiple overlapping sides, which does not result in the nature of spirituality due to rational deficiency, but becomes a welcoming Monroe shape for empty space.

 

Therefore, in order to experience the formality that represents the actor's nature in rational portraits, the background of the portrait is eliminated in red and separated from the representational concept.

Here, he identifies Monroe's face and upper body as red with the background color. Red is then overlapped with the image's tailored shaded tone and the background that is monochromated with a thought margin for the reason of the tone.      

However, Monroe's lips and background are shared in the same color, so the space-defined background is non-realistic, but he expresses the subtle difference of spatial objects in the imitation of painting in white achromatic colors, making the background virtualized in another non-realistic way.

 

A portrait whose reality is obscured by white achromatic colors is brightly abstracted in a red depth as a gap in color. This is an elegant constructivism that focuses the attention of Monroe's portrait in an elegant aesthetic sense.

This consists of Monroe's elegant passion as an actor by contrasting the space with the same color as her face so that the space of the object becomes an elegant actor's expression without using symbolic props.

It appears elegant in the virtual reality that forms Monroe and the background as empty space. However, as Monroe's face approaches the photographic appearance, the image moves away from the representation. 

When the portrait image is in a space that cannot be clearly determined, that is, an empty space, the image is transferred to the viewer's thought space.     

His paintings focus on the subject as the background moves away from the photographic image.   

In this way, Szyfres gains the aesthetic value of non-realistic paintings by revealing the difference between the background and the subject in an imitative space in neoclassical painting method, separating the background of a red monotone with only one portrait and screen into a white achromatic elegant light and changing the figurative background of another space that does not exist into abstract colors.

And rather than thinking by borrowing the red of a similar portrait of reality, Monroe's portrait internally forms an abstract meaning by equating the external portrait image and abstract meaning as the same subject when the abstract depicted in the red of the portrait is arranged as an abstract space.

Therefore, the meaning as a portrait becomes a semantic representation of the image away from the photographic appearance when decorating the color of Monroe's actual meaning as an actor with a light that shines on the portrait.

The image decorated in this way is presided over by the representation of Monroe's portrait in contrast to the light of the representation.

This is the space of the background, and the space can be separated from the background only when the color is not the same as Monroe's portrait.     

 

Luis Szyfres' "Do you remember me?" is an actor who is more of a cross-sectional shape of the exterior than the philosophical ideal of Monroe's portrait.

Therefore, portraits are valuable in the aesthetic structure of a person who sees a person as a philosophical ideal that has stopped in the place of everyday life and a series of semantic figures into paintings. 

The portrait must reveal the value of the portrait in the form of meaning revealed by the artist beyond philosophy by the status of the contemporary object.

Portraits, which represent philosophical ideals, enjoy semantic phenomena and are formed as existential abstractions. This creates a semantic gap between the same image as the portrait and projects that gap as phenomenal light. And it forms the shape of a being perceived in the contemporary era with a shade of reversible light.

The portrait formed in this way seems to be a universal portrait that conveys a semantic entity to a specific shape in the shadow of existence and reversible light, and matches the aesthetic conditions and traces of meaning required for portrait from a conceptual point of view. / Writing. Art critic Louis Choi Chul-joo (Doctor of Cultural Design) 

 

Art critic Choi Chul-joo