Choi Chul-joo Curator Modern Art Exhibition Plan [2] Former Seoul Museum of Art, Busan Museum of Art, Hansae Museum, Minoo Media Art Museum Curator Choi Chul-joo's Contemporary Art Exhibition & Contemporary Art Performance Works Curator: Curator Choi Chul

Choi Chul-joo Curator Modern Art Exhibition Plan [2] Former Seoul Museum of Art, Busan Museum of Art, Hansae Museum, Minoo Media Art Museum Curator Choi Chul-joo's Contemporary Art Exhibition & Contemporary Art Performance Works Curator: Curator Choi Chul-joo's Print Criticism: A Colagraph and Picture-like Print by Kwak Tae-im that imitates Cézanne's real existence, 20180326-20180401 Hansae Museum

Exhibit Planning: Choi Cheol-joo, curator of Hansae Museum, "An Engraving that Imitates the Existence of Cézanne," 20180326-20180401 Hansae Museum

 

An Engraving that Imitates the Existence of Cézanne, 20180326-20180401 Hansae Museum

 

 

An Engraving that Imitates the Existence of Cézanne 

Kwak Tae-im uses a collagraphy to approach the formative density and stops the accumulated time of the color.

Her collagraphy visualizes the imaginary image with a collage.

This is more than a painting's impractical visual image.

And as a nonmaterial imagination, it produces a symbolic form of field of the gaze

It is the natural imagination that creates a symbolic form of the area of the eye.

She intervenes in the arrangement and inking of objects as a plate to make colors identical to those of material objects.

It is the basis color of the object left in a symbolic form.

In the form of consciousness that has continued over time, Kwak Tae-im creates a linear structure that produces non-linear marks that are not experienced as a sensitive color that does not conform to the form.   

By choosing the form of the line, she erases the angular density of the object and the positive mass formed at the visual point.

The object here is a partial image like a collage.

It real exists as an abstract form of a real in which one or several partial images are revealed at the same time.  

She tries to construct the structural density of time to form a symbolic relationship between the stained surfaces of color and the object of action.

She creates a stationary space by transferring the selected object to the color of the imagination.

And like Goethe, she is aware of the realities of nature, and she is actually aware of the phenomena that are brought to her by that perception.

It is the process of Kwak Tae-im's engravings, to visualize the object as it symbolic representation of perception in her real of the object's imagination as it is.  

Symbolic shapes as imaginary may be accompanied by the limit of the time it takes to capture the temporary imagination.

Therefore, she is express from time to form a object withsensibility imagination to express the spatial characteristics that are stationary in time.

It looks like a picture reconstructed from a real point in time as the target is treated with a collage.

Her engravings therefore appears to be a real sensibility.

Her engravings, however, reveal an unglazed side to returning from the  imagined sensibility to the non-realistic.

This is because the non-identifical image appears to be a visible image that regenerates the target, not a pictorial image depicting the actual image.

So she tries to find reality in the form of an imaginary form that is similar to the object.  

Her engravings produce geometric shapes in a new abstract spatial structure that differs from the perspective of the space.

From multiple imaginary points of view, she overlays one or more objects on the  same screen at several imaginative times.

These overlapping objects are abstract spaces she wants to imagine.

 

20180326-20180401 Hansae Museum

 

Cézanne acknowledges the object of nature in its geometric form to grasp its real existence.

And he creates a space of impressions that face the colors of the target.

However, Kwak Tae-im's engravings, which are made up of fragments, are lost in imaginary spaces.

And as she divides the fragmented sides of the object, she disarms the lump and creates a form as a geometric structure, so space is abstract.

As the object she is imagining loses its form, the screen becomes a compositional image and the geometric sides of objects with different viewing points are simultaneously place in juxtaposition.

It is Kwak Tae-im's engravings technique to create a style of abstract painting by applying imaginary geometric forms to the exterior of the object

  

She abstracts the meaning of the broken object's exterior into a picture of the color of her imagination.

This causes her to freeze the action of the object by painting out the background of the picture in one color.

And it makes meaningless objects that stop in space a object of abstract meaning. 

Thus, when she associates the semantic and pictorial structure with the relationship between the broken object and the abstract space, she can bring the hidden aesthetic value of the broken object  into the place of the object.

  

Still, she makes a part of the object into a real form of a imaginary shape, and then paint the shape into a structure of an abstract shape .

This constitutes the object's image as a collage of the form shown in her imaginative desire, but the object's original image is a  imaginary image.

  

However, she tries to visualize the abstract real meaning of her imagination on the object's virtual image.

Thus, she uses painting techniques using multiple media simultaneously in <Red Car >to create the structure of the abstract image, which is revealed by the desire of the aesthetic painting as a imagination in the abstract visual structure.

As a result of this process, her engravings have a meaning for aesthetic painting.

  

Her imaginative painting image is uninterpretable by the perspective system.

Here, if the images of a object she has imagined are real, the imaginary image is virtual, but as she reveals the person's imaginative desires of the engravings, the realistic drawing image is hidden under the object.

This brings out the relationship between the structure in which she presents the abstract versus the imaginary image as a  object.

And the inconceivable semantic effect of the abstract image is on the imagined real meaning.

What is unthinkable here is not the imaginary abstract but the hidden abstract element of the engravings covering the unconscious imagination.

 

 

She therefore equates parts of the abstraction with imaginary objects, representing the figurative meanings of the object as images of the abstract engraving.

A part of abstract is a shape represented by a colored imaginary image. It is space oriented so that the whole abstract is recognized unconsciously.

Here, a part of a abstract is recognized as another one that is separated from imagination. That is, another real that is separate from abstraction.

The real she is imagining provides a frame of abstract engravings that seems to be implicit in her unconsciousness. And it is the imaginary engravings in which abstract forms occur.

The phenomenon of her engraving space, which creates images from her imagination, is a fragmented panel that deviates from the position of the abstract meaning.

It is a panel in which the color of the impression is matched with the abstract meaning of the imagination, showing a new sense of relationship.

  

She abstracts impressive shapes into images that are shown in the imaginary colors and the unconscious of the impression.

Here, the metaphor of the everyday object becomes an impressive abstraction as the symbolic identification of the real object.

  

So,as her imagination becomes an impressive color as a form of impossible impressive abstract form that can not be embodied, she hides the real in the object's impression in a meaningful color structure.  / Writing. Choi Chul-joo, former curator of the Hansae Museum (Doctor of Cultural Design)

Curator Choi Chul-joo