Art Critic Louis Choi Chul-joo Criticism [40] 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:

Art Critic Louis Choi Chul-joo Criticism [40] 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 Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: <Na Hye-sok's feminist painting "Suwon Hwaseongmun">:  Because pictures are metaphorical like language structures, the form and image of images are not the same, so reality is a practical semantic structure with different forms and images. By revealing the reality of "Suwon Hwaseong Gate", it represents a space of practical meaning as a non-representation on the back of society and objects, and in the sense of form and reality revealed in society, it reproduces the manneristic social image of a contemporary female bridle, showing the reality of "a woman holding a laundry in her head with a hand and holding a child with a different hand." 

 

Na Hye-sok, Suwon Hwaseong-mun, canvases on canvas 60.5x72.7 cm, 1929. [Source: Korea Data Promotion Agency]

 

Literature Review/ Literature Critic Choi Chul-joo Art Literature review: Penimist Painting from an Ideological Perspective/ Choi Chul-joo Literary Art Criticism - Na Hye-seok's <Suwon Hwaseong Gate, Hwahong Gate> - Na Hye-seok Academic Conference, 23rd Na Hye-seok's Get to know right away Symposium (Online, April 25, 2020)

 

visionary feminism

 

Suwon Hwaseong Gate emphasizes the geometric dimensions by putting objects on the canvas, but the more they focus on ideological gaze, the more they approach the contemporary social structure system.

 

is a perspective visual system that focuses on the flatness of by drawing vertical trees on the left and right sides of the painting and exposing the boundaries of the canvas. This imprints flatness as another reality in the illusionary picture of perspective. And it actually reveals the "woman's bondage" as a meaning that has shifted ideologically and actually away from the contemporary mannerist image, which is a symbol as an invisible reality. It is a contemporary laundry site, which is the actual meaning of Honghwa Gate as a geometric image in "Suwon Hwaseong Gate", which means that the social status of men in a patriarchal institutional society is inappropriate. Here, a woman and a child express the duality of "Suwon Hwaseongmun" as the cause of her feminist desire by recalling a woman's bond.

 

The duality of "Suwon Hwaseong Gate" features a woman going to wash clothes in the geometric "Suwon Hwaseong Gate" to express the duality of a concealed object that reveals the real situation of the woman and the dualism of the woman's bridle. The object's expression method omits the three-dimensional effect of women, children, and Hwahongmun, leading them to approach the actual meaning separated from the image contained on the canvas. She transforms "Suwon Hwaseong Gate" into a system of signs on symbolic representations, breaking away from the perspective perspective visual system and recognizing that the bond of contemporary women is just a picture. This shows an absurd practical representation of social mannerism by depicting the meaning of "Suwon Hwaseong Gate" as a reality on a flattened canvas. In addition, "Suwon Hwaseong Gate" is not a real geometric image, but a non-real system reproduced in a symbolic sense containing the bonds of contemporary women. In this way, Na Hye-seok approaches with the spirit of geometric reality and reveals feminism.

 

As another reality of Suwon Hwaseong Gate, she demonstrates feminism by recreating the manneristic social image of women's relationships along with the dual representation of the geometric reality revealed in society. 

 

Abstractionism in is a symbolic image concealed by the desires of others and is the subject of the object. The subject of the object concealed by the distorted image constitutes the shape of the concept of desire in terms of desire. This is an existential symbolic image that expresses the existential meaning of feminism in the cognitive system. In other words, another reality separated from the reality of Suwon Hwaseong Gate is not to reproduce the object of expression in the meaning of the image, but to express the concept of feminism existing in the image as a new subject in the actual object.

 

In , the actual image is used as an example of revealing the existence of the image as the subject of an object that reveals the hidden desires of others. This is because the subject of a hidden object existing in virtual reality is recognized as the meaning of an existential image formed by the desire of others. This is a cognitive system that connects the perspective image of and the discussion of feminism in virtual reality. Na Hye-seok's feminism is the subject of objects concealed in the , which exists as a symbol image hidden in the desires of others in the cognitive system.

 

This is a visionary feminist like George Sand. 

 

Na Hye-seok is a woman who developed visionary feminism in Korea at a time when women's political participation was central in 19th-century France, a romantic era in Korea in the 20th century during the Japanese occupation.

 

The Euclidean formulation structure, consisting of the Euclidean formulation principle in which parallel lines do not intersect, is a picture that applies a perspective view of the virtual reality space from a visual point of view and expresses a different shape from the phenomenon (現象) of modern paintings.

 

Na Hye-seok's feministization is a conceptualization that does not accept non-real aspects like the parallel line of Euclidean. Feminism and practicality are inconsistent through concealment in the form of invisible reality that leads from reality to non-realism. When women in non-realization become a reality, there are no Japanese colonial era women reflected in the phenomenon, and the reality of women and children in the picture disappears. The reality that her feminism reflected at the same time seems to be a woman who has transferred from symbol to reality is a dual semantic structure in which symbolism is realized. At this time, the woman in the painting loses the symbolism of the contemporary space that existed, and the woman realized in symbolism as a meaning becomes a figure in which the feminism of women has disappeared as a meaning of the reality of the space that existed.

 

Trying to reveal physical reality as a three-dimensional space in a painting is a real reality that allows you to stare at the woman in the painting. Her feminism as a real reality stems from the Japanese occupation as a clear physical structure with a physical aspect of a dual semantic structure in the appearance of the Hwahongmun, a woman and a child. 

 

Picasso painted women from multiple perspectives on one side and two sides at the same time, but her "Hwaseong Gate" doesn't show objects trying to feel realistic, it shows the submissive structure behind the actual structure of women's bonds during the Japanese colonial era. In particular, by removing ambivalence from the physical structure and clarifying the semantic structure to show an interpretation of feminism, we paradoxically suggest whether it is appropriate for women of the time to obey at the same time.

 

In order to structure the image of Suwon Hwaseong Gate flatly and express the bond of women in the Japanese occupation without the air of life, the woman in the laundry put realistic sounds like modern women into the virtual three-dimensional structure of Suwon Hwaseong Gate and the air of feminism. As such, Na Hye-seok aggregates what is perceived as reality into a three-dimensional semantic structure rather than a representation of women. This is to analyze objects with non-realistic semantic structures and see the form of visual representation that expresses objects and objects as representations of cognitive semantic structures in different meanings. In , the woman in the painting is another unrealistic image that reveals the meaning of reality as Na Hye-seok's realistic image as a semantic structure separate from the actual image.

 

In an unrealistic sense, the female image of Suwon Hwaseongmun hides the image of women's bond from the overall perspective of Suwon Hwaseongmun, transforms feminists into feminist desires, and holds hands with contemporary female images, but the reality has a conceptual meaning of suppressing oneself from an unrealistic and feminist perspective.

 

This is the image of Suwon Hwaseong Gate, where her feminism has transferred from a real phenomenon to a concept, and because the image is phenomenal, it is recognized that it is different from the real image through comparison with the real image At this time, the image makes us realize the reality that appears to be real, that is, the meaning of desire feminism separated from the bondage of women.

 

Starting from pictorial representation, Na Hye-seok's feminism forms another unrealistic meaning separated from the real image through the introduction of a new feminist concept that deviates from the real image. 

 

In , women and Hwahongmun are visual structures that can be recognized in the Euclidean visual system, while the tree arrangement on the left and right contrasts with the non-realistic frame. Here, the perspective is that Hwahongmun is the social status of men in a patriarchal institutional society, and women and children are reminiscent of the bonds of contemporary women, which is the cause of her feminist desire and expresses the duality of objects. 

 

In "Suwon Hwaseongmun", the woman in the work expresses the duality of contemporary reality phenomena and objects with women's bonds in a duality.

 

Like the dualism of Baudelaire literary art that influenced contemporary artists, Na Hye-seok variably expresses the modern situation and the bond between women at Suwon Hwaseong Gate, while a woman doing modern laundry appears at Suwon Hwaseong Gate, revealing the real situation of women and enhancing the bond with double elements. 

 

In "Suwon Hwaseongmun", she shows an absurd and practical representation of social mannerism. It is not a visual image of reality, but an unrealistic picture that reproduces an image as reality in a flat painting space. Here, the female image is a symbolic image of the bondage of contemporary women. In other words, it reveals feminism by approaching it with the will of reality. Seeing this as a symbolic image of reality, Na Hye-seok recreated an unrealistic picture with the intention of revealing feminism and a variable element of art.

 

The boundary of the canvas is the boundary of the schematic city area, but she said in "Suwon Hwaseongmun" that the planar imagery of characters and trees reveals the boundary of the canvas, expressing the invisible "women's bond" in the painting technique of "Suwon Hwaseongmun" as an invisible reality that deviates from contemporary mannerism, which is actually a symbol, and through this, semantic feminism was drawn from her perspective. This means feminism that gives the impression of a flat canvas as another reality in perspective illusion. 

 

According to the expression method of "Suwon Hwaseongmun", the three-dimensional effect of women, children, and Hwahongmun was omitted and the color was drawn in a simplified color, so the image contained in the canvas was recognized as a practical meaning effect separated from subordinate reality.

 

 The surface is expressed monotonously like type without focusing on perspective description. This removes the relational description of the real and the representation of the real that existed in the perspective space. In other words, it is converted into a system of symbols and symbols. In , the image deviates from the perspective visual system, that is, the Quattrocento styles. The margins and objects are also characters and backgrounds that deviate from the real image. In this way, she planarizes the illusionary image of the painting to approach the perception that women's bonds are nothing but paintings.

 

Suwon Hwaseong Gate has increased the bond between contemporary women as images of women in the painting by arranging women, children, and gates horizontally to reduce visibility and minimize the level of materiality by separating women and children's colors from the shade. 

 

Because pictures are metaphorical like language structures, the form and image of images are not the same, so reality is a practical semantic structure with different forms and images. By revealing the reality of "Suwon Hwaseong Gate", it represents a space of practical meaning as a non-representation on the back of society and objects, and in the sense of form and reality revealed in society, it reproduces the manneristic social image of a contemporary female bridle, showing the reality of "a woman holding a laundry in her head with a hand and holding a child with a different hand." /Writing. Literature critic Choi Chul-joo (Ph.D. in Cultural Design)

 

Art critic Louis Choi Chuljoo