Contemporary Art and Concept Abstraction [26] Contemporary Artist Louis Choi Chul-joo Desire Conceptual Abstraction & Desire Concept Image Installation Contemporary Art Abstraction Review: contemporary artist Louis Choi Chuljoo "morning glory" & thread pa

Contemporary Art and Concept Abstraction [26] Contemporary Artist Louis Choi Chul-joo Desire Conceptual Abstraction & Desire Concept Image Installation Contemporary Art Abstraction Review: contemporary artist Louis Choi Chuljoo "morning glory" & thread painting: morning glory B-06. 20201126-20201210, Minoo Media Art Museum

 

Louis Chuljoo, Thread Painting: morning glory 2020-b , 135X156cm, acrylic and composite materials on cloth, 2020  

 

morning glory B-00-2-2

Art Review: Media Art's Qí Báishí's "morning glory" and Media Art's Thread Painting; Contemporary artist Louis Chul-joo Choi’s "morning glory", 2020, Museum of Minoo media art museum

Qí Báishí's Media-art "morning glory", Still image(4, 10, 23, 30, 39sec), Collection of Minoo Media Art Museum,

 

Qí Báishí's "morning glory" is a simple, linear form that aligns the bright shade of light with the leaves and stems. He collects aesthetic results that affect humans so that the morning glory does not deviate from its actual shape. His paintings, "morning glory" consists of the effect of ink-and-washy tea, which sets flowers straight to the top of the stem. He gives a humorous touch to the difference in brightness, allowing the morning glory to be distinguished as a living object. He added the movements of the flowers in an anomalous way to his painting of the morning glory. His painting of the morning glory is arranged with leaves, and the stem forms the entire composition. He equates the leaves and stems with the appearance of the morning glory tailored to the flowers, thus establishing a position that humans can understand. The joint of the stem falls into black ink and the stem connected to it is thin and cloudy, and overlaps with the space as an impression effect of black ink with no boundary line with the morning glory. And the shape of the leaves drawn by the difference in brightness of black ink is shaped and structured so that humans can rely on the shape of the morning glory.

 

Media art at the Minoo Media Art Museum has cast doubt on the production process by showing the process of dismantling and combining the completed works. Accordingly, Chul-joo Choi, a doctor of design at the Museum of Minoo media art museum redesigned the media art work and its image in the process of creating media art. Chul-joo Choi's media art <the morning glory> designs the place of flowers and sets the place of leaves and stems that depend on the shape of the flowers. Unlike the media art Qí Báishí's <the morning glory> which shows the process of painting flowers in the structure of stems and leaves in the entire image, the media art that designed the rest of the structure, starting with the flower of the morning glory is <the morning glory> by Chul-joo Choi, a doctor of design. He designs a flower that relies on a set being as a coincidence that black ink spreads. This is realised in the media art form of a computer and painting without the perspective of space.

 

Chul-joo Choi, Media-art; morning glory, Still-image (morning glory-4, -7, -15, -25, -35, -65, -75, -85, -95, -105) 

 

abstract contemporary artist Louis Choi Chuljoo "morning glory", 2020. 

In the process of producing the original media art, which is mechanically reproduced here, the picture format is thread painting. This painting embroidery the volume of light in the process of facing objects and ideally depicts the shadow of objects. It is a linear art that emphasizes "one line" in a new painting process combining oriental embroidery and ink painting. In other words, the image of the line, which was stopped during the process of drawing the media art <morning glory> was drawn with thread and paint. 

 

In Kim Hong-seok's <Open and Closed> art review, art critic Louis Chul-joo Choi said the definition of a thread painting is "a trace of paint and yarn equivalent to the time remaining in the fabric, and it is exposed parts and margins." 

Also, the structure of the shape was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things.” 

and the aesthetic value was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things. The color of the shape reveals a hidden aesthetic value by giving time, not by marking, but by being considered the structure of the discoloured body.” in Thread Painting. 

This is different from the aesthetics of M-Duchamp conceptual art that does not decorate materials. 

 

Thread painting is a form of self-consciousness that has been implemented before realizing how things are perceived. The color of the shape does not indicate the distance of time, but shows the hidden aesthetic value as seen by the faded original formative structure. And beyond the literary character of conceptual art, it raises the formalities as a painting, paints the colors left behind, and ties them together with threads in a new formative structure. 

Construct a shape in which the color of the linear structure exists so that the shape as a knot that hides the color by inserting the structure of the color into the thread so that it can adapt to a particular color.

Therefore, "Thread Painting" is a painting of yarn and paint on a cloth seeking linear aesthetics that denies the excessive literary nature of conceptual art.

 

Qí Báishí's Media-art/  morning glory, Still image(39sec)/ Chul-joo Choi, Media-art: morning glory,

 

 

Thread Painting; <the morning glory> is an image drawn on a cloth-like material of an object made by custom. <the morning glory> is a method of drawing an image that is reversed from left to right by constructing a shape that looks like an image of the Lacan's objet on a cloth-like material. 

Therefore, his painting is a two-sided painting that does not distinguish the front and the back. To represent an image in terms of practical and cursory features to suit the subject. Here, painting as a object of change in customs is another image that appears to be a object. It disappears as a substance of a subject that is hidden and drawn in small pieces invisible from space. 

 

A small object shows a space that can actually be reversed through the shape's thought movement. This refers to the meaning of a shape in which, a small object defines a space that can actually be reversible and refers to the meaning of a feature that is obscured by the actual changed movement of the feature. 

 

Louis Chul-joo Choi, Media Art: morning glory, a hand-painted picture on a computer, 
20201126-20201210, Minoo Media Art Museum

 

It is the color of light and the shape of a material such as cloth, and the inevitability of an impressionable space determines the position of a object. And by stopping the light and the object of the place, it forms a structure of conventional painting. This is a space where you can stay with the inevitability of a stopped structure. Thus, the meaning of the actual structure of the picture where the shape has stopped is formed by the reverse idea movement. Its conscious meaning as a structure is just a small piece of space that finds its place properties of matter. This small piece coexists as a properties of matter in numerous spaces when it is a similar object. The position is inserted into several spaces by the meaning of the thought movement, where one phenomenon and other meanings intersect. This is a thread painting, <the morning glory> which was created by repeating another space as an thought movement in the space of positioning. 

 

The space here disappears and the morning glory turns into the color of light.

 

However, as a painting's meaning effect, it chooses a painting as the color of light on a fabric-like material or thread that has disappeared from the past space. Here, the painting distorts the image by changing the light into a line within a space that connects the surface of the morning glory with light.

 

Therefore, since the composition of the invisible preceding space cannot draw flowers, the beginning screen of the Media Art: <Qí Báishí, the morning glory> of Minoo Media Art Museum distinguishes the leading space by sketching stems and leaves and drawing flowers because the intro space is not the actual structure. Thread painting is a thread that depicts the shape of light that distinguishes objects in stationary media art. This is a thread painting limited to fabric in an empty space and the more you limit the habitual object to the shape, the more empty the space becomes, rather than the actual place, so it decorates the inner surface of the hidden cloth to find the meaning of the space as a small piece of artistic shape. As such, <the morning glory> is painted on cloth-like materials, forming an abstract spot with the inevitable spatiality of the object, thus gaining aesthetic value as a real habitual painting art. 

 

Louis Choi Chuljoo, thread painting <morning glory>, 135X156cm, acrylic and composite materials on cloth, 20201126-20201210, Minoo Media Art Museum

 

Louis Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting  

* The production process of thread painting designs an object that relies on a momentary coincidence, a presence determined by the smudging of a brush at a set object. This realizes media art and painting in the descriptionless space of the atmosphere. 

Thread painting is a desire form drawn as a gaze of another person in the process of producing the mechanically reproduced original media art.

 

* Thread painting (Definition): Thread painting is a form in which images created by media art <morning glory> can be drawn (additional embroidered) on the shape of an overlapping cloth whose back space is illuminated by hand painting. In other words, it is a picture of a shape shaded in crossing thread and a painting with reflective light in a small hole in the cloth.

 

* The symbolic meaning of media art "morning glory" in thread painting is that the color of its meaning decorates the reality of the custom universality facing the object with the color of light. The dark blank space contrasted with the light of this decorated shape is a shadow created by traces. Here, color as an actual object is a monolithic image of an educated custom that appears to be a gaze. This is a symbolic language that symbolizes a flower that is imitated. Here, the 'morning glory' image is a piece of meaning symbolized in a non-real space as a result of the desire meaning.

 

Louis Choi Chuljoo, thread painting: morning glory 2020-b, 135X156cm, acrylic and composite materials on cloth

 

  

 

 Media art and painting without description of the perspective structure of the atmosphere are realized through thread painting. Here, in the process of producing the original media art that is mechanically reproduced by perspective description, the form drawn by the other's desireful gaze is thread painting "morning glory B-00-2-1". 

The image as a result of the performance of thread painting is <morning glory B-00-2-2> in the form of a painting cloth that is reflected on the back by manually painting the generated image of action painting to Process Art. In other words, Choi Chul-joo's <morning glory B-00-2> was an action painting with an object of desire concept and a desire cencept image of desire cencept's <morning glory> exhibition on December 22, 2021 at Gwangan Gallery as a performance of contemporary image installation artist and contemporary art artist Choi Chul-joo.

 

  Louis Choi Chuljoo, thread painting: morning glory 2020-b → morning glory B-00-2-2

 

 The image and color of thread painting in that form show the aesthetic value of the other's desire structure in a hidden shape by forming an imaginary formative structure of a faded desire without marking it by giving a distance of time. 

This is a conceptual art based on Choi Chul-joo's desire concept abstract art theory, and the formality as a painting beyond literature was drawn in the structure of thread painting as a new formulation by drawing the image of desire left after the emergence of the concept of desire. It is a picture that reconstructs the formulation in which the concept of desire exists with a linear structure so that the formulation can be adjusted to a specific color like a knot blocking the color by putting the structure of the color into the thread. 

Therefore, the concept of "Thread Painting" in which the structure of the thread is added as a color is painted on the structure of color in the concept of cloth and desire that pursues linear aesthetics as artistry of desire. 

 

Thread painting 'morning glory B-00-2-2' is an image of the desire of the other painted on a cloth-like material against the background of the desire of the chick to convey the custom of seeing it as an infant in Choi Chul-ju's concept of desire.

 

 Louis Choi Chuljoo, thread painting: morning glory B-00-2-2 → morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth

 

 In "morning glory B-00-2-2", a shape in which an object is seen, such as a desire image, is composed of a material such as fabric to generate an image in which the left and right sides are reversed. Therefore, his picture is a two-sided picture that does not distinguish between the front and the back. Here, a new picture emerges when the image on the back is converted to the front. This is a thread painting in which the image of a desire object that appears to be reversible light that rejects the center of the image of desire, which omits the volume of the chicken and replaces the reality that rejects perspective description. 

The back of "morning glory B-00-2-2", "morning glory 2022-c", is a painting that has actually transformed into a system of notation for semantic representation. The painting reduces the planar dimensionality of "morning glory B-00-2-2" to the essence of meaning. This is a dual object that simultaneously shows everyday livestock and a family in a symbolic sense through chickens and chicks. The shape of the picture emerges the aesthetic meaning of the image of a desire structure that realistically depicts the concept of desire in the visual system in the thread painting where the image is installed.

This is a pictorial desire act that defines the object in perspective as a limited area, and produces the meaning of actualizing the back of thread painting by drawing the structure of distorted desire in the original space on the canvas.

 

 

The image of the shape of the object is created by embroidery, and the image of the cloth is expanded to embroidery, or the shape of the embroidery is transformed to widen the position of the cloth by flat painting. 

This is conceptual image installation artist Choi Chul-joo's painting. As an installation of images, it is realized in flat painting without adding embroidery in media art and painting without description of the atmosphere. 

 

Here, the shape drawn in the shade of reversible light and the thread painting in the small hole of the cloth are a picture that expands the position of the desire illuminated with reflected light.

 

Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2021/ *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum 

 

Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2020 

 

Louis Chul-joo Choi’s thread painting: morning glory B-06

In addition, thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.

 

The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.

 

The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze. 

 

A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place. 

However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space. / Writing. Louis Chul-joo Choi, head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Contemporary artist & media art painter)

 

Choi Chul-joo, a contemporary artist

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Contemporary Art and Concept Abstraction [26] Contemporary Artist Louis Choi Chul-joo Desire Conceptual Abstraction & Desire Concept Image Installation Contemporary Art Abstraction Review: contemporary artist Louis Choi Chuljoo "morning glory" & thread painting: morning glory B-06. 20201126-20201210, Minoo Media Art Museum