이미지 개념미술가 최철주｜현대개념미술평론 현대개념미술가평론 이미지개념설치작품평론 4 Contemporary conceptual art

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이미지 개념미술가 최철주｜현대개념미술평론 현대개념미술가평론 이미지개념설치작품평론 Contemporary conceptual artwork criticism: Contemporary conceptual art Criticism [4]  Abstract conceptual art = 쓰레드 페인팅의 제작과정, 정의 & 형상적 의미: 최철주의 쓰레드 페인팅& Contemporary Art Abstract Artist Louis Choi Chul-joo's Thread Painting  'morning glory' From  2020 to 2022 

쓰레드 페인팅의 제작과정, 정의 & 형상적 의미: 최철주의 쓰레드 페인팅 (Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting)  

* 쓰레드 페인팅(thread painting)의 제작과정은 정해진 대상의 자리에서 발묵(潑墨)적 정해진 존재, 즉 순간적인 우연의 일치에 의존하는 대상의 자리를 디자인한다. 그 대상의 자리를 자수로 그 형상의 이미지를 쓰레드의 자리를 만들어서 교직된 천의 이미지를 자수로 확장하거나 평면적 형태를 드로잉하여서 천의 자리를 넓힌다.

▲ [ cartoon news/ 쓰레드 페인팅(thread painting = 자수: 장혜숙, 페인팅: 최철주] 쓰레드 페인팅의 제작과정은 정해진 대상의 자리에서 발묵(潑墨)적 정해진 존재, 즉 순간적인 우연의 일치에 의존하는 대상의 자리를 디자인한다. 그 대상의 자리를 자수로 그 형상의 이미지를 쓰레드의 자리를 만들어서 교직된 천의 이미지를 자수로 확장하거나 평면적 형태를 드로잉하여서 천의 자리를 넓힌다.

이것은 대기의 묘사 없는 미디어아트와 페인팅에 실제화한다. 여기서 기계적으로 재현되는 오리지널 미디어아트를 제작하는 과정에서의 타자의 응시로써 그려낸 형식이 쓰레드 페인팅(thread painting)이다.

▲ [ cartoon news/ 최철주 <나팔꽃B-00-2-1>] 쓰레드 페인팅(정의): 미디어아트 <나팔꽃>으로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리는 (형태를 추가로 자수할 수 있는) 형식이 쓰레드 페인팅이다.

* 쓰레드 페인팅(정의): 미디어아트 <나팔꽃>으로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리는 (형태를 추가로 자수할 수 있는) 형식이 쓰레드 페인팅이다. 즉 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 넓힌 그림이다.

▲ [Chul-joo Choi, morning glory-2020, 148X175cm, acrylic and composite materials on cloth, 2021] 쓰레드 페인팅으로 한 미디어아트 <나팔꽃>의 형상적 의미는 그 의미의 색깔은 대상과 마주했던 풍습적 보편성의 실제를 빛의 색깔로 꾸민다.

Choi Chul-joo Choi, Media-art: morning glory, Still image (morning glory-108): a hand-painted picture on a computer

제백석의 <나팔꽃>은 선형적 디자인으로 한 간결한 형태적 구성에 빛의 엷은 농담을 잎과 줄기에 맞춘다. 그는 <나팔꽃>이 관념적 공간에 실제적 디자인의 주체로써 미치는 미적 결과를 모아서 실제적 형상과 어긋남이 없도록 보이게 한다. 그의 그림에서 <나팔꽃>은 줄기의 꼭대기에 바로 세우는 수묵의 농담 구성된 디자인 효과다. 이것은 그 농담에 해학(諧謔)적인 감도(感掉)를 주어서 <나팔꽃>을 생동하는 대상으로 구별하는 랜드스케이프 디자인이다. 중국화에서 풍경의 배경이 빈 공간으로 보이듯 그는 꽃의 거동을 두루 덧보태어 변법(變法)에 맞춘 나팔꽃을 빈 공간에 그렸다. 

그 빈 공간에 나팔꽃 그림은 잎으로 자리를 정하고서 줄기로 공간을 채워서 구도를 이룬다. 그는 잎과 줄기의 부분들을 꽃에 맞춘 나팔꽃의 외형을 디자인하여서 타자가 납득할 수 있는 관념적 빈 공간에 나팔꽃으로 디자인되었다는 인식의 자리를 정립한다. 제백석의 중국화로서의 랜스스케이프 디자인은 줄기의 마디를 진하게 파묵(破墨)하고 이어진 줄기를 엷고 흐리게 하는 바림(渲染) 선은 나팔꽃과의 경계선 없이 묵(墨)의 수운(水暈)적 인상 효과로써 배경의 빈 공간과 중첩된다. 그리고 묵선으로 잎을 모양을 지탱하는 줄기를 이루고 묵의 농담으로 나팔꽃 모양에 의존하여 중국화적 디자인을 구조화한다. 

반면에 최철주의 미어어아트 <나팔꽃>은 꽃의 자리를 디자인하고서 그 꽃의 형태에 의존하는 잎과 줄기의 자리를 정한다. 따라서 꽃의 구도로서의 줄기를 꽃에 맞춘다. 전체 이미지에서 줄기와 잎의 구조로 꽃을 그리는 과정을 보여주는 미디어아트 제백석의 <나팔꽃>과 달리 나팔꽃의 꽃을 시작으로 나머지 구조를 디자인한 미디어아트는 디자인박사 최철주의 <나팔꽃>이다. 이것은 발묵(潑墨)적 우연성으로한 정해진 존재에 의존하는 꽃의 자리를 디자인한다. 이것은 대기(大氣)의 묘사 없는 미디어아트와 페인팅에 실제화한다. 여기서 기계적으로 재현되는 오리지널 미디어아트를 제작하기 위한 그림 즉 미디어아트 <나팔꽃>으로 생성된 이미지를 수작업으로 배면이 비춰지는 교직된 천의 형태에 그린 형식이 쓰레드 페인팅(thread  painting)이다.

즉 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 넓힌 그림이다.  

Choi Chul-joo, Media-art: morning glory B-00-2-1, a hand-painted picture on a computer,  

미디어아트 <나팔꽃> 제작을 위한 모티브 페인팅 <쓰레드 페인팅 B-00-2-1> 사진이미지,  미누현대미술관, 2020.8.23)  

* 쓰레드 페인팅(thread  painting): 미디어아트 <나팔꽃>으로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리는 (형태를 추가로 자수할 수 있는) 형식이 쓰레드 페인팅이다. 즉 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 넓힌 그림이다. 이 그림(나팔꽃B-00-2)은 물체를 마주보는 과정에서 빛의 부피를 자수하고 물체의 그림자를 관념적으로 묘사하고 있다. 이것은 동양적 자수와 수묵화를 결합한 새로운 회화적 프로세스에서 '한 획'을 강조하는 선형예술이다. 즉 미디어아트 “나팔꽃”이 그려지는 과정의 동영상에서의 정지된 ‘한 획’을 천에 실과 페인트로 그려낸 것과 같다. 미술평론가 최철주는 김홍석 “개폐”에 대한 미술평론에서 쓰레드 페인팅에 대한 정의를 “시간에 조응된 물감과 실이 드러남과 여백을 천에 남긴 흔적이다.”라고 했다. 

또한, 쓰레드 페인팅에서 조형의 구조를 “형상을 구성한 실은 대상을 설명하지 않고 연쇄된 실이 조형적 구조가 되면서 조형적 의미의 효과를 보인다. 이것은 색의 의미가 소급되어서 실에 색이 교직된 회화적 구조다.”라고 했고, 그것의 미적 가치는 “사물을 지각하는 방법을 그가 깨닫기 전에 구체화한 선관(先觀)적 자의식의 한 형태다. 

그 조형의 색은 시간의 거리를 주어서 표식하지 않고 퇴색된 본디의 조형의 구조로 간주되어 보임으로서 숨겨져 있는 미적 가치를 드러낸다.”라고 했다. 이것은 M.뒤샹의 물질을 치장하지 않는 개념미술의 미학과는 다르다. 쓰레드 페인팅은 사물을 지각하는 방법을 깨닫기 전에 구체화한 선관(先觀)적 자의식의 한 형태다. 

Choi Chul-joo, morning glory B-00-1-1, a hand-painted picture on a computer

그 형태의 색은 시간의 거리를 주어서 표식하지 않고 퇴색된 본디의 조형 구조로 간주하여 보임으로서 숨겨져 있는 미적 가치를 보인다. 그리고 개념미술의 문학성을 넘어서 회화로서 조형성을 비등(沸騰)하고서 남겨진 색을 그려서 새로운 조형의 구조로서 실로 매듭한다. 그 색의 구조를 실에 넣어서 색을 가려 막는 매듭으로서의 조형을 특정한 색에 조응할 수 있도록 선형적 구조의 색이 존재한 조형을 구성한다. 따라서 ‘쓰레드 페인팅’은 개념미술의 지나친 문학성을 부정하는 선형적 미학을 추구하는 천에 실과 페인트를 칠한 그림이다. 

쓰레드 페인팅 <나팔꽃>은 풍습에 의해 만들어진 대상의 천과 같은 재료에 그려진 이미지다.

그 <나팔꽃>은 라캉적 이미지처럼 대상이 보이는 형상을 천과 같은 재료에 구성하여 좌우가 역전된 이미지를 그리는 방식이다. 따라서 그의 그림은 앞면과 뒷면을 구분하지 않는 양면의 그림이다. 

실제적 형상과 응시적 형상에서 주제에 어울리는 피상(皮相)적 면으로 이미지를 표상한다. 여기서 풍습의 변화 대상으로 그림을 그리는 것은 하나의 대상으로 보이는 또 다른 이미지다. 그것은 공간에서 보이지 않는 작은 조각으로 그려진 대상의 물질로 감추어지고 사라진다. 대상의 작은 조각은 그 형상의 실제로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 공간을 보인다. 이것은 어떤 형상의 의미를 가리키며, 그 작은 대상은 실제 가역할 수 있는 공간을 정의하고 형상의 실제 변화된 움직임에 의해 가려지는 형상의 의미를 가리킨다. 그것은 천과 같은 재료에 주재(主材)된 형상과 빛의 색깔로서 인상적 공간의 필연성으로 한 대상의 자리를 정한다. 

그리고 그 자리의 빛과 대상을 멈추게 하여서 풍습 된 페인팅의 구조를 이룬다. 이것은 순간적으로 멈추어선 그 구조의 필연성으로 한 주재적 공간이다. 따라서 그림의 실제적 구조로서 형상이 멈추었던 자리에서의 의미가 가역적 사고 운동으로 형성된다. 이것의 구조로서 의식되는 의미가 공간의 자리를 찾아가는 작은 조각일 뿐이다. 그 작은 조각은 유사한 대상일 때 많은 공간의 자리에서 현상적 물성으로 공존한다. 그 자리 하나의 현상과 다른 의미가 교차하는 의중 운동으로 여러 개의 공간 속으로 그 자리가 끼워진다. 이것은 자리의 공간 안에서 의중 운동으로 또 다른 자리를 연쇄하여서 만들어낸 쓰레드 페인팅 <나팔꽃>이다. 여기서 공간의 자리는 사라지고 그곳에 자리했던 나팔꽃은 빛의 색깔로 변신한다. 

그러나 빛의 형상이 그림의 의미 효과로써 지난 공간에서 사라진 천과 같은 재료에 빛의 색깔로 그림 선택한다. 여기서 그림은 나팔꽃의 표면을 빛과 연결하는 공간 안에서 그 빛을 선으로 바꾸어 이미지를 왜곡시킨다. 따라서 보이지 않는 선 공간의 구성은 꽃을 그릴 수 없으므로, 미누현대미술관 미디어아트<제백석, 나팔꽃>의 시작 화면은 도입부 공간으로서의 실제 구조가 아니므로 줄기와 잎을 스케치하고 꽃을 그려가며 선 공간을 구별한다.

정지된 미디어아트에서 대상을 구별하는 빛의 모양을 실로 그려낸 것이 쓰레드 페인팅이다. 이것은 풍습 된 대상을 구도로 한정할수록 공간을 이어주는 대상의 자리가 빈자리가 되기 때문에 스케치 위에 시침질 선으로 한정된 구조로서 자리에 숨겨진 천의 내면을 치장하여서 예술적 형상의 작은 조각으로 공간의 의미를 찾는다. 이렇게 <나팔꽃>은 천과 같은 재료에 그린 그림으로써 대상의 필연적 공간성으로 한 추상적 자리를 구성함으로써 실제의 풍습 된 회화 예술로서의 미적 가치를 획득한다.

또한, 회화성에 기반을 둔 원본성과 프로세스 미디어아트의 형상성을 가지고 미디어아트 이미지로서의 스틸 영상을 시간성에 맞추어 그려내는 쓰레드 페인팅은 원작의 또 다른 독창성을 가진다. 이것은 모니터로 보이는 콘텍스트(con·text)로써 정지된 각각의 영상 이미지를 쓰레드 페인팅으로 그려낸 원화이기 때문이다. 그것은 페인팅과 같은 예술적 의미가 있는 조형적 쓰레드 이미지로서 다양한 전시성을 가진다.

전시 공간의 자리에서의 물리성에서 가역된 시간성은 빛의 색깔로써 자리를 만들고 그 자리의 빛의 색으로 인식된다. 추상적 빛의 공간은 물질적 대상의 구조를 엿볼 수 있지만, 그 자리는 대상의 주체가 그 시간성의 변화에 따르는 공간의 여백이 된다. 그 여백은 추상적 공간이지만 페인팅의 주체가 말하는 가역된 빛의 색깔로 그려짐에 따라 그 여백에 숨겨진 대상의 자리를 만든다. 이것은 페인팅이 대상에 대하여 공간의 빛을 형상화한 이미지와 일치되도록 대칭적인 공간의 필연성에 따라서 정해진 대상이 자리다. 

대상에 맞춘 이미지의 공간은 여백의 형식으로 한 간극을 천으로 이어진 분리된 공간을 만들고 그 천의 위에 그려진 색채가 여러 개의 빈 공간을 하나의 그림 구조로 교직 된 천과 같은 재료에 그려진 그림의 구조다. 그 이미지는 대상의 자리가 정한 색채와 형상에 따른다. 따라서 그 이미지의 색깔은 대상과 마주했던 풍습적 보편성의 실제를 빛의 색깔로 꾸민다. 이렇게 꾸며진 형상의 빛과 대비되는 어두운 여백의 공간은 주재(駐在)로 만들어낸 그림자다. 여기서 실제의 대상적 존재로서 색깔은 응시로 보이는 풍교된 풍습의 단상이다. 

일상적 삶의 장소에서 멈춘 깨달은 물체의 형상을 빛의 색깔로써 형식을 갖추고 분간하기 어려운 반사적 여백의 색깔을 천과 같은 재료에 그린 그림을 연쇄하여서 하나의 그림을 그려낸 것이다. 여기서 색칠된 그림은 관습에 의해 깨우치거나 제자리에 있을 때 색의 형상으로 현실의 존재를 풀어낸다. 

그러나 여백의 빈 공간은 시간성을 재현할 수 없어서 대상의 주체에 어울리는 색깔로 보인다. 그리고 그 색깔에 대비된 색점으로 천과 같은 실에 형상의 윤곽을 정한 <나팔꽃>은 지난 공간의 필연성으로 풍습의 친숙함을 포착한다.

<나팔꽃>의 형상적 의미는 그 의미의 색깔은 대상과 마주했던 풍습적 보편성의 실제를 빛의 색깔로 꾸민다. 이렇게 꾸며진 형상의 빛과 대비되는 어두운 여백의 공간은 주재(駐在)로 만들어낸 그림자다. 여기서 실제의 대상적 존재로서 색깔은 응시로 보이는 풍교된 풍습의 단상적 이미지다. 이것은 그 의미는 모방한 꽃을 상징하는 기호적 언어다. 여기서 나팔꽃 이미지는 라캉적 의미의 결과로써 비실재 공간에 기호화된 의미의 조각이다.

미디어아트 영상展: 현대 이미지 설치 미술가 & 미디어아티스트 최철주 개인전

Media Art conceptual artist Louis Chul-joo Choi’s Media Art Video Display: <최철주 나팔꽃>, <사라진 연못>, <대나무 숲>, <신윤복풍주밀회도(申潤福風晝密會圖)=최철주의 송하선인취생도>, 20201126-20201210, Minoo Media Art Museum

현대  설치 미술가, 이미지 개념 설치 미술가, 미디어 아티스트 & 개념 미술가 최철주의 현대 개념미술 은 초기 개념미술의 이미지 개념으로 한 회화성의 복귀다. 즉 미디어아트 회화 작품으로 생성하는 개념미술이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 의미적 가치를 말한다.

미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다. 반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로서 최철주의 개념미술은 시사만평으로 개념의 의미를 라캉적 회화속에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 여기서 라캉적 회화는 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 회화성을 말한다.

미누현대미술관의 미디어아트 영상 전시에서 루이의 <나팔꽃>은 완성된 작품을 해체하고 결합하는 과정뿐만아니라 쓰레드 페인팅까지 그려내며 미디어아트와 그 과정을 담은 이미지를 만들어내고 있다. 

<나팔꽃>은 꽃의 자리를 디자인하고서 그 꽃의 형태에 의존하는 잎과 줄기의 자리를 정했다. 그 자리는 꽃의 구도로서의 줄기를 꽃에 맞춘다.

전체 이미지에서 줄기와 잎의 구조로 꽃을 그리는 과정을 보여주는 미디어아트 제백석의 <나팔꽃>과 달리 나팔꽃의 꽃을 시작으로 나머지 구조를 디자인한 미디어아트는 미디어아티스트 최철주의 <나팔꽃>이다. 그는 정해진 존재, 즉 순간적인 우연의 일치에 의존하는 꽃의 자리를 디자인한다. 이것은 대기(大氣)의 묘사 없는 미디어아트와 페인팅에 실제화한다. 여기서 기계적으로 재현되는 오리지널 미디어아트를 제작하는 과정에서의 타자의 응시로써 그려낸 형식이 쓰레드 페인팅(thread painting)이다. 그 쓰레트 페인팅을 디자인하는 것은 라캉적 환유와 은유로서의 페인팅 과정에 적용하는 것이다. 

이렇게 은유적 이미지가 하나의 기표가 다른 이미지로 대치되면서 원래 페인팅이 타자의 욕망을 기호화된 의미로서의 쓰레드 페인팅이 된다. 이 페인팅은 물체를 마주보는 과정에서 빛의 부피를 형상화하고 물체의 그림자를 관념적으로 묘사하고 있다. 

또한, 그는 쓰레드 페인팅에서 조형의 구조를 “형상을 구성한 실은 대상을 설명하지 않고 연쇄된 실이 조형적 구조가 되면서 조형적 의미가 소급되어서 실에 색이 교직된 회화적 쓰레트 페인팅의 구조”라고 했다. 그 구조의 색은 시간의 거리를 주어서 표식하지 않고 퇴색된 본디의 조형 구조로 간주하여 보임으로서 숨겨져 있는 미적 가치를 보인다.  그리고 개념미술의 문학성을 넘어서 쓰레드 페인팅으로써 조형성을 비등(沸騰)하고서 남겨진 실을 그려서 새로운 조형의 구조로서 색으로 매듭한다. 

선형의 구조가 특정한 색에 적응할 수 있도록 실에 그 색의 구조를 실에 넣어서 색을 가려 막는 매듭으로서의 조형을 특정한 색에 조응할 수 있도록 선형적 구조의 색이 존재한 조형을 구성한다. 

따라서 ‘쓰레드 페인팅’은 개념미술의 지나친 문학성을 부정하는 선형적 미학을 추구하는 천에 실과 페인트를 칠한 그림이다. 그림은 위아래와 앞뒷면을 구분하지 않는 다면화다. 그 이미지는 실제 모양과 피사체와 일치하는 가시적인 측면으로 표현된다.

여기서 풍습의 변화 대상으로 그림을 그리는 것은 하나의 대상으로 보이는 또 다른 이미지다. 그것은 공간에서 보이지 않는 작은 조각으로 그려진 대상의 물질로 감추어지고 사라진다. 

대상의 작은 조각은 의식 운동을 통해 전달되는 실제 공간에서는 사물의 실제 이미지로 변환된 상징적인 이미지로 보인다. 이것은 어떤 형상의 의미를 말하는데, 작은 조각은 실제로 되돌릴 수 있는 공간을 정의하고 형상의 의미를 말하는데, 형상의 실제 변화된 움직임에 의해 가려진다. 그것은 천과 같은 재료에 주재(主材)된 형상과 빛의 색깔로서 대상의 자리는 그 대상의 자리를 숨길 수 있는 공간의 필연성에 의해 대상의 자리가 결정된다.

미디어아트 전시 공간의 자리에서의 물리성이 갖는 가역적 적시성은 빛의 색으로 공간을 만들고 빛의 색으로 대상의 자리를 인식하는 것이다.

추상적 빛의 공간은 물질적 대상의 구조를 엿볼 수 있지만, 그 자리는 대상의 주체가 그 시간성의 변화에 따르는 공간의 여백이 된다. 그 여백은 추상적 공간이지만 페인팅의 주체가 말하는 가역된 빛의 색깔로 그려짐에 따라 그 여백에 숨겨진 대상의 자리를 만든다. 이것은 페인팅이 대상에 대하여 공간의 빛을 형상화한 이미지와 일치되도록 대칭적인 공간의 필연성에 따라서 정해진 대상이 자리다. 그리고 대상에 맞춘 이미지의 공간은 여백의 형식으로 한 간극을 천으로 이어진 분리된 공간을 만들고 그 이미지의 색깔은 대상과 마주했던 풍습적 보편성의 실제를 빛의 색깔로 꾸민다.

▲ Choi Chul-joo, a thread painting with a modified embroidery structure (embroidery: Jang Hea-sook)     

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

*  The thread painting process designs a fixed place of existence where ink spreads from a fixed place of an object, that is, a place of an object that relies on instantaneous coincidence. This is implemented without describing the atmosphere in media art and painting. Here, in the process of producing an abstract image reproduced by the concept of desire, it is a picture in the form of a thread painting drawn from the perspective of another person's desire.

*  The definition of a thread painting is a method of manually drawing the image created by the desire art 'morning glory' on the shape of the cloth reflected on the back, and additionally embroidering the shape to repeatedly draw the picture. In other words, it is a picture that broadens the position of a structure of unrealistic desire that appears to be shaded in a thread, and illuminates the desire with reversible light reflected from a small hole in the fabric.

* The figurative meaning of 'morning glory' in thread painting is that the color of its meaning is the desire color of light, and the reality of universality in looking at the object is decorated with the color of light. The space in the light, in contrast to the light in this decorated shape, is a shadow drawn so that the desires of others stay. Here, as a real object being, color is a single-phase image of stylized desire viewed through the gaze. Its meaning is a symbolic language symbolizing an imitated flower. Here, the morning glory image is a piece of desire meaning symbolized in an unrealistic space as a result of the desired meaning.

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

abstract 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. 

Choi Chul-joo, morning glory, 135X156cm, acrylic and composite materials on cloth, 2022

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, <morning glory> which was created by repeating another space as an thought movement in the space of positioning. 

<morning glory> painted on a cloth composed of thread

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.

Louis Chul-joo Choi’s thread painting: morning glory e-002 still image / *Extended exhibition period: 

2020.12.11- 2021.1.29, Museum of Minoo media art museum 

In the media art video of the Minoo Media Art Museum, Louis Chul-joo Choi's "The morning glory" not only depicts the process of dismantling and combining the completed works, but also depicts the image and process of media art by drawing  thread painting.

The morning glory designed the flower's place and set the place for leaves and stems that depend on its shape. The position aligns the stem with the flower as the composition of the flower.

Unlike Media Art of Qi Baishi's "The morning glory" which shows the process of drawing 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 Louis Choi Chul-joo, a doctor of design.

Louis designs a flower's spot that relies on a set being, an ephemeral coincidence.

This is realized without explanation of the atmosphere in media art and painting. It is thread painting in the process of producing the original media art, which is mechanically reproduced here, in response to the desire of the others.

Designing the thread painting is to apply desire's metonymy and metaphors to painting work. As metaphorical images replace one symbolic image with another, the original painting becomes thread painting as a symbol of the desire of the others.

This painting embodies the volume of light in the process of facing an object and ideologically depicts the shadow of an object.

In addition, he said in thread painting, "The structure of the form is a structure of pictorial thread painting in which the formative meaning is retroactive as a series of threads become a formative structure without explaining the object of the thread that formed the shape."

The color of the structure gives a distance of time, so that it is regarded as a formative structure of a faded original structure without marking it, showing the aesthetic value hidden as seen.

And beyond the literary character of conceptual art, painting a thread painting is a new type of structure that describes the shape of the thread, thereby raising the formality and ending it with color.

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.

media-art  painting; Louis Chul-joo Choi's "The morning glory e",  a hand-painted picture on a computer, 2020.

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. This painting is a multi-faceted painting that does not distinguish between top and bottom, front and back. The image is represented by the actual shape and the visible aspect that matches the subject.

Painting here as a subject of change in customs is another image that appears to be a subject. It is hidden and disappears as a material of a subject drawn in small pieces invisible from space.

In the actual space transmitted through the ritual movement, a symbolic image converted into the actual image of the object is a small piece of the object.

This refers to the meaning of a certain shape, and the small piece defines the space that can actually be reversible and refers to the meaning of the shape, which is obscured by the actual changed movement of the feature. It is the color of shape and light, the embodiment of material such as cloth, and the location of the object is determined by the inevitability of the space that can hide the position of the object.

Instead of the media art exhibition space, the reversible timeliness of physical assets is to create a place with the color of light and recognize the position of the object in the color of light.

The space of abstract light gives a glimpse into the structure of a material object, but its position becomes the margin of space in which the subject of the object follows the change in 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 space hidden in the margin. This is an object position determined by the inevitability of symmetrical space, which matches the image of light in space for objects with pictures.

And the space of the image tailored to the target creates a separate space that connects a gap to a cloth in the form of a margin, and the color of the image is decorated with the actual color of the traditional universality facing the object.

Louis, morning glory 2022-c-back, 135X156cm, acrylic and composite materials on cloth, 2022

The meaning of a desire object generates meaning as a thought movement that combines and replaces the effects that emerged from the chain of desire languages.

In other words, after creating an image of a desired object <thread painting: morning glory 2022-c-back>, the design is repeated to create a connection structure between the image and the image drawn with another shade of light, revealing the deficiency structure of the desired object, and allowing desire to appear through semantic action instead of not acting as a lack of meaning, that is, resistance to semantic action.

The image formed by the deficiency is the same as what the infant saw in front of the mirror, and the image of the object and the image of the object identified in the imaginary world are identified internally as the same subject, and the subject forms a transformed image of itself. This <morning glory 2022-c-back> is a phenomenal image, and the shadow of the real object and the desire object brightens or disappears in a reversible shade of light in an empty space.

It is an image that is lacking as an object as an image that is satisfied as a child in the image of an object of reality.

By confirm‎ing the structure of the phenomenal reality that does not exist in empty space on the back of the object, the reality of the object is an image of reality reflected in the mirror. In other words, the image of the phenomenal reality may be an image of the image of the reality as a metaphor reflected in the mirror or an image that appears as a virtual shade as another image.

Therefore, in the concept of desire that Choi Chul-joo refers to, the metaphor does not compare an object, but as one image is replaced with another, the original image becomes the meaning of reality. Like Cézanne, a similar form can be seen after revealing a public form rather than an imitative painting attributes an object to a form.

The place where its meaning is fixed becomes a fixed point where desire and reality intersect as a divided subject by repeating the image of desire from unconscious desire to the divided subject. 

The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.

And by simplifying the opposing forms in the painting into a landscape of desire, the object is divided into planes, and the desire to hide reversible light at the intersection of light and shade is adjusted by color.

There, the space composed of reversible shadow light disappears, and the morning glory in the painting turns the color of light.

However, due to the meaning effect of the picture, the picture is selected with the same material as the color of light or the fabric that disappeared from the past space. Here, the picture distorts the image by converting light into a line within the space connecting the surface of the morning glory and 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 Chul-joo Choi’s thread painting: morning glory B-06 still image / *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 Choi Chul-joo, former head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Doctor of Cultural Design)

 contemporary conceptual artist Louis Choi Chul-joo

▲ Choi Chul-joo, a thread painting with a modified embroidery structure (embroidery: Jang Hea-sook)     

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

*  The thread painting process designs a fixed place of existence where ink spreads from a fixed place of an object, that is, a place of an object that relies on instantaneous coincidence. This is implemented without describing the atmosphere in media art and painting. Here, in the process of producing an abstract image reproduced by the concept of desire, it is a picture in the form of a thread painting drawn from the perspective of another person's desire.

*  The definition of a thread painting is a method of manually drawing the image created by the desire art 'morning glory' on the shape of the cloth reflected on the back, and additionally embroidering the shape to repeatedly draw the picture. In other words, it is a picture that broadens the position of a structure of unrealistic desire that appears to be shaded in a thread, and illuminates the desire with reversible light reflected from a small hole in the fabric.

* The figurative meaning of 'morning glory' in thread painting is that the color of its meaning is the desire color of light, and the reality of universality in looking at the object is decorated with the color of light. The space in the light, in contrast to the light in this decorated shape, is a shadow drawn so that the desires of others stay. Here, as a real object being, color is a single-phase image of stylized desire viewed through the gaze. Its meaning is a symbolic language symbolizing an imitated flower. Here, the morning glory image is a piece of desire meaning symbolized in an unrealistic space as a result of the desired meaning.

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

abstract 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. 

Choi Chul-joo, morning glory, 135X156cm, acrylic and composite materials on cloth, 2022

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, <morning glory> which was created by repeating another space as an thought movement in the space of positioning. 

<morning glory> painted on a cloth composed of thread

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.

Louis Chul-joo Choi’s thread painting: morning glory e-002 still image / *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum 

In the media art video of the Minoo Media Art Museum, Louis Chul-joo Choi's "The morning glory" not only depicts the process of dismantling and combining the completed works, but also depicts the image and process of media art by drawing  thread painting.

The morning glory designed the flower's place and set the place for leaves and stems that depend on its shape. The position aligns the stem with the flower as the composition of the flower.

Unlike Media Art of Qi Baishi's "The morning glory" which shows the process of drawing 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 Louis Choi Chul-joo, a doctor of design.

Louis designs a flower's spot that relies on a set being, an ephemeral coincidence.

This is realized without explanation of the atmosphere in media art and painting. It is thread painting in the process of producing the original media art, which is mechanically reproduced here, in response to the desire of the others.

Designing the thread painting is to apply desire's metonymy and metaphors to painting work. As metaphorical images replace one symbolic image with another, the original painting becomes thread painting as a symbol of the desire of the others.

This painting embodies the volume of light in the process of facing an object and ideologically depicts the shadow of an object.

In addition, he said in thread painting, "The structure of the form is a structure of pictorial thread painting in which the formative meaning is retroactive as a series of threads become a formative structure without explaining the object of the thread that formed the shape."

The color of the structure gives a distance of time, so that it is regarded as a formative structure of a faded original structure without marking it, showing the aesthetic value hidden as seen.

And beyond the literary character of conceptual art, painting a thread painting is a new type of structure that describes the shape of the thread, thereby raising the formality and ending it with color.

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.

media-art  painting; Louis Chul-joo Choi's "The morning glory e",  a hand-painted picture on a computer, 2020.

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. This painting is a multi-faceted painting that does not distinguish between top and bottom, front and back. The image is represented by the actual shape and the visible aspect that matches the subject.

Painting here as a subject of change in customs is another image that appears to be a subject. It is hidden and disappears as a material of a subject drawn in small pieces invisible from space.

In the actual space transmitted through the ritual movement, a symbolic image converted into the actual image of the object is a small piece of the object.

This refers to the meaning of a certain shape, and the small piece defines the space that can actually be reversible and refers to the meaning of the shape, which is obscured by the actual changed movement of the feature. It is the color of shape and light, the embodiment of material such as cloth, and the location of the object is determined by the inevitability of the space that can hide the position of the object.

Instead of the media art exhibition space, the reversible timeliness of physical assets is to create a place with the color of light and recognize the position of the object in the color of light.

The space of abstract light gives a glimpse into the structure of a material object, but its position becomes the margin of space in which the subject of the object follows the change in 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 space hidden in the margin. This is an object position determined by the inevitability of symmetrical space, which matches the image of light in space for objects with pictures.

And the space of the image tailored to the target creates a separate space that connects a gap to a cloth in the form of a margin, and the color of the image is decorated with the actual color of the traditional universality facing the object.

Louis, morning glory 2022-c-back, 135X156cm, acrylic and composite materials on cloth, 2022

The meaning of a desire object generates meaning as a thought movement that combines and replaces the effects that emerged from the chain of desire languages.

In other words, after creating an image of a desired object <thread painting: morning glory 2022-c-back>, the design is repeated to create a connection structure between the image and the image drawn with another shade of light, revealing the deficiency structure of the desired object, and allowing desire to appear through semantic action instead of not acting as a lack of meaning, that is, resistance to semantic action.

The image formed by the deficiency is the same as what the infant saw in front of the mirror, and the image of the object and the image of the object identified in the imaginary world are identified internally as the same subject, and the subject forms a transformed image of itself. This <morning glory 2022-c-back> is a phenomenal image, and the shadow of the real object and the desire object brightens or disappears in a reversible shade of light in an empty space.

It is an image that is lacking as an object as an image that is satisfied as a child in the image of an object of reality.

By confirm‎ing the structure of the phenomenal reality that does not exist in empty space on the back of the object, the reality of the object is an image of reality reflected in the mirror. In other words, the image of the phenomenal reality may be an image of the image of the reality as a metaphor reflected in the mirror or an image that appears as a virtual shade as another image.

Therefore, in the concept of desire that Choi Chul-joo refers to, the metaphor does not compare an object, but as one image is replaced with another, the original image becomes the meaning of reality. Like Cézanne, a similar form can be seen after revealing a public form rather than an imitative painting attributes an object to a form.

The place where its meaning is fixed becomes a fixed point where desire and reality intersect as a divided subject by repeating the image of desire from unconscious desire to the divided subject. 

The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.

And by simplifying the opposing forms in the painting into a landscape of desire, the object is divided into planes, and the desire to hide reversible light at the intersection of light and shade is adjusted by color.

There, the space composed of reversible shadow light disappears, and the morning glory in the painting turns the color of light.

However, due to the meaning effect of the picture, the picture is selected with the same material as the color of light or the fabric that disappeared from the past space. Here, the picture distorts the image by converting light into a line within the space connecting the surface of the morning glory and 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 Chul-joo Choi’s thread painting: morning glory B-06 still image / *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 Choi Chul-joo, former head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Doctor of Cultural Design)