Art Critic Louis Choi Chul-joo Criticism [30] Modern Art Critic

[최관우]

Art Critic Louis Choi Chul-joo Criticism [30] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary artwork criticism and Modern Art Criticism [10] Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Contemporary art review & artist artwork criticism :   

A cat painting in a spring garden, The story is an object tailored to the Japanese garden, resulting in a picture of a cat on a yellow background as a spring.     

By transferring the image of spring to a yellow semantic structure, the cat in the Japanese garden hides the misunderstanding of the abstract non-structure of spring as an infinitesimal of invisible pictorial aesthetic emotions hidden in yellow with the literary nature of cats and Japanese gardens as artistic headings.

Tomiko Kikuzawa, A cat painting in a spring garden,                     Image Source: Facebook

A compositional abstraction that hides the misunderstanding of the abstract non-structure by metaphorizing the concrete image of the concept and the abstract non-structure into the structure of the abstract that has been transferred to the symbolism of the object: Japanese painting that conceals abstraction, "A cat painting in a spring garden.“     

Compositional abstraction in which the structure of the external image does not exist is a compositional shape with a background area limited to the environment of the object. The shape seems to have a compositional meaning in the place of the object in one color to hide abstract perception.     

In Japan, cats wash their face like a family facing customers and face people like a family.

The brown, black and white tricolor cat says it blocks the waves, giving the ship good luck to sail safely.

The tricolored cat that hides its luck sees flowers in the garden without waiting for a customer.     

Tomiko Kikuzawa learns the realization of the landscape from repeated encounters with cats in a guestless garden. She leaves his cat in the garden and blooms. This is a combination of flowers and trees that are related to the object, forming the shape of a Japanese garden.

The landscape fills the margins left by cats, rocks, and trees with ocher-colored margins. And the margins are ocher-colored, which makes up the relationship between gardens and objects that do not distinguish between the sky and the ground.

However, there is no structure in the form of external images. Therefore, she tries to space the semantic structure of the garden by breaking the boundaries of the shape with the same color as the object.     

She recognizes objects set in the background of the sky and the ground, which are spaces in the garden that became the subject of the object.

It targets bamboo, camellia, ferns, etc., symbolizing the Japanese garden, and structures the object as an aesthetic object of a Japanese garden. In other words, the phenomenon of forests is universally approved for the aesthetic structure that is actually standardized behind Japanese flowers and trees in garden forms different from the image format.

The sky and the ground, which are the background structures, were recognized as the same ocher color, so that the objects symbolizing the Japanese garden did not response each other's shape, and they were recognized as actual shapes so that each shape could be distinguished.     

The imaginary "Picture of a Cat in a Spring Garden" in a shape modeled after the object hides the abstraction that pulls the concept of the object in the garden.

She limits the shadow of the object to its area in the garden, creating a realistic abstraction of the sky and the ground missing in the background like a collage.

As for the form, the garden and the viewer face a limited area, and the meaningful form is identified with the garden, and the <Spring Garden Cat Painting> is captured in eyes.

She makes up the place of the garden where the object shade is visible in the garden of a non-substantial space separated from the light.     

The symbolic color of red clay is displayed on the back, and the cat is located in front of the bamboo, so the yellow camellia flowers are displaced between several leaves and ferns create harmony.

In addition, the margins of the sky and land that do not receive sunlight are drawn in ocher color, and the object separated from the cat becomes a garden as one unity.

The cat in front of the garden is a medium that connects objects separated from the garden with another visual sign.

A rock receives the same light as an awkward object that erases the sky and the ground, so that it stays in the garden in the same light, just like awkward objects that erases the sky and the ground.

In this way, "The Cat Picture in the Spring Garden" is made into a visual garden symbol tailored to the spatiality one by one in the separate time of the objects of the garden.     

The <Picture of Cat in Spring Garden> limits the garden landscape to a reduced shape and form, and a cat with a rock on the back like a small shaded piece contrasts with flowers and vegetation.

This is a metaphorical garden with the same color tone as the meaning between limited objects so that the imaginary perception of the Japanese garden cannot be misunderstood.

In this way, she leads an abstract story with the perspective of the garden so that the entire non-structural form can be distinguished with one symbolic color.+

As a concrete image of the concept of a garden and abstract non-structure, a cat who plays spring realistically appears as a metaphorical element, showing the image of the garden and the narrative structure of spring times.     

The color of the space is yellow, which exudes a Confucian atmosphere tailored to the sky and earth of black and yellow. The color abstracts the unstructured spring, and in the space, the cat looks at the spring flowers while giving off the warmth of the garden.

In order to distinguish the overall atypical form into a single symbolic color, it leads to an abstract story along with an image of the garden.

The story is an object tailored to the Japanese garden, resulting in a picture of a cat on a yellow background as a spring.     

By transferring the image of spring to a yellow semantic structure, the cat in the Japanese garden hides the misunderstanding of the abstract non-structure of spring as an infinitesimal of invisible pictorial aesthetic emotions hidden in yellow with the literary nature of cats and Japanese gardens as artistic headings. /Writing. Choi Chul-joo (Doctor of Cultural Design), an art critic   

Choi Chul-joo, an art critic