Media Art Display Installation: ＜Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do

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Abstract contemporary art that designed modern art abstract painting [16] Abstract painter Louis Choi Chuljoo Abstract art work: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory", "Bamboo Forest." and "Disappeared pond" / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: Media Art Display Installation: <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do> Exhibition by Abstract artist Louis Chul-joo Choi", 20201126-20201210, Minoo media art museum

Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory", "Bamboo Forest." and "Disappeared pond" / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: Media Art Display Installation: <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do> Exhibition by Abstract artist Louis Chul-joo Choi", 20201126-20201210, Minoo media art museum

Contemporary installation art work & contemporary art sculpture image artwork : Media Art Display Installation: <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do = 최철주 신윤복풍주밀회도 (申潤福風晝密會圖)> by Louis Choi Chul-joo, a media art work at the Minoo Media Art Museum   

Media art < <choi·chul·joo·song·ha·sun·in·chui·saeng·do (申潤福風晝密)=""> is a cartoon image of Choi Chul-joo, a cartoonist and modern image installation artist, reconstructing Shin Yun-bok's genre painting of Life in the Joseon Dynasty. It covered up the scenes of men and women secretly going to self-help on a windy day and the general appearance of blatant affection. </choi·chul·joo·song·ha·sun·in·chui·saeng·do>

Here, since cartoon images are objects of affection and characters as subjects are not involved in symbolic images, Shin Yun-bok's primary colors, which showed women's skillful skills in daily life in the Joseon Dynasty, and his scenes of boating and bathing in the Joseon Dynasty, which expressed affection between men and women, are cartoonized.

Louis, Chul-joo Choi, a morning glory woman, 113X180 cm, acrylic and composite materials on cloth, 2023

Considering that Shin Yoon-bok's satirical genre is similar to comics, the cartoon composition of "Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do" is the same concept as Choi Chul-joo's "morning glory woman," which is the background of the concept of desire, depicting the morning glory landscape as a boating scene of a woman in the Joseon Dynasty, and describing the concept of desire as the sound of summer as a media art.

Partly drawn and matched in close-up scenes, like Roy Lichtenstein, who drew a series of cuts.

It seems to be a cartoon cut that continuously cuts the customs of Shin Yun-bok, who satirizes the phenomena of society in the Joseon Dynasty with cartoon images, as it is a cartoon media art that is conducted in a pop art painting. 

You can get a glimpse of the modern world that is positive for customs by using Vivaldi's four seasons as sound in line with the scene of boating and bathing by the river. 

In this way, cartoon media art is conducted in a popular art method, not a medium that reveals social problems. In the middle of summer, he made a boat move by the river by drawing several cuts of cartoons, including yangban, gisaeng, a male politician peeking at a woman taking a bath by the river, and a woman on a swing. The surrounding figures harmoniously reconstructed the leisurely light and shadow of the landscape, the woman of the Joseon and the Joseon man.

Choi Kwan-woo, Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", Still image-30, a hand-painted picture on a computer, 2020

As a real image of reflective self-consciousness as a cartoon image, Choi Chul-joo's painting is another symbolic cartoon image separated from the real image. 

The consciousness of choosing the impossible realistic meaning of self-consciousness that rejects the dual meaning of the Joseon Dynasty is determined by the cartoon image.

In addition, cartoon images that are identified with the linguistic meaning of cognitive relations have a reflective importance on the meaning of space by expressing emotions. 

Shin Yun-bok's painting is seen in the media space as a media with a cartoon image of the actual representation of social mannerism like Manet's "Lunch on the Grass."

This balances the actual wind speed to suit the media art that is reproduced as a cartoon image as a video. Here, the image of a woman in a bath by Shin Yun-bok contains sociality, but the flatness is matched to the gaze in the painting method reproduced by an unrealistic cartoon. 

In addition, the cartoon image drawn by the Korean painting technique of Joseon, which emphasizes media art by moving stationary cartoon images, appears to be an image that matches the relationship between the real landscape and the person.

Choi Chul-joo's painting is a media art that reconstructs Shin Yun-bok's genre paintings to express the character of cartoon characters and reproduces images with the theme of Joseon Dynasty's genre paintings in successive sequences.

Choi Kwan-woo, Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", Still image-11, a hand-painted picture on a computer, 2020

Meanwhile, the Media Art Kim Hong-do painting at the Minoo media art museum is a genre painting of playing musical instruments under pine trees, which equates symbolic meaning with cartoon images transformed into Chinese structures to create the meaning of transformed cartoon images. 

By showing cartoon effects through videos and cartoon images, the specific meaning of the transformed form can be hidden and symbolism and reality can be selected in the other person's needs and cognitive relationships. 

Through the relationship between media art Choi Chul-joo's picture effect and the concept of cognitive desire of symbolic images, the semantic structure of cartoon images in which dual characters are created emerges.

Choi Kwan-woo, Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", Still image-55, a hand-painted picture on a computer, 2020

However, the media art 'Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do' has a meaning as a symbolic image of a real cartoon image. Therefore, the meaning of the story is created by reconstructing several cartoons of Shin Yun Bok's 'Song·Ha·Sun·In·Chui·Saeng·Do', which actually shows the desires of others, into one scene.

Cartoon images are drawn to interpret the theme of "Song·Ha·Sun·In·Chui·Saeng·Do" as a symbolic cartoon image, and the cartoon image is understood as a semantic structure that enters the cognitive system by combining the meaning of the cartoon with reflective consciousness.

The reason why cartoon images do not act on representation as a semantic structure is because of the appearance that is different from the impressive effect of the image. Therefore, the effect of cartoon design is impression.

Cartoons resulting from industrialization do not distinguish between the original image and the reproduction. This means an image in which the original is absent. The completed cartoon is an image language that allows speech balloons and images to be drawn in the same image as the original. 

Therefore, designing a cartoon with the desire of the other, which is difficult to replicate, draws the impression of the same cartoon image where the volume of the original image has disappeared.

Like Shin Yun-bok's painting, Choi Chul-joo's painting creates the meaning of cartoon images that have changed into semantic structure and cartoon images that symbolize the desires of others. 

Here, media art recognizes images that move according to the temporality associated with the impression as cartoon images. 

Therefore, designing cartoons with other people's desires that are difficult to replicate shows the impression of the same cartoon image where the volume of the original image has disappeared, and Choi Chul-joo's media art has the impression of a windy summer day in the Joseon Dynasty by showing the concept of desire as a landscape like "morning glory woman" /Writing. Art critic Choi Chul-joo (Korean Painter & Ph.D. of Cultural Design)

Contemporary art abstract artist Louis Choi Chul-joo

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