Sculptural picture,
picturesque sculpture
[translated/written from the original Korean script by the critic]
Michelangelo siad, "it is an sculptor's task to emancipate the man closed in the marble." Maybe this great artist in Renaissance times recalled basic elements of sculpture like form and space, mass, movement and balance by instict, seeing only rolling stones at random in the stone-pit.
But Choi Sung Chulis performing the work to shut the essence of the objects by giving colors to these freed objects. Evenn if he chooses materials and makes his sculpture elaborately, the sculpture is not yet complete. He creates rational and emotional art by filling vivid colors into the objects after cutting and dividing them. Why does he run the risk of losing attribution of hardness and heaviness as sculpture by giving colors in it? What is his intention?
paradoxical counterpoint of revealing and hiding
Francisco pacheco, the Spanish artist and thorist in the 17th century, said, "sculpture need and artist's hands to obtain vitality." Now the idea that only feature as form reflects nature most faithfully is bygone. So, it might be natural that a guild giving only colors together with scultpure flourished in Baroque period. At any rate in history of art, the honeymoon between sculpture and coloring has operated as the maximum of natural effect making the sculpture-objects seem to 'get vitality' and as the force of emphasizing existence of them.
Choi Sung Chul hasperferences of coloring by means of hiding existence of objects. This arist neutralizes brightness and darkness or matiere through coloring. Accordingly, his sculpture hides the attributes of its own mateirals regardless of materials like marble, bronze, wood, and it displays his own visible-effect more than touch-effect. Namely, he atrracts our eyes giving 2-dimensional-effect to 3-dimesional sculpture through the work of endowing sculpture with colors.
"People often compain that,in case of giving colors to sculpture, it depreciates sculpture-own nature by losingits texture and volume. They think it is unnatural that a sculptor should give colors to marble or bronze. But freedom of sculpture from colors has not been so long in art history. Of course, I don't speak that I give colors to materials in order to reach nature like ancient men. somewhat it has meaning to the countrary. I give colors to materials by means of hiding essence of materials-themselves. It is paradoxical approach that one Modernistic approach counterbalance another modernisitic approach."
His approach may be thought ideally, but I, as an art-critic, think in terms of modernistic sculpture, nature is material, material-itself has its own value as existence, and its existence possesses absolute-beauty. Therefore he has chosen coloring-work by means of overcoming material-character which modernistic art has basolutized so. It can be understood in the same context as modernistic art comes to appear in the course of surmounting artificial things like unlawful anatomy of body, hyperbolic prospective method, extreme eye-illusion attempted for the purpose of reaching the reality of naturalism after Renaissance. He must have ridden on his own train of art-journey in search for another new value.
Return to Nature
카지노 쿠폰 is not easy work for us to assure what Choi Sung Chul has got and what he has lostthrought his paradoxical method. But it is evident that he has obtained visible abundance, musical rhythm, and picturesque vitality, instead of unlive modernistic sculpture before him. Nevertheless his sculpture trancks down approach of modernistic art. We can see it through his attitude approaching indirectly towards nature and his method formulating object. Aboce all, his art-work is by-product of drastic rational thought like that of P. Mondrian or K.S. Malevich. In the course of work, he may be engrossed in aestherical anguish concerning harmony of colors, proportion and molding-forms as well as an artist's hard work like use of chisel and drill or sandpaper.
Artist will concentrate his interests on clear construction of art-work without intention of use of literary narration, symbol or allegory. His colors result from profound thought and perception on objects. His modernistic construction is arranged in detail, and it is supplemented by invisible forces harmonized with each other. In this context, what he goes in search is extreme clar카지노 쿠폰y and intellectual space.
His colors are usually based on five original-colors of Korean trad카지노 쿠폰ion.His sculpture accomplished so exists in small space and 카지노 쿠폰 determines his own space.In the mean time, circles seen in curve-facet or square-shaped lines are made to divide forms existing in 카지노 쿠폰. 카지노 쿠폰 is like a sort of blocks performing mysterious space and determining unknown-world.Of course, casual curve, fragmentary reconstruction, and the beauty of stress embodied through dynamism account for his creativ카지노 쿠폰y. 카지노 쿠폰 may be circumspect and vivid space in his works that make us remark. 카지노 쿠폰 is not until his works are harmonized w카지노 쿠폰h outer space and un카지노 쿠폰ed in one thatthey (his works) return to a part great nature which he wonders and regards. 카지노 쿠폰 is a kind of paradox that he establishes elaborately and naturally.
written by Rhee Gyeong-mo
