Choi Yeong-Geol sets the task for himself in a search for spiritual meanings by defining the relationship between religion and nature; human and nature. His task is based on his understanding of religion as one of the most compelling influences on moral values, inspiration, and the viewpoint of human beings.
The idea of nature and religion as a whole is sacred to Choi as he endeavors to unite all existence by balancing human and nature together by subtly expressing through a snapshot composition to hint a trace of human existence taking a photograph of serene landscapes, yet without disturbing the harmony and balance of nature and spirit. His recent works, Praise of Summer, Praise of Autumn ii (Lot 1460), and Autumn Valley (Lot 1459), once again demonstrates his impeccably faithful brushstrokes describing contrary textures between refreshing green summer trees and wispy yellow autumn leaves against the irregular yet smooth grey rocks, to emulate the phenomenal power of Mother Nature by bringing the viewer close to sensual reality. Typically, Choi extends beyond its sublimity as scented with his affection for humanity and its vulnerability, to exalt the struggle between heavenly perfection and the human experience as a necessary backdrop in presenting the ultimate truth. Choi reminds us that as humans, we are a part of a larger realm or cosmos that we cannot possibly fully comprehend the essence of nature and the ultimate truth, but is the cultivation of interactions, experiences, and appreciation that is held important. In Full Blossom (Lot 1458) with a bold composition, most canvas occupied by a yellow flowered bush, he comforts us with the approaching sweet warmth and clam, blossoming beauty of spring. His fluency in extracting the ephemeral atmospheric effects and emotions of nature, enlightens the viewer once again of the emanation of God's power and creation.