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拍品專文
A believing Christian, Choi Yeong Geol's landscapes are religious in their moral seriousness that nuances his sole dignified aspiration to humbly capture the mesmerizing beauty of God's creation of nature. Though Choi creates a frank photographic frame with a deceptively realistic depiction, he is clearly aware that the essence of nature and mere divinity of truth and existence itself cannot be depicted in aesthetic equivalence.
Nevertheless, Choi's poetic utterance of winter, autumn and spring is exquisite; he aspires to discipline his religious faith through self-assured brushstrokes, applied with strenuous and diligent efforts to emulate the phenomenal power of Mother Nature. Every detail of the environment is tightly described in supreme accuracy, yet exudes a surprising lightness and fluency of the overall mood. This is owed to his sentimental palette and the characteristics of watercolour; the focus, poise and faith required in maneuvering an unyielding medium reveal an apt compatibility with his belief. Choi's captivation with nature extends beyond its sublimity as it is also scented with his affection for humanity and its vulnerability, exalting of the struggle between heavenly perfection and the human experience as a necessary backdrop in presenting the ultimate truth. Thus, nature, being the truth and a mirror of the self presents a world of meditation which gives life and restores all things to their proper and original state. A true optimist, Choi inserts hopeful cues into the titles of his works. Wishing for the viewers to take a breath of refreshing cool air in Towards the Spring (Lot 1228), he comforts us with the approaching sweet warmth and calm, blossoming beauty of spring in Finding Spring (Lot 1227), whilst placing us in the airy coolness and fragile splendor of An Atmosphere of Autumn (Lot 1226). 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.
Nevertheless, Choi's poetic utterance of winter, autumn and spring is exquisite; he aspires to discipline his religious faith through self-assured brushstrokes, applied with strenuous and diligent efforts to emulate the phenomenal power of Mother Nature. Every detail of the environment is tightly described in supreme accuracy, yet exudes a surprising lightness and fluency of the overall mood. This is owed to his sentimental palette and the characteristics of watercolour; the focus, poise and faith required in maneuvering an unyielding medium reveal an apt compatibility with his belief. Choi's captivation with nature extends beyond its sublimity as it is also scented with his affection for humanity and its vulnerability, exalting of the struggle between heavenly perfection and the human experience as a necessary backdrop in presenting the ultimate truth. Thus, nature, being the truth and a mirror of the self presents a world of meditation which gives life and restores all things to their proper and original state. A true optimist, Choi inserts hopeful cues into the titles of his works. Wishing for the viewers to take a breath of refreshing cool air in Towards the Spring (Lot 1228), he comforts us with the approaching sweet warmth and calm, blossoming beauty of spring in Finding Spring (Lot 1227), whilst placing us in the airy coolness and fragile splendor of An Atmosphere of Autumn (Lot 1226). 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.