|▲ 집에 대한 유연적 사고, 116.7×91㎝ 사진콜라주 아크릴릭 캔버스, 2014|
Compared to Youngho Chuu’s previous art works in a series(2009 ~ 2014), his New Works ‘鱗(Scales, 2015)’ as a part of “City Life” series shows that there is a big change in the form above all things.
|▲ 도시의 생활-아크엔젤스크 러시아, 53×46㎝ Mixed media, 2018|
Through this new works, especially in the form, it can be got a glimpse of his many attempts to deviate from traditional planar canvas and picture frame itself. With that, his works are strikingly reminiscent of fish scales of being numerously, uniformly arranged with tiny, small pieces on the canvas, and these pieces like fish scales seem that they move in groups, pop out of planar canvas like embossed carving, and as a result, they seem to overcome their insignificant individuality, broaden their existence into the surrounding environmental space.
|▲ 만개의 슬레이트지붕|
That is, Youngho Chuu’s scales are the essence itself of tiny, small pictures in a shape of house, also with the form of dismantling, exclusion of background, they seem to be in complete harmony frame, not in dismantled one.
|▲ 만개의 눈물|
Like as some philosopher speculated about architecture by building the places of traces of human being, Youngho Chuu’s(미술인 추영호,Chuu Young Ho,미술가 추영호,추영호,秋永浩,추영호 작가,화가 추영호,ARTIST Chuu Young Ho) works seems to find and re-build our contemporaries’ places of traces though ‘鱗(Scales)’ series.
△Art Criticism by Gabe Shin/Adjunct P rofessor of P hotographic A esthetics at Hongik University