최상철은 손과 붓으로 어떠한 형상도 그리지 않는다. 그의 작품은 단지 어떤 것-‘돌’-의 흔적일 뿐이다. 그리는 행위를 통해 대상을 재현하고 의도를 표현하는 ‘모방과 장식’에 대한 일체의 관습들을 작품에서 제거하고, 더 잘 그리고 싶은 끝없는 욕망이 들어설 자리도 줄여가고자 했다. 이처럼 그에게 회화는 더 이상 어떤 재현이나, 표현이라는 수단을 통해 작가 전달하고자 하는 의미와 가치를 담아내는 수단이 아니다. 그의 회화는 조형미를 넘어 자연의 질서가 자신의 의도 없이 자신의 화폭에 드러나기를 바라며 천 번의 돌 굴리기를 반복하며 자신을 지우고 비우는 방식으로 작업한다.
Choi Sangchul does not draw any features with his hands or brushes. His art is simply a trace of something, like a stone. All customs of “mimesis and decoration” that reproduce objects or reveal intentions through the act of drawing were extracted from the work. He also tried to minimize the place from an ongoing desire to draw better. As such, for him, painting is no longer a process of capturing the meaning and value that the artist hopes to communicate through its representation or expression. He is an artist who works like a practitioner who erases and empties himself by repeating a thousand movements, hoping that nature’s order-without his intention-would be revealed on his canvas beyond the formative beauty of the painting.
崔相哲以石塊為創作媒介大約是從2005年以後。在此之前，他使用的是竹竿、擠壓器等。崔相哲不以手或筆進行創作的資歷頗深。他使用大小不一的石塊，除了形狀都是圓形以外，每個都有微小差異。這些石塊的形態和質地都是自然形成，因此石塊本身就足以表達一切。自然萬物皆是如此。自然之美經常看似「無味」，實則散發著獨有韻味。崔相哲的作品正是利用了蘊含自然之美的石塊，以及石塊滾動時所產生的彈力。滲透著黑色顏料的石塊在地面滾動時留下的痕跡最終構成了抽象畫作品。
像這樣，他在創作過程中盡可能將自身介入最小化，為外部因素的介入留下了空間。繪畫過程本身即是創作，而偶然和意外則使這幅作品得以完成。因此最終留下的結果不是作為目的之痕跡，而是作為必然之痕跡。在這裡，與其說藝術家是創作的主體，不如說是提出與引導畫作的形成情境，並記錄這種情境所留下痕跡的人。這也被解讀為是一種有意識抹去藝術家主體性、主觀性與獨創性的嘗試。
<崔相哲 – 如自然般佔據一席的畫作> (朴榮澤) 中的一部分 (READ MORE)
Choi Sangchul does not draw any features with his hands or brushes. His art is simply a trace of something, like a stone. All customs of “mimesis and decoration” that reproduce objects or reveal intentions through the act of drawing were extracted from the work. He also tried to minimize the place from an ongoing desire to draw better. As such, for him, painting is no longer a process of capturing the meaning and value that the artist hopes to communicate through its representation or expression. He is an artist who works like a practitioner who erases and empties himself by repeating a thousand movements, hoping that nature’s order-without his intention-would be revealed on his canvas beyond the formative beauty of the painting.
崔相哲以石塊為創作媒介大約是從2005年以後。在此之前，他使用的是竹竿、擠壓器等。崔相哲不以手或筆進行創作的資歷頗深。他使用大小不一的石塊，除了形狀都是圓形以外，每個都有微小差異。這些石塊的形態和質地都是自然形成，因此石塊本身就足以表達一切。自然萬物皆是如此。自然之美經常看似「無味」，實則散發著獨有韻味。崔相哲的作品正是利用了蘊含自然之美的石塊，以及石塊滾動時所產生的彈力。滲透著黑色顏料的石塊在地面滾動時留下的痕跡最終構成了抽象畫作品。
像這樣，他在創作過程中盡可能將自身介入最小化，為外部因素的介入留下了空間。繪畫過程本身即是創作，而偶然和意外則使這幅作品得以完成。因此最終留下的結果不是作為目的之痕跡，而是作為必然之痕跡。在這裡，與其說藝術家是創作的主體，不如說是提出與引導畫作的形成情境，並記錄這種情境所留下痕跡的人。這也被解讀為是一種有意識抹去藝術家主體性、主觀性與獨創性的嘗試。
<崔相哲 – 如自然般佔據一席的畫作> (朴榮澤) 中的一部分 (READ MORE)
Featured Works
Video
Documentary of Sangchul Choi
Interview: Sangchul Choi, Seoul National University Museum of Arts , EXHIBITION <작업(作業)>
Interview: Sangchul Choi, Chang Ucchin Museum of Art Yangju City , EXHIBITION < Neither Good nor Evil>
