Choi Tae-hoon's artistic interest is in the pursuit of a gigantic tree called cosmic divine tree. Once the tree-like structure — implying a mystic forest filled with numinous force; a young mysterious land since the beginnings of things — is put on display, it'll finally come into its own. His work is an analogy of nature, translated as the mystic forest, and helps the visitors feel reverence for nature. To arouse reverence for nature that stands on an antipode of civilization, he endows his work with divinity. It comes from the light he enjoys using. The tree shedding light, the artificial divine tree may let visitors to acknowledge spirituality. It is undoubtedly a virtue embedded in Choi Tae-hoon's work to let people experience the cosmic spirituality through the blaze emitting from the gigantic tree. In a situation like this, Choi Tae-hoon no longer serves as a sculptor, but as a shaman who connects human, the earth, and the universe. As a proxy of god, the shaman in the modern society or contemporary art has gradually been losing his or her function and role. But the more civilization progresses, the more shaman as a proxy of spirituality is sought after. Choi Tae-hoon uses diffusing light in order to give a certain spiritual feeling to steel. It does not really matter whether visitors feel the cosmic spirituality like he initially intended, or simply enjoy external structure just as it is. What really matters is that his work is expanding its ground, and that in turn allows him to discover a new breakthrough for his work.
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