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Louis Peacock Loop Dinner(food) and Patrick Tuttofuoco's Sign Language(welcome) If the world (of music, finance, politics, you name it) was full-on databasing by the end of the 1990s, then it was time for Cody Choi to invent the “third degree creation of painting” for which database would also serve as basis.

But the “new pictorialism” Choi thus founded first took itself aside, in its very inception, and gave itself the third degree of Oedipal interrelation.

If this were the whole story we should then have suicide, but the obsessional mechanism provides ways of escape.

One is by ritual of various types whereby he omnipotently neutralizes his omnipotent powers of destruction; the other is by ejection of the incorporated hostile object by the anus.

I stole his experience in order to have a future experience” (2000). “To steal” also implies stealth, as in hunting, but also as in hiding.

Stowaway in the Oedipal moment is secret cargo of pre-Oedipal provenance in which doubling for nothing covers indigestible losses, separations, evacuations.

Now, near the end of the second decade of the 21 century, he stares himself down as it creates him back.

Choi relocated with his family from Seoul, Korea, to the U. at the age of 22, and his story is founded in the collision and fragmentation of cultures, in the disturbance, sublimation and reallocation of a shifted sexuality, and in the ironic armament he musters to wage surrogate war with the titanic period icons of Western visual culture – classical Greek sculpture, Michelangelo, Auguste Rodin.

In Choi’s process of working with this moment of first contact (through his young son) with the medium of database there remain, at the end, in the corner of completion, time and place for finishing touches and signature effects that still belong to recognizable art standards (of composition, ironic sensibility, or even taste).

But these processes must never cease if his ego is to exist.

The incorporated object is no sooner ejected than he is in danger from its externality and it must be incorporated again” (87-88).

Culturegrapher, Korea, 2006", "Topography of 20th Century Culture for Understanding Contemporary Culture.

Ahn Graphics, Korea, 2006", "Cultural Shift Hatter: Cody Choi 1986-2003, Paradise Media Press, Korea, 2003", “Cody Choi Fairwell to the 20th Century, Deitch Projects, New York, 1998"“How hard it is to digest one’s fellow men!

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