Lacan’s docent: Chul-joo Choi's Lacan’s docent for the exhibition "morning glory": Exhibition of Chul-joo Choi's "morning glory" with the image of Lacan's object ɑ and Picasso's Anamorphosis & Lacan painting exhibition showing the shade of object ɑ with reversible light, 24.Dec.2021 (PM 02:00), Gwangan Gallery in Busan.
Non-realistic in symbolic form <the morning glory>
The production process of thread painting is naturally determined, such as being drawn in ink in a designated place that relies on an implied and fixed being, that is, a momentary coincidence. This becomes a real picture in media art and paintings without describing the atmosphere. Here, the actual picture is in the form of manually drawn from another person's point of view in the process of creating original media art that is mechanically reproduced.
Thread Painting (Definition): It is a hand-drawn painting of a media art <the morning glory> image on a cloth. In other words, it is a picture that expands the position of a non-real object, with light reflected from a translucent fabric and a small hole in the fabric.
The shape meaning of media art "the morning glory" with thread painting decorates the reality of the customary universality facing the object with the color of light.
The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place.
Here, as a real object being, the color is a monophonic image of the custom educated as a custom that appears to be a gaze. The meaning is a symbolic language that symbolizes the imitated flower.
Here, the image is a sculpture of thread painting meaning symbolized in non-real space as a result of the lacan's meaning.
In symbolic shape, non-real is a formative shape with a conceptual image.
The real of the shape is another real separated from the entire shape as a distorted image.
In reality, a symbolic image is a distorted image that ignores reality and connects incomplete structures to form a meaningless structure different from that of reality as a condition of visual shape.
As a real, symbolic images turn away from reality with distorted images and chain incomplete structures to form meaningless structures different from reality as conditions for visual shaping.
The meaningless structure emerges the entire image of non-real by reproducing reality in subjective perspective as a point of view of real from another real position.
It is difficult to distinguish whether the actual image should be tailored to the entire picture or the actual structure of the viewer.
Therefore, it is unclear whether it is in the picture or reflected in the mirror outside the picture.
In this way, as a non-real object that does not reveal the reality of other objects other than the same object reflected in the mirror in the imagination world, "the morning glory" seems to be another object reflected in the mirror as another object transmitted from symbolism.
The object reflected in the mirror is not visible, and the existence of the person who sees the whole picture disappears by looking at other objects reflected in the mirror. Symbolism and reality create inconsistency through invisible concealment from absence to absence.
The space in which the object reflected in the mirror has shifted from symbolism to reality is an invisible reality, and symbolism becomes a reality.
At this time, the object loses the symbolism of the existing space, and the object realized in symbolism disappears the reality of the space in which it existed.
The real is that it reveals reality in the space of three-dimensionalization, but objects appear to be distorted images.
Realistic real comes from a visually distinguishable structure. The structural form has several cross sections in a three-dimensional form.
The cross-sections draw objects from multiple viewpoints at the same time, but in "the morning glory", one cross-section and two sides are concretely planarized from one point in time.
However, the three-dimensional figure clearly reveals the physical structure by erasing the volume and shadow by showing the multifaceted complexity of the morphological structure of an object without showing realistic perspective or three-dimensional effects.
In other words, rather than reproducing the shape, what is recognized as the actual size is summed up.
This is Lacan's reality, which actually shows the form of visually expressing the morning glory in a cognitive reproduction of an object according to the size of distorted media art and predetermined thread painting at different times.
Chul-joo Choi, morning glory 2021-g-back, 135X167cm, acrylic and composite materials on cloth, 2021
Lacan;s the meaning of objects is created by a conscious movement that combines the effects of repeated unconscious language and replaces them.
After creating an image of an object to which Lacan's art theory is applied and repeating it in the connection structure between the image and the image, the deficiency is revealed and desire appears as a semantic action instead of not acting meaningfully as a resistance to semantic behavior.
The image formed by deficiency is like that of an infant in front of a mirror, and identification in the imaginary world forms a transformed image of oneself as the image of the object is outwardly identified with itself. This <morning glory 2021-g-back> is an image that is actually visible, and the shadow of the space without the object and object on the back is brightened or lost.
It is an object of a deficient image as an image that infants are satisfied with.
The reality of the object is a real image reflected in the mirror by confirming the actual structure that does not exist in the empty space behind the object.
In other words, the actual image seen may be an image of the real image reflected in the mirror as a metaphor or an image that appears to be a virtual shadow as another image.
Therefore, just as Lacan's metaphor does not compare objects, but one image is replaced by another, Cezanne made it possible to see the meaning of the form after a similar form of imitative painting reveals its form without hiding.
The place where its meaning is fixed is the two fixed points between the divided subject and the divided subject as the image leading from the unconscious desire to the divided main agent is repeated.
The semantic function of the fixed point is concurrency and disclosure. The simultaneous function here is that the meaning of the sentence is completed by a retroactive effect, and the function visible to everyone is a structure or metaphor that can be obtained from the source by hiding in the sentence like language.
And he simplifies the form that goes against the picture as a practical landscape, divides the object into planes, and adjusts it to a subjective color at the intersection of light and shade.
Chul-joo Choi's "morning glory": Exhibition of Chul-joo Choi's "morning glory" with the image of Lacan's object ɑ and Picasso's Anamorphosis, 20.-22. Dec.2021 Gwangan Gallery in Busan.
Chul-joo Choi’s thread painting: morning glory e-002, 55X73cm, acrylic and composite materials on cloth, 2021
Like Cezanne's landscape painting, the color of light reflected in a concise form that matches the background, skylight, and hue is an imitative form of non-realism that distinguishes the color of skylight from the form of pictorial skylight with the entire space as one space.
Like Cezanne, "<morning glory e-002>" is a picture that harmoniously expresses the imitative form of non-realism as a shade color by distinguishing the color of the lighting staring at the sky from the color illuminated on the object.
Chul-joo Choi, morning glory-2021-l, 148X175cm, acrylic and composite materials on cloth, 2021
The object to which Lacan's art theory is applied is Chul-joo Choi's morning glory. The object's real is hidden in the margins of the non-real space, depending on the time.
In this way, the reality of the morning glory as a lacan's object becomes the blank space of the non-real space according to the change in time. The trumpet flowers painted there match the image of the light of the space as the target, and the target is set according to the inevitability of the symmetrical unreal space reflected in the mirror, equating the symmetrical real space with the non-real place. This is the space of the image tailored to the object. It is a space of fabric that repeatedly connects one gap and blank, and one picture structure overlaps the color drawn on the fabric with several blanks, square threads.
The image depends on the color and shape determined by the place of the object.
Therefore, the meaning of the image as an object in <morning glory-2021-l> made of thread painting is the color of its meaning, and the reality of the customs universality facing the object is decorated with the color of light.
The dark space in contrast to this decorated light is a shadow created by staying in one place. The object that exists here has a cross-sectional shape that has changed its shape due to the appearance of a staring color and familiarity with customs.
The meaning of "morning glory 2021-l" is an aesthetic structure in which the shape of a realized object stopped in a place of everyday life is shaped as the color of light, and the color of the reflective margin that is difficult to distinguish is repeatedly drawn on a fabric-like material.
Here, the colored picture unravels the value of reality in the shape of color when enlightened by customs or when in place.
However, the material hidden in the margins of the object in the picture is tailored to the color suitable for the object of the time because it cannot reproduce its timeliness.
And "morning glory-2021-l" which sets the outline of the shape on a cloth-like thread as a color line contrasting its color, captures the familiarity of customs with the inevitability of the past space.
This indicates the meaning of the symbolic action that characterizes the design that repeatedly combines pieces of distorted morning glory image in the pictorial imitation process.
The meaning is a symbolic language that symbolizes imitated flowers. Here, the morning glory image is a sculpture of meaning symbolized in non-real space as a result of the lacan's meaning.
The place where the meaning of the morning glory is fixed is an image that leads from unconscious desire to a divided subject, and by repeating the design of the morning glory, the divided subject and the intersection form an image close to the two fixed points.
The semantic function of the image close to the fixed point is simultaneity and synchronicity. The simultaneous function here is the meaning of the sentence, and the image completed by designing the actual object by retroactive effect of the design concept is <morning glory-2021-l>.
The synchronic function of the image is <morning glory 2020-D>, which is a synchronic structure that can be obtained from the source of the design concept hidden in the linguistic sentence, that is, an image of a contrasting metaphor of the image reflected in the mirror.
Chul-joo Choi, morning glory 2021-i, 113X168cm, acrylic and composite materials on cloth, 2021
"morning glory 2021-i" is thread painting in the form of a teaching fabric in which the back is illuminated by manually drawing an image of a misarranged image made from an anamorphosis image of a morning glory.
In other words, it is a shape in which the position of non-realistic painting with reflected light is expanded to the anamorphosis image in a shape of a cloth shaded in a thread and a small hole in the fabric.
The meaning of the shape is decorated with the color of the spatial light of the fabric entangled in a grid of the real of the customary universality facing the morning glory.
The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place.
Here, as a real object, color is a visual image familiar with the custom of sight.
The meaning is a symbolic language that symbolizes the imitated flower.
Here, the morning glory is a sculpture of Lacan's object ɑ, the meaning of hidden aesthetic structure, as a symbol of space rather than reality by the meaning of Lacan.
Chul-joo Choi, morning glory(2021-b)-Lighting image, 132X168cm, acrylic and composite materials on cloth, 2021 : An image that appears to be reflected light from a small hole on the screen. (An image representing reversible light reflected from a small hole on the screen
Realization triggered by naturalism is a computer-made virtual image that is easy to create, duplicate, and convert, creating an unrealistic image without an original.
This is a computer technology that is not related to works of art, so it is different from works of art using the other's desire perspective as a medium.
However, computer-mediated media art makes other virtual images into real images, but also has artistry as a replica of the original virtual image.
Therefore, the way to effectively promote works of art is to use media art, and the technical expression of media art is also artistic.
This is an example of expressing the medium of art as a media art with contemporary media technology.
The difference between art and non-art is distinguished according to the existence of object 의 as a real formed from the perspective of the desire of the other in a hypothetical shape as a real thing and a virtual shape as a non-existence.
Therefore, it is difficult to reveal the objectɑ in a virtual shape as a non-existence without the original. The condition of a work of art is that the meaning of the hidden aesthetic structure that exists as the original is an objectɑ.
A realistic picture forms a formative structure, but when it is the same form that does not distinguish between the original and the reproduction, it is not a meaningful composition.
This is because its formability can form an image or reform it into the same form through a realistic structure.
Therefore, the anamorphosis image of the desire of the other person who is difficult to replicate is the meaning objectɑ of the concealed aesthetic structure as an existence.
Here, the anamorphosis image is an objectɑ as another real image separated from the real image, although it is not real as an image of the whole.
An image formed as a virtual object by reproducing an object in a painting is a virtual image that conceals reality.
The virtual image is viewed as a virtual image by being recognized as a plane.
Here, by revealing the objectɑ as a being through the Lacan art theory system, the virtual image becomes real.
Lacan's Objetɑ is hidden in the geometric schematic of perspective that reproduces objects and is momentarily revealed by the desires revealed in the unconscious.
The objectɑ form an anamorphosis image expressed through the desire revealed in the repressed unconsciousness of others with a design to obtain artistry beyond generality, and create the real of the objectɑ to reveal artistry.
The artistry here reveals the objectɑ as another being of the object by transforming the image of the object into an anamorphosis image from the perspective of the other's desire.
And the meaning objectɑ, which has become a concealed aesthetic structure as an existence, acquires artistic meaning with creativity and autonomy.
<morning glory 2021-i> depicts an image generated by an anamorphosis image of a trumpet flower, and the form of a picture drawn in the shape of a cloth consisting of a grid in which the back is illuminated is thread painting.
In other words, it is a shape in which the position of non-real painting with reflected light is expanded to an anamorphosis image of a grid hole in which the back is illuminated is thread painting. The meaning of the form is another person's desire decorated with the color of spatial light with thread painting of the real of universality in the customs facing the morning glory. The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place. Here, as a real object being, the color is an image on one side familiar with the custom seen as a gaze. The meaning is a symbolic language that symbolizes the imitated flower. The flower image is a sculpture of the hidden aesthetic structure meaning object ɑ a symbolized being in non-real space as a result of the lacan's meaning.
Object ɑ is an object revealed in Lacan's art theory as a 'gazing' from the perspective of desire and rational thinking from a perspective.
Therefore, the object ɑ as a gaze was revealed as a dot of light in the eyes of the other as the subject.
This is an image that overlaps with the perspective visual system but is momentarily revealed from a desire perspective in an oppressed unconsciousness.
The eyes on the picture see an object drawn on the canvas, but the eyes is like a subject staring at it.
The gaze determines what is seen and what is not seen in a small hole on the screen, such as a cloth, in space, the reflected light determines the image that is shifted according to the coincidence or inconsistency with the gaze.
Therefore, Object ɑ means a concealed aesthetic structure as an entity revealed in the lustful gaze system, not a non-real image in the perspective visual system.
Chul-joo Choi, morning glory 2021-l-1, 148X175cm, acrylic and composite materials on cloth, 2021
The emergence of linguistic meanings unconsciously in reversible temporality creates an image of the other's inconsistent desire as the place of <morning glory 2021-l> and develops it in a consistent sense.
This shows the meaning of Lacan's unconscious language, which repeatedly indicates that there is no unstable element, and draws an inconsistent image of a "morning glory" representing an incomplete phenomenon representing the unconscious language, like the desire shown by the other's conscious movement.
The structuring of "morning glory" as thread painting is an object that implicitly relies on the existence of a structure, that is, the temporality of a momentary coincidence, at a predetermined object.
The image of the object is structured as a shape of the thread, and the image drawn on the connected fabric is expanded into the shade of light to expand the planar shape of the morning glory in the fabric.
Therefore, the structuring of thread painting is the place of morning glory that depend on the existence of an implicit structure in the designated place of the morning glory, that is, the coincidence of momentary temporality.
The position creates an image of a morning glory in the sky and overlaps the image of the overlapping fabric to expand into a reversible shade of light. And the image describes the atmosphere that has changed to flat morning glory and temporality.
By illuminating the position in several directions, the existing shape of the past time is returned to the unconscious shape, and the images reversible to the real shape cannot be overlapped according to one time, but are overlapped in an integrated meaning.
However, the shape does not appear to be meaningful, and the image background is settled in several shades that are momentarily reversible.
This is a different image in which the position of temporality, that is, the image of the sky, appears to be a stimulus of light set in time at one moment of time, just as clouds, rain, and eyes appear.
The image is the place of infinite and continuous existence that light has achieved over time.
The momentary shape in which abstract phenomena coexist as images with form and meaning is a reversible visual structure. When an painter draws, it is the temporal logic of the image that obtains semantic recognition of the image.
Therefore, the structure of the visual reversible reaction is a momentary image according to the visual reversible reaction in the shape of a morning glory, and a misaligned image in which the morning glory is temporarily obscured by shadow or light or coexists in its original position is the meaning of a momentary image.
The image is a view of another person's desire on a cloth at the moment when the shadowy shape of everyday life intersects the morning glory of the past time.
The structure of the branches and leaves of the trumpet flower shows the meaning in harmony with the trumpet flower that matches the appropriate shade corresponding to the light. It's meaning shows the positional structure of the morning glory exposed to bright light in a symbolic shape according to the shadow light.
Therefore, a morning glory painting is an image method that reveals the morning glory that unconsciously exists in the place of the morning glory. The more you repeat the shading image of the reversible light, the more abstract the morning glory image becomes.
In other words, the more reversible light is repeated over time, the less the area of light is expressed by overlapping the shade of the staring morning glory.
The meaning of the morning glory, which repeatedly combines pieces of distorted morning glory image, represents a symbolic shadow in which the other person's desire is specified.
Here, meaning is a language that symbolizes the conceptual image of a morning glory and a flower that mimics an object that always exists.
Therefore, the morphological language of 'morning glory" decorates the reality of the customary universality faced by objects with the color of light.
The dark space in contrast to the decorated light is a shadow created by staying in one place.
Chul-joo_Choi, morning glory 2021-h, 131X167cm, acrylic and composite materials on cloth, 2021
In "morning glory 2021-h" actual morning glory, cats, fish colors, and shadows coincide with conventional images. The "morning glory 2021-h" is a word that symbolizes the other person's desire by imitating the other person's desire hidden on the back of "morning glory 2021-h" where the cat's movement has stopped.
As that "morning glory 2021-h", the cats image is a sculpture of meaning symbolized in non-real space as a lacan's word of meaning generated by visual reversible reaction in its place.
This is because the color of the shade caused by reversible light on the overlapping fabric determines the position of the cat and morning glory, and over time, the distorted desires of the other overlap and develop into an image of fabric.
This is a visible phenomenon, and the morning glory made by the movement of the other's desire appear inconsistent, and the images of the cat that's separated from desire and the morning glory, whose desires are fragmented, overlap with intersecting threads to form a space ahead of them.
Lacan painting exhibition showing the shade of object a with reversible light, 20211223-20211225, Gwangan Gallery.
Chul-joo Choi, morning glory-2021-l-back, 148X175cm, acrylic and composite materials on cloth, 2021
The "morning glory 2021-l-back" approaches landscape paintings that seemed to be the daily desires of others, rejects two-dimensional flatness, divides fantastic plane images into two planes and shows them in a fabric structure so that they can recognize others' desires as reversible shadows.
It is difficult to reveal the object ɑ of the structure of beauty concealed in the object of the hidden structure existing as an attribute of shadow in a picture that is converted into a system that approaches recognition as a meaningless being and draws out symbolic expressions.
The perceived symbolic expression is a linguistic composition without a well-seen formative aesthetic structure at the bottom of the picture. It is perceived as a flat expression, but it is a virtual image that hides reality.
The image is a virtual image that deviates from the perspective of reality and belongs to the structure of desire as a hidden aesthetic structure.
<morning glory 2021-l-back> is a background shading by manipulating the morning glory's background with reversible light on the surface of a fabric made of crossed threads.
And light reflected in a small hole in the fabric is an abstract image that expands the plane of an object by overlapping it with reversible light in an unrealistic picture.
The reality of the existing universality encountered by morning glory, which represent the other's desires, overlaps with reversible light to decorate the entire space with the meaning of color.
The dark shape that contrasts with this decorated flat image is a momentary shadow of reversible light drawn on the fabric.
Here, the cross-sectional image of the custom seen as a real object looking at color is a language that symbolizes an imitated morning glory. This is because the morning glory image is a reversible shadow of the Lacan's semantic structure.
The expression of color recognized as a shadow forms the semantic structure of the image according to the tone of speaking with temporary light that reflects the desire of others who are staring at the screen or are invisible.
The transition from a practical expression of this semantic structure to a symbolic system conveys the planar dimension of the object to a semantic structure. The planar image of this practical morning glory makes you stare at symbolic expressions and real images. It shows a dual appearance of expressing the opponent's daily life and symbolic desires at the same time through morning glory.
By removing the stage of volume by using reversible shades over time as monochromatic color, <morning glory 2021-l-back> does not have a fantastic image of the object by light, that is, an image of quattrocento painting.
The morning glory has no setting of light, while the background is painted in the way of Quattrocento painting. This is the process of transitioning from an imaginary world to a symbolic world, and images that do not exist, that is, images reflected in the mirror in the imaginary world, coexist. It reproduces the reality of a morning glory as an image that coexists, but the background image is identified with the morning glory, but the image assimilated with a non-substantial shaded color does not fit the metaphorical meaning of the substance. Its meaning is metaphorical like the language structure, so it is not the same as the form of a morning glory.
Therefore, the meaning structure of shadows created by reversible light with images different from morning glory is an object as a reality, not real. This is not an image as an object, but an object of reality as another person's desire. In this way, Lacan's symbol, "morning glory 2021-l-back," shows the concept of changing the shape in which reality exists and enlightening its meaning.
The morning glory 2021-l-back is a small hole where the surface of the picture intersects, setting the non-actual position with reflected light, and drawing a shadow shape in which light overlaps. On the right back and side, the part that receives the light has a bright shape unlike it really is, and the rest has a shape of a shadow transferred by reversible light.
By revealing the reality of <morning glory 2021-l-back> created by the other person's desire, it created a dual space in everyday symbolic expression and real space. In terms of perception, this reveals the flatness of the picture that converts the morning glory, which appears to be an external image, into a symbolic image in contrast to several reversible light. Here, the morning glory 2021-l-back extends the position of the non-real image with reflected light reflected from a small grid-shaped hole pierced on the grid-shaped fabric of the grid.
This is expresses non-real images and existential meanings in the part of the light reflected from the back and the light reversible from the previous time.
It forms a visual object with reversible light, brightens the object with a awakened image of the other's desire, and forms a form in which the rest of the image is shaded by several reversible light.
By revealing the reality of <morning glory 2021-l-back> made by the desire of the other, it created a real space with symbolic representations and behind everyday life.
In terms of perception, the morning glory flower, which appears to be a substance as an external image, is converted into a symbolic representation system in contrast to a shadow with several reversible lights in the background. In other words, the represented painting of a symbolic representation shows an image of a cultural shape overlapped with several reversible lights over time.
Chul-joo Choi, morning glory 2021-g-back, 135X167cm, acrylic and composite materials on cloth, 2021
From the Renaissance to the middle of the 19th century, the expression of painters' paintings, or pictorial images, was immersed in mannerism that adhered to the popular style.
At that time, most painters were in need of life, except for the painters who painted portraits of the royal family, aristocrats, and upper classes.
The painting they completed as a means of livelihood is what Lacan calls a picture reflected in the mirror, that is, an imaginary system as a metaphor, an object that is satisfied with the image of the real object as an infant by looking at the object reflected in the mirror.
In <morning glory 2021-g-back>, the boundary of the canvas visual range is removed and the three-dimensionality of invisible mannerism in the picture is removed to schematize it as a semantic object. This is an object viewed from the perspective of semantic duality, away from the traditional style of painting expression from the Middle Ages to the modern times.
It imprints that it is a flat canvas and refers to the reality of the family as another meaning of the compositional image formed by chickens and chicks, not the actual picture of perspective.
It is a lacan painting that shows the shadow of object a with a reversible light that rejects the image center of simulacre, which replaces real, by omitting the volume of chicken and rejecting perspective description.
The transition from such a semantic representation to notation shifts the planar dimension of the figure to the essence of meaning. This is a dual object that simultaneously shows livestock in daily life and a family in a symbolic sense through chickens and chicks.
The shape of the picture reveals the aesthetic meaning of an object in the visual system in image painting.
This is a pictorial act, and the object is defined in a limited area in perspective, distorting the original space, and drawing it on the canvas to produce meaning.
In addition, another meaning due to the shape of the area similar to the object forms a meaning subtracted from the image in a semantic form from the double expression of the shape.
The dual meaning formed here breaks the relationship with the apparent being in the visual system and exists as a meaning in an immaterial cultural space.
The verbal expression of the object in the picture is also metaphorical, but assuming that it is an image that is not reproduced, real exists as a virtual image that reproduces real through thinking.
Here, 'morning glory 2021-g-back' is an unrealistic meeting that distinguishes the symbolic image and real meaning of morning glory, contrary to the reality that chickens and chicks are life and family.
In the picture space, Lacan's real is different from objective real and representative thoughts. It has a real object ɑ that is separated from the real transferred from the symbolic world
In "morning glory 2021-g-back," the hidden images of chickens and chicks in the morning glory landscape are repeatedly expressed in the meaning of the family, and the meaning of the family is revealed in the composition of hidden images from the images of chickens and chicks.
In the semantic space in the picture, the volume of chicken is omitted in its actual shape, and the meaning of the family is expressed in a non-visual system.
In the public domain, real is a hidden meaning beyond the displayed image.
As a real in its concealed meaning, "morning glory 2021-g-back" shows both the space of life and chickens and chicks with morning glory in the landscape to reveal the existence of the family. "morning glory 2021-g-back" is a real that shows the value revealed in the family's appearance, eliminating the unrealistic real that seems to be right in front of you and depicts the reality of meaning through thinking.
Painting in the symbolic world is only a continuing symbolic existence of objects. Lacan calls its existence a transcendent signifier.
<morning glory 2021-g-back> metaphorically expresses the meaning of the family as a real, an area separated from the realm of the symbolic world. Without showing the object to be expressed, compare the actual meaning of the family to chickens and chicks. In other words, invisible concealment creates an image that symbolically compares its meaning with its symbolic image.
However, Freud's unconscious expression can be compared to the desire of the symbolic others in the Lacan theoretical system through psychoanalytic interpretation. Here, the symbolic other's desire is identified in the category of the symbolic world in Freud's unconsciousness and the linguistic meaning of Lacan's signature image.
Therefore, the meaning of Lacan's concealed real image is an unconscious structure. By understanding the real of the family, which is not seen in <morning glory 2021-g-back>, you can find the meaning of the image that symbolizes the existence of the other's desire in a lacan's painting.
Chul-joo_Choi, morning glory 2021-h-back, 131X167cm, acrylic and composite materials on cloth, 2021
Joseph Beuys of Neodada, USA, converted the artificial act of being, that is, the object, into another object and artified people so that the object was recognized as an object of total art.
This is because he incarnated the soil, regeneration, resurrection, and rabbit in <How to explain the painting to the dead rabbit, 1965.>
The pictorial objects invisible in the visual system are Lacan's object ɑ and surreal object.
This is a distorted image in which the desires of others appear momentarily as an object ɑ of surreal lacan.
That is a dual object of surreal painting that has a symbolic meaning, unlike the meaning of symbolic and perspective actual shapes, as a shape derived from human subconsciousness.
The semantic language of Lacan's surreal image is based on the existence of real that identifies Freud's unconsciousness as a category of symbolic world. Therefore, the meaning of Lacan's surreal real is an unconscious structure. By understanding the real of the painting, <morning glory 2021-h-back> can be interpreted as another unconscious real in visual art symbolizes the desire of others.
In other words, the real of Lacan's unconscious shape is the effect of the emergence of incomplete and distorted images formed by repeating the semantic language of the image. This is a formula that can be exchanged for meaning through the conscious movement of the notation image, and the meaning is determined by substituting a shape to reveal the meaning of Lacan's desire graph.
It is similar to constructing an image with an unconscious structure into a scenario like a stage in a play and revealing and interpreting the meaning of the scenario through the thinking movement of the image shining reversible light of the past.
In Lacan's theory of visual arts, image exchange is expressed as the others person's desire instead of semantic action by repeating the structure of the mark image and shows meaning that does not act as resistance to insufficient images, that is, insufficient forms. In Lacan's graph of desire, it accepts Saussure's symbolic language, but reveals the meaning, which is the effect caused by the unconsciousness that prioritizes the meaning, that is, the image of the notation.
Here, Lacan's exchange formula; 'f(S...S')S=˜ S (-)s' is replaced with <morning glory 2021-h-back>, the morning glory as a image is connected to the sky, and the cat is incarnated, and the fish is selected as an object ɑ of the batter's desire and shaded into an object in the shadow. Lacan says that the meaning of the fish as the desire of the others is combined with the maintenance of the stick (-).
Lacan's fantasy formula, which functions visually in the picture, describes shapes such as unconsciousness and language so that others can experience their desires consistently and meaningfully. Therefore, the attempt to pursue in Lacan's painting seems to constitute a meaning that symbolizes the desire of others hidden by images, like unconscious language, in the existing space where certain effects of semantic behavior occur.
docent. Art critic Chul-joo Choi (Modern Painter & Doctor of Cultural Design)