Abstract contemporary art that designed modern art abstract painting [1/ 11~12] Abstract painter Louis Choi Chuljoo Abstract art work: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory" and "Bamboo Forest." / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: <Morning glory p26-2-9>
개념미술 미술가 작품 : Chul-joo Choi, morning glory 2020 p26-2-8, a hand-painted picture on a computer / 만화뉴스 만평을 개념 미술가 작품으로 재해석한 현대미술 추상화 개념만평 현대미술 팝아트 작가 작품
개념 추상화 <morning glory>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 라캉의 오브제ɑ다 즉 루이 최철주 <morning glory>의 개념미술은 라캉의 미술이론에 귀속된 추상적 관념이다.
추상화가 루이 최철주의 현대 개념미술은 타자의 욕망을 주제로 한 비실재로서 실제적 조형성의 흔적과 가역적 빛의 음영으로 개념을 추상하는 미술이다. 이것은 초기 개념미술의 개념으로 한 회화성의 복귀 즉 실재의 자리를 대리하는 타자의 욕망을 추상하는 추상화다.
따라서 배반적 개념미술가로서 추상 화가 루이 최철주 <morning glory>는현대 회화를 개념 추상화로 한 디자인 컨셉으로 제작하여서 이것을 라캉적 의미 구조의 형상으로 추상 디자인한다 즉 회화의 개념 추상 이미지를 기호화하여서 그 회화를 디자인한 추상화다. (최철주추상화 <morning glory>에 관한 최철주 개념미술이론)
현대미술 회화 디자인: 의미 구조로서 형상 이미지를 기호화한 오브제 디자인 = Louis, morning glory p26-2-5, a hand-painted picture on a computer, 2022
비사실적 실재의 형상을 가역적 빛으로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 2022 뉴욕 전시 나팔꽃 포스터 26-2-5)는 타자의 욕망을 시간성에 감춘 이미지를 가역적 빛의 음영으로 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 형상의 실제 변화된 움직임에 의해 가려지는 개념적 추상의 의미 즉 거울속의 이미지는 가상적인 비실재의 이미지로서 타자의 무의식적 욕망의 자리를 드러낸 추상적 이미지의 오브제ɑ를 보인다.
그 오브제ɑ 는 가역적 빛으로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(나팔꽃 포스터 26-2-5)는 병아리가 타자의 욕망을 공용이 화석된 긴 시간성에 감추어진 이미지를 가역적 빛의 음영속에 어떤 형상의 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 전시 포스터 형상의 실제 변화된 움직임에 의해 가려지는 추상의 의미 즉 오브제ɑ를 말한다.
개념 추상화 현대미술 작품: 루이 최철주, 나팔꽃 p26-2-6, a hand-painted picture on a computer, 2023
현대미술 회화 디자인: 의미 구조로서 형상 이미지를 기호화한 오브제 디자인 = Louis, morning glory p26-2-6, a hand-painted picture on a computer, 2023
개념 미술로 한 <나팔꽃 p 26-2-6>은 전시 포스터 의미로서의 라캉적 특정효과가 발생하는 회화의 추상적 영역은 풍경속에서 응시적으로 기능하는 타자의 욕망을 순간적으로 볼 수있는 이미지다.
이것은 회화에서 나팔꽃이라는 일관된 의미로 보이게 있는 왜상적 평면성이다. 그 나팔꽃은 거울에 비친 실재(le réel)와 동일하지만 배경의 형상은 동일하지 않다. 이것은 구상적 형태로서 동일한 의미의 구조로 한 비실재의 사실적 형상을 개념적 의미 구조로서 추상이지만 그 형상이 다른 동일한 의미로서의 추상화는 유사한 색깔과 크기가 다른 사상적 비형상의 존재로서 실재하는 비사실적이기 때문이다.
그 존재는 실제 가역할 수 있는 형상으로서 추상 공간을 정의하고 그 형상이 가역적 빛의 음영으로 실제 변화된 움직임에 의해 가려지는 전시 포스터 개념 미술의 추상화 의미를 말한다.
추상화 의미의 현상적 자리를 전시 포스터로 대신한 라캉적 개념미술 추상화는 형상의 자리를 구별할 수 있어서 그 형상을 해석하는 이면(裏面)의 의미를 구상한다. 그 형상은 다른 의미를 말하려고 사상적 구조로 한 그 의미와 유사한 색깔과 크기의 추상하지만 상상계에서 개념 미술의 추상적 의미는 실재와의 동일시하여서 외형적으로 오브제의 이미지와 추상적 의미를 동일한 주체로써 오브제의 이미지와 동일시되면서 내적으로 주체는 변형된 추상적 의미를 형성한다. 이것은 형상의 추상적 의미를 가리키며, 그 형상은 실제 가역할 수 있는 추상적 공간을 정의하고 그 형상의 실제 변화된 움직임에 의해서 변화된 형상이 음영으로 가려지는 추상된 형상의 디자인적 의미를 가리킨다.
그 의미는 타자의 욕망<MONSTA X's "Let me be your fantasy" 11> 을 모방한 꽃을 상징하는 기호적 언어로 개념적으로 추상된 <나팔꽃>으로 디자인된다.
추상된 <나팔꽃>에 타자의 욕망을 대리하는 형상을 디자인하여서 라캉의 오브제ɑ로서 추상적 오브제로서의 재현한다. 그것은 원근법적 시각체계의 기학적 도식에서는 시각체계가 은폐된 가역적 빛으로 한 음영의 자리를 만들어냄으로서 무의식에서 드러난 타자의 욕망적 관점에서 각각이 다른 순간적인 응시로서의 오브제ɑ가 추상된다.
이렇게 라캉적 개념미술로 추상된 오브제ɑ는 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 디자인으로 형성하고 타자의 욕망을 존재로 개념적 조형성의 음영으로 오브제ɑ를 생성하고 의미로서 존재한다.
그 의미적 존재로서 오브제ɑ는 타자의 욕망적 관점에서 왜상적 이미지로 오브제의 이미지를 의미의 구조로 변형함으로써 오브제의 또 다른 존재로서의 오브제ɑ를 드러내어서 타자의 욕망의 자율적 선택으로 한 조형적 가치를 담고 있다.
그리고 회화적으로 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각은 그 형상의 실제로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 추상적 공간을 보인다. 이것은 타자의 욕망을 추상적 오브제의 존재 의미로 그 오브제를 실제 가역할 수 있는 공간에 추상하여서 자리한다.
배반적 개념미술로서의 추상화는 미술에서 사실적 구조물로서의 추상화를 말한다. 사실적 형상의 자리에 존재하는 개념적 의미들은 만화 리브 이미지로 구분될 수 있으므로, 추상화는 타인의 추상적 욕망을 만화 리브 이미지로 해석하는 가역적인 빛의 음영을 통해 그려진다.
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon rib images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon rib image as an image. (*Cartoon rib image, that is, an image that emphasizes the hidden meaning of the cartoon)
개념 추상화 현대미술 작품: 라캉의 오브제ɑ와 피카소의 아나몰포시스 이미지로 한 현대 추상화가 루이 최철주 개념 미술 추상화: Louis Choi Chul-joo, <MONSTA X's "Let me be your fantasy" 11>, a hand-painted picture on a computer
개념 추상화 현대미술 회화 디자인: 의미 구조로서 형상 이미지를 기호화한 오브제 디자인 = Louis, morning glory p26-2-9, a hand-painted picture on a computer, 2023
추상 공간의 자리를 더 이상 이미지로만 명시하지않고 그이미지를 개념 추상화 한 <나팔꽃 p26-2-9>를 라캉의 “해석의 네 방위(É=Jacques Marie Émile Lacan, Écrits, Seuil, 1977, 53)”에 적용한다면 상상계로서 이미지ⓐ ('utre)와 말(moi) a의 선과 상징계로서 해석A (utre)와 그림(Es) S의 선을 교차하는 대각선 위치에 둠으로써 회화 작품을 '해석의 네 방위(The quadruple)'로 해석한다.
여기서 라캉적 개념미술 추상화는 거울이론을 통해 실재를 드러내는 것은 유아가 거울에 비친 기표적 이미지를 상상계 이미지ⓐ와 동일시하게 상상계에서부터 시작된다. 주체로써 기표적 이미지가 자신이 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 상징계로서 해석A (utre)된 추상화로 전이한다. 그 추상화 이미지와 실재가 분열을 통해 실재와의 만남이 이루어진다. 실재로서 기표적 이미지는 왜상적 이미지로 드러나지만 비실재로서 실재와의 어긋난 만남 즉 추상화 다. (ACN. 2022.10.14 '라캉 해석의 네 방위'에 적용한 추상화 최철주 해석)
개념만평 <MONSTA X's "Let me be your fantasy" 5>의 욕망적 형상이 실재와의 어긋난 만남으로 이루어진 형상의 실제가 추상된 타자의 욕망에 가려지는 추상적 풍경 형상의 의미를 대리하는 비실재의 사실적 형상을 보인다. 그 형상은 추상적 음영으로 생성된 타자의 욕망이 선택한 실제의 구조와의 교차점이다.
이것은 비실재의 사실적 구조로 한 전체의 실제 형상과 가역적 빛의 음영으로 디자인한 타자의 욕망이 응시로 보이는 교차점에 순간적으로 추상화된 형상이다.
그 응시로서 시니피앙은 새로운 주체를 받아드리기 위해 절단한다. 이렇게 절단된 주체는 표상하는 형상으로 고착된다. 회화 속에서 거울에 비친 공간은 가역적 빛으로 한 회화의 음영에서 드러난 물리적 공간 속에 또 하나의 공간 즉 회화의 전체 장면을 보는 시점에서 볼 수 없는 ‘응시’로써 보이는 실재이다. 이러한 응시로써 보이는 실재를 재현하기 위해 그림에 화가는 거울을 소재로 사용한다.
동일한 평면에서 표현할 수 없는 개념만평 <MONSTA X's "Let me be your fantasy" 11>의 왜상적 이미지를 가상적으로 재현한 응시적 이미지와 유사하거나 그 이미지와의 연관성으로 한 큐비즘으로 실재의 자리를 대리한 것처럼 추상적 전시 포스터의 가상성을 큐비즘적 이미지에 맞춘 조각들을 개념만평으로 구조화 한다.
타자의 욕망으로 한 개념만평 오브제는 분명히 거울에 비쳐진 오브제로 드러나지 않고 은폐되었으며 거울에 드러난 또 다른 오브제를 봄으로써 그림을 보는 자의 실재는 부재한다. 다만 그 그림을 그린 이가 타자를 대신한다. 그 타자를 대신하는 라캉의 응시로써 드러난 자리는 전체의 가상적 이미지에서의 소실점에 등장한 피사체의 위치 즉 atopia 다.
따라서 그 피사체의 주체가 타자의 욕망적 관점에서 응시로써 드러낸 오브제 즉 실재다.
따라서 현대미술 팝아트 개념 추상화 <나팔꽃 p26-2-9>는 실재와 비실재의 이미지를 동일한 공간에서 개념을 추상한다.
피사체를 개념하는 큐비즘에서 팝아트적 공간으로써 물리적 실재를 드러내고자 함은 사실적인 실재로서 오브제를 ‘응시’하게 한다. 그리고 사실적인 실재를 분명한 물리적 구조에서 출현한다. 그 구조적 물리성은 입체적 형태에서 여러 개의 단면을 갖고서 개념적 회화에서 한 개의 단면과 두 개의 측면을 하나의 개념에서의 오브제로 형태적 구조의 다면적 개념성을 포치한다.
개념으로 집적된 사실적 비실재의 왜상적 이미지를 개념 추상화로 택함으로서 원근법적 밀도와 하나의 광원적 시점에서 형성되는 양감은 존재하지 않고 가역적 빛으로 한 이미지다. 여기서 개념 추상화 <나팔꽃>은 콜라주처럼 부분적인 왜상적 이미지이다.
이것은 각각의 부분적 이미지들이 가역적 시간에 드러난 개념적 형태로서 최철주나팔꽃 배경 공간에 회화 이미지로서 디자인된다. / 글. 디자인평론가 최철주 (추상 화가 & 문화디자인박사)
-------------------------------------------------------------
Abstract Artist Louis Choi Cj
Modern Painter Louis Choi Abstract art 11
Abstract contemporary art that designed modern art abstract painting [11] Abstract painter Louis Choi Chuljoo Abstract art work: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory" and "Bamboo Forest." / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: abstract artist Louis Choi Chuljoo "morning glory", 2020.
Art Review: Media Art's Qí Báishí's "morning glory" and Media Art's Thread Painting; Contemporary artist Louis Chul-joo Choi’s "morning glory", 2020, Museum of Minoo media art museum
Qí Báishí's Media-art "morning glory", Still image(4, 10, 23, 30, 39sec), Collection of Minoo Media Art Museum,
Qí Báishí's "morning glory" is a simple, linear form that aligns the bright shade of light with the leaves and stems. He collects aesthetic results that affect humans so that the morning glory does not deviate from its actual shape. His paintings, "morning glory" consists of the effect of ink-and-washy tea, which sets flowers straight to the top of the stem. He gives a humorous touch to the difference in brightness, allowing the morning glory to be distinguished as a living object. He added the movements of the flowers in an anomalous way to his painting of the morning glory. His painting of the morning glory is arranged with leaves, and the stem forms the entire composition. He equates the leaves and stems with the appearance of the morning glory tailored to the flowers, thus establishing a position that humans can understand. The joint of the stem falls into black ink and the stem connected to it is thin and cloudy, and overlaps with the space as an impression effect of black ink with no boundary line with the morning glory. And the shape of the leaves drawn by the difference in brightness of black ink is shaped and structured so that humans can rely on the shape of the morning glory.
Media art at the Minoo Media Art Museum has cast doubt on the production process by showing the process of dismantling and combining the completed works. Accordingly, Chul-joo Choi, a doctor of design at the Museum of Minoo media art museum redesigned the media art work and its image in the process of creating media art. Chul-joo Choi's media art <the morning glory> designs the place of flowers and sets the place of leaves and stems that depend on the shape of the flowers. Unlike the media art Qí Báishí's <the morning glory> which shows the process of painting flowers in the structure of stems and leaves in the entire image, the media art that designed the rest of the structure, starting with the flower of the morning glory is <the morning glory> by Chul-joo Choi, a doctor of design. He designs a flower that relies on a set being as a coincidence that black ink spreads. This is realised in the media art form of a computer and painting without the perspective of space.
Chul-joo Choi, Media-art; morning glory, Still-image (morning glory-4, -7, -15, -25, -35, -65, -75, -85, -95, -105)
abstract artist Louis Choi Chuljoo "morning glory", 2020.
In the process of producing the original media art, which is mechanically reproduced here, the picture format is thread painting. This painting embroidery the volume of light in the process of facing objects and ideally depicts the shadow of objects. It is a linear art that emphasizes "one line" in a new painting process combining oriental embroidery and ink painting. In other words, the image of the line, which was stopped during the process of drawing the media art <morning glory> was drawn with thread and paint.
In Kim Hong-seok's <Open and Closed> art review, art critic Louis Chul-joo Choi said the definition of a thread painting is "a trace of paint and yarn equivalent to the time remaining in the fabric, and it is exposed parts and margins."
Also, the structure of the shape was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things.”
and the aesthetic value was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things. The color of the shape reveals a hidden aesthetic value by giving time, not by marking, but by being considered the structure of the discoloured body.” in Thread Painting.
This is different from the aesthetics of M-Duchamp conceptual art that does not decorate materials.
Thread painting is a form of self-consciousness that has been implemented before realizing how things are perceived. The color of the shape does not indicate the distance of time, but shows the hidden aesthetic value as seen by the faded original formative structure. And beyond the literary character of conceptual art, it raises the formalities as a painting, paints the colors left behind, and ties them together with threads in a new formative structure.
Construct a shape in which the color of the linear structure exists so that the shape as a knot that hides the color by inserting the structure of the color into the thread so that it can adapt to a particular color.
Therefore, "Thread Painting" is a painting of yarn and paint on a cloth seeking linear aesthetics that denies the excessive literary nature of conceptual art.
Qí Báishí's Media-art/ morning glory, Still image(39sec)/ Chul-joo Choi, Media-art: morning glory,
Thread Painting; <the morning glory> is an image drawn on a cloth-like material of an object made by custom. <the morning glory> is a method of drawing an image that is reversed from left to right by constructing a shape that looks like an image of the Lacan's objet on a cloth-like material.
Therefore, his painting is a two-sided painting that does not distinguish the front and the back. To represent an image in terms of practical and cursory features to suit the subject. Here, painting as a object of change in customs is another image that appears to be a object. It disappears as a substance of a subject that is hidden and drawn in small pieces invisible from space.
A small object shows a space that can actually be reversed through the shape's thought movement. This refers to the meaning of a shape in which, a small object defines a space that can actually be reversible and refers to the meaning of a feature that is obscured by the actual changed movement of the feature.
Chul-joo Choi, morning glory e-002, a hand-painted picture on a computer, 2020
It is the color of light and the shape of a material such as cloth, and the inevitability of an impressionable space determines the position of a object. And by stopping the light and the object of the place, it forms a structure of conventional painting. This is a space where you can stay with the inevitability of a stopped structure. Thus, the meaning of the actual structure of the picture where the shape has stopped is formed by the reverse idea movement. Its conscious meaning as a structure is just a small piece of space that finds its place properties of matter. This small piece coexists as a properties of matter in numerous spaces when it is a similar object. The position is inserted into several spaces by the meaning of the thought movement, where one phenomenon and other meanings intersect. This is a thread painting, <the morning glory> which was created by repeating another space as an thought movement in the space of positioning.
The space here disappears and the morning glory turns into the color of light.
However, as a painting's meaning effect, it chooses a painting as the color of light on a fabric-like material or thread that has disappeared from the past space. Here, the painting distorts the image by changing the light into a line within a space that connects the surface of the morning glory with light.
Therefore, since the composition of the invisible preceding space cannot draw flowers, the beginning screen of the Media Art: <Qí Báishí, the morning glory> of Minoo Media Art Museum distinguishes the leading space by sketching stems and leaves and drawing flowers because the intro space is not the actual structure. Thread painting is a thread that depicts the shape of light that distinguishes objects in stationary media art. This is a thread painting limited to fabric in an empty space and the more you limit the habitual object to the shape, the more empty the space becomes, rather than the actual place, so it decorates the inner surface of the hidden cloth to find the meaning of the space as a small piece of artistic shape. As such, <the morning glory> is painted on cloth-like materials, forming an abstract spot with the inevitable spatiality of the object, thus gaining aesthetic value as a real habitual painting art.
Louis Chul-joo Choi’s thread painting: morning glory B-06 still image / *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum
Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2020
Louis Chul-joo Choi’s thread painting: morning glory B-06
In addition, thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.
The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.
The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze.
A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place.
However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space. / Writing. Louis Chul-joo Choi, head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Contemporary artist & media art painter)
-------------------------------------------------------------
Abstract Artist Louis Choi Cj
Modern Painter Louis Choi Abstract art 12
Abstract contemporary art that designed modern art abstract painting [12] Abstract painter Louis Choi Chuljoo Abstract art work: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory" and "Bamboo Forest." / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: abstract artist Louis Choi Chuljoo "Morning Glory" 2022 New York Personal Exhibition
Art Review: Contemporary Artist & abstract artist Louis, Louis Chul-joo Choi's "morning glory" Exhibition with the image of Lacan's object ɑ and Picasso's Anamorphosis.
20220301~20220308 Flushing Town Hall, New York.
NEW YORK EXHIBITION "MORNING GLORY": LOUIS CHUL-JOO CHOI'S PAINTING https://youtu.be/3oMz0-gejAA
Flushing Town Hall, New York
"morning glory 2021-k-1" 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.
Louis Chul-joo Choi, morning glory 2021-k-1, 136X168cm, acrylic and composite materials on cloth, 2021
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.
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 ɑ 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 object ɑ 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 object ɑ.
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 object ɑ 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 object ɑ as a being through the Lacan art theory system, the virtual image becomes real.
Lacan's Object ɑ is hidden in the geometric schematic of perspective that reproduces objects and is momentarily revealed by the desires revealed in the unconscious.
The object ɑ 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 object ɑ to reveal artistry.
The artistry here reveals the object ɑ 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 object ɑ, which has become a concealed aesthetic structure as an existence, acquires artistic meaning with creativity and autonomy.
<morning glory 2021-k-1> 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.
The object to which Lacan's art theory is applied is Louis 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.
Louis Chul-joo Choi, morning glory-2021-l, 148X175cm, acrylic and composite materials on cloth, 2021
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.
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-b> 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.
Louis Chul-joo Choi, morning glory(2021-b), 132X168cm, 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-b> 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.
In "morning glory 2021-h-back" actual morning glory, cats, fish colors, and shadows coincide with conventional images. The "morning glory 2021-h-back" 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-back", 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.
Louis Chul-joo_Choi, morning glory 2021-h, 131X167cm, acrylic and composite materials on cloth, 2021
In "morning glory 2021-h-back" actual morning glory, cats, fish colors, and shadows coincide with conventional images. The "morning glory 2021-h-back" 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-back", 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.
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.
Louis 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 lacking a formative aesthetic structure that is well-seen at the bottom of the image. 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 meaning of the image is that the reality of the present universality that trumpet blossoms encounter representing the other person's desires overlaps with reversible light, decorating all space with the sense 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 speech 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 transmits the plane 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 ocento 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 linguistic 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. It's not an image as an object, it's an object of reality as someone else'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 before the 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.
The crooked image viewed from the side as the object ɑ of Lacan is consistent with visualizing a photo image of the other person's desire in the past as a collage.
This is a crooked image generated by reversible light that goes beyond the actual visual image of the picture.
This is because it is an image created by the desire of the others in the Lacan's theoretical system, which is an irrelevant gaze area whether it is flat or three-dimensional. As an object in <morning glory 2021-e-back>, the morning glory at the bottom of the center among the three morning glory is not clearly aligned and viewed by the object 'ɑ' looks like a gaze.
Here, the morning glory refers to the presence stopped by a momentary gaze in the continuity of reversible time.
Louis Chul-joo Choi, morning glory 2021-e-back, 114X169cm, acrylic and composite materials on cloth, 2021
The image in <morning glory 2021-e-back> shows the existence of reversible temporality by planarizing the morning glory according to the reversible temporality of the perspective visual system margins and objects.
However, even if the existence of the morning glory is reproduced, the morning glory is identified as the background image, but it does not match the object 'ɑ'
It is a meaning structure of shadows created by reversible light with different images from morning glory about what existence is. It is an object that has another reversible temporality from a shadow that is not real.
Therefore, the object is not an image as an object, but a reality as another person's desire.
The morning glory at the bottom of the center connects reversible light to determine the place of existence and form a process of time to indicate the direction of the existence and a space in which it exists.
A morning glory flower formed at a single light source point in time does not have a sense of volume. Here, the morning glory is a partially fragmented image, such as a collage. In this way, each partial image exists in space as a fragmented shape exposed at the same time.
The planar morning glory is the form of a subject generated by the observer's gaze. Through morning glory that have eliminated volume, the presence connected to the reversible light is extracted, and the various reversible light in the background and the shadow of the morning glory are contrasted to show a plane view converted into a distorted image.
The Lacan's gaze cannot be selected as a visible image in which real and non-real reproduce an object according to the perspective of view, and the pictorial image expressing the actual image is identified as an image as non-real.
Therefore, the existence of an object is a distorted image similar to that of Lacan's object ɑ.
Louis Chul-joo Choi,_morning glory 2022-b-back, 130X158cm, acrylic and composite materials on cloth, 2022
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 2022-b-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.
Louis Chul-joo Choi,_morning glory 2022-b, 130X158cm, acrylic and composite materials on cloth, 2022
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 2022-b-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 2022-b-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 2022-b" 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 2022-b" 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 2022-b> 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 2022-b-back>, you can find the meaning of the image that symbolizes the existence of the other's desire in a lacan's painting.
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> 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. / Writing. Art critic Louis Chul-joo Choi (Modern Painter & Doctor of Cultural Design)
Art Review: Contemporary Artist, Chul-joo Choi's "morning glory" Exhibition with the image of Lacan's object ɑ and Picasso's Anamorphosis. 20220301~20220308 Flushing Town Hall, New York.
NEW YORK EXHIBITION "MORNING GLORY": LOUIS CHUL-JOO CHOI'S PAINTING https://youtu.be/3oMz0-gejAA
Abstract Artist Louis Choi CjAbstract Artist Louis Choi Cj
