추상 화가 최철주｜현대추상미술평론 현대추상화가평론 현대미술추상작품평론 Contemporary Abstract Art Painter Criticism [20] Contemporary Art Today Choi Chul-joo's Art Criticism, Abstract contemporary art that designed modern art abstract painting & Abstract artist Louis Choi Chul-joo Abstract art work: The artwork posted on Facebook: Louis Choi Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024 & Korean News Cartoon Culture Column in Cartoon Review / Reporter Choi Chul-joo’s Cartoon Review
Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024
시의성의 모습이 사실적으로 그려지면서 미적인 시간에 맞춘 연못의 형태와 그 시간에 발생하는 실제적인 이미지를 추상화하고, 실제적인 의미와 효과로서 연못에 영향을 미치는 시간의 빛은 시의성이 다른 욕망의 대상이 됩니다.
따라서 연못 이미지가 욕망에 영향을 미치는 의미와 효과는 당시 욕망의 주체로 반영된 거울 이미지입니다.
연못 이미지는 욕망에 영향을 미치는 시간성에 따라 존재하는 이미지에 반영되어 가역적인 빛의 음영에서 형식적인 현실 형태와 시간의 주체 사이의 관계를 드러냅니다.
연못의 시의성은 욕망의 공간과 또 다른 시간 기반의 가역적 빛의 개입을 만들어 가상 이미지를 추상화하여 그려낸 실제 이미지를 보여줍니다.
욕망 개념의 추상 디자인 프로세스: 사라진 연못
지구표면에서 수면과 맞닿은 지표면의 접선 안쪽 지표에 물이 괴여있는 연못의 테두리는 수면의 모양으로 한 기하학적 접선과 동일하다.
사라진 연못은 가역적 빛의 음영으로 순간적인 욕망 개념의 어긋난 빛의 구조로서 원근법적 객관성은 수면에 중첩된 대상을 가역적 빛으로 하늘의 범위와 원근의 크기를 왜곡시킨다.
연못에서 눈을 뜨고 욕망의 방향을 맴도는 물고기와 물위에 잎과 꽃을 드리우는 욕망의 미적 구조를 출현한다.
이렇게 출현한 욕망 개념은 가역적 빛의 음영으로 그 개념을 사실적 색조로 한 연못에 맞도록 추상한다.
사라진 연못에서 최철주의 욕망 개념은 실재 이미지와의 인과를 전제하지 않고 무의식에 소외된 욕망이 분열된 추상적 개념에서 욕망의 대상을 개념적 주체로 한 디자인으로 상징화하여서 실재 이미지의 상관 관계로서의 욕망 개념으로 추상한 실재 이미지로 귀결한다.
언어적 추상에서 실재 이미지로서 추상의 의미를 귀납적으로 추론하여서 상징적 존재의 의미를 취한다.
그리고 그 존재의 이미지를 바라보는 시선은 실재의 외면으로 욕망 개념을 추상화하여서 그 욕망 개념으로 실재의 상관물로서 실재 이미지가 추상의 대상이 된다. 이것은 최철주 욕망 개념 디자인 프로세스1 이다.
추상적 욕망의 대상을 개념적 주체로 한 디자인으로 상징화된 실재 이미지를 음영으로 한 크기를 생략하고 빛으로 보이는 범위로 자리에 이미지를 평면화한다. 그리고 그 이미지가 언어적 의미로서 말하는 욕망 개념의 상징 구조로서 표상한다.
이렇게 표상된 상징 구조의 실재가 하나의 단상으로서 자리에 조응된 미적 가치를 갖도록 그 자리를 풍습에 어울리는 보편적 실재의 색으로 대상을 꾸미는 것이 최철주의 욕망 개념 디자인 프로세스2 이다.
욕망 개념으로 디자인한 이미지에 은폐된 미적 구조는 구름으로 구분되어 가려진 음영으로 욕망 개념과 이미지로 대립된 방향으로 여러개의 방향에서 욕망 개념을 이미지로 시각화하여서 그 이미지를 추상화로 인지하도록 사회적 환경에서 생성된 욕망 구조의 피사체를 과거에 존재물로 대리한다. 그리고 그 존재물을 그린 주체가 욕망 개념을 기호화한 실재를 대리자로 집행하여서 추상적 욕망을 이미지의 정신적 현상으로 무의식의 이미지를 실제화한다.
그리고 무의식에서 추상적 욕망 대상의 이미지의 선택은 욕망의 주체가 바라는 상상에 의해 생성된 것이 최철주의 욕망 개념 추상화다.
그 추상화 이미지로서 무의식 구조로서 선과 색이 조합된 이미지가 생각속에 있지만 의식되지않는 것을 무의식적 행위로 한 욕망을 반복해서 디자인하여서 실재의 이미지로 생성하는 것이 욕망 개념 디자인 프로세스3 이다.
무의식적으로 추상하는 욕망 개념은 실재의 대상이 가역적 빛의 음영으로 보이지 않는 실재의 조각 이미지로 실재를 그림자로 감추고서 또 다른 실재 이미지를 보인다.
그 이미지는 실재 이미지와 욕망의 주체가 바라는 상상에 의해 유지하는 무의식으로서 그 이미지로 자각할 수 없는 생각이다.
그 생각의 이미지는 실재에서 조각난 평면적인 단색화가 의식 운동을 통해서 가역적 빛의 구조로 조합하여 자리한 욕망의 공간 구성을 디자인하는 것이 욕망 개념 디자인 프로세스4. 이다.
따라서 가역적 빛에 따른 언어적 이미지의 시간성은 아리스토텔레스의 시간처럼 실존론적-존재론적 해석으로 한 존재로서의 실재 이미지를 현전한다.
여기서 욕망 개념을 현전하려고 언어적 의미를 표상하는 것이 최철주 욕망 개념 추상 디자인 프로세스5 다. 이것은 경과된 시간의 상관적 구조로서 실재 이미지를 회귀하면서 이미지의 특정되는 면을 단순화 하여서 추상한다.
따라서 추상 구조를 특정하는 실재 이미지를 단순화하여서 단면의 명암을 가역적 빛의 음영으로 소거하여 추상의 본질을 단면으로 평면화한다. 이것은 실존하는 현재와 동일한 대상을 시간성으로서 은폐된 언어적 의미의 추상의 본질을 회귀한 이미지다.
이렇게 최철주의 욕망 개념 디자인은 그의 욕망 개념 디자인 프로세스를 통해서 언어적 의미가 원근법적 시각체계에서 또 다른 추상적 실재로서 욕망 오브제를 출현하다.
욕망 오브제의 구조로서 물의 표현은 물고기의 움직임으로 수면의 흐름에 운동감을 준 실제감과 연꽃의 평면적 추상 시점이 대조된다,
그 시점은 시간성에 따른 가역적 시점의 대상을 언어적 의미로 인지하는 실재 이미지를 추상적 사고에서 현상적 구조로 단순화한다. 즉 가역적 시점으로 가져온 추상적 인식의 오류로서 무의식적 초현실 조형 구조를 회피한 실재 이미지로 디자인한다.
그 실재는 사실적 구조의 경계를 만들고 욕망 개념으로 추상된 여백으로서 시간성에 맟춘 이미지를 여러개의 단면을 평면으로 의미를 특정한다.
이것은 무의적 욕망 개념을 특정하는 언어적 추상에서 나팔꽃을 추상화한 유겐트슈틸(Jugendstil)처럼 대상의 율동감을 추상화하여서 평면적으로 디지인하여서 양식화하지만 가역빛으로 대상을 해석한다. 따라서 "사라진 연못"의 순간을 인상으로 포착하는 인상주의적 이미지가 아닌 가역적 빛의 음영으로 언어적으로 "사라진 연못"의 추상 의미를 명시적 시간성에서 해석한 상징적 존재 이미지다.
따라서 존재로서의 무의적 욕망 개념을 추상화하는 시발점은 실재의 상관물로서 추상의 욕망 대상을 정한다. 이것은 현전하는 이미지를 즉 언어적으로 시간성의 이미지를 현재의 자리에 욕망 개념을 현전화한 가역적 빛의 음영으로 구조를 시현하여서 추상화하는 것으로 최철주 욕망 개념 프로세스1에 따른다.
욕망의 추상 구조를 특정하는 실재 이미지를 단순화하여서 단면의 명암을 가역적 빛의 음영으로 소거하여 추상의 본질을 단면으로 평면화한다. 이것은 실존하는 현재와 동일한 대상을 시간성으로서 은폐된 언어적 의미의 추상의 본질을 회귀한 이미지다.
욕망 개념에서 추상성은 언어적 의미에서 현존하는 빛에 의한 그림자가 시간성으로 회귀된 철학적 논리에 맞춘 가역적 빛의 음영으로 존재했던 연못 이미지를 생성한다.
그 연못은 물결에 비친 시간성이 중첩된 연꽃과 물고기를 욕망의 대리자로 포치한다. 이것은 욕망의 구조로 자리에서 분열한 언어적 요구를 연못에 미적 가치를 추상적 의미로 감응되는 추상화를 욕망 개념의 상징 구조로서 표상한다.
따라서 추상화로서 표상된 실재가 언어적 의미에서 분열된 미적 가치를 상징적 의미가 환영된 추상성에 욕망 개념을 어울리게 구성하려면 욕망 개념 디자인 프로세스2에 따른다.
언어적 추상성은 철학적 논리에 접근할수록 문자의 구조로 형성한 이미지가 미술에 맞추어서 조형적 구조를 이룬다.
최철주의 욕망 개념의 추상화는 철학적 논리를 종교에 귀속시킨 르네상스시대 교회의 신학적 조형 구조처럼 성서에 신적 인물을 의인화하여서 성서적 욕망 개념을 실재 이미지로 추상한 것과 동일한다.
다다이즘의 초기 개념미술의 미술적 감흥을 무시할 순 없지만 개념적 추상이 성서에서 벗어난 현대미술에서 최철주의 욕망 개념 추상미술은 연못에 비친 이미지를 통해서 문자적 개념과 언어적 의미를 스케치로 한 개념미술에 맞추어 이미지를 평면적으로 설치하는 것이 개념이다.
추상적 단어가 언어적 의미로 그려진 무의식적 추상화는 마음의 내용으로 한 이데아의 이미지로 해석하기 어려운 것이 환상의 구조로서 추상적 욕망 개념이다.
따라서 욕망을 상징하는 실재로서 추상화로 생성하는 이미지는 욕망이 원하는 무의적 행위로 표현한 욕망의 실재 이미지를 반복해서 디자인하는 것은 욕망 개념 디자인 프로세스3에 따른다.
반면에 추상적 개념을 실재 이미지로 표현한 것도 언어적 의미로서 개념미술이다. 따라서 최철주의 욕망 개념미술은 이데아의 구조를 실재의 구조로 전이한다. 그리고 추상 작품을 주체의 사건과 공연 이미지로서 실재 이미지를 보인다.
그 이미지는 인상주의 회화의 실재 이미지의 한계를 넘어선 개념적 추상화다. 이것은 사건과 공연 이미지의 순간적 인상으로 사진에 담아서 인상적인 욕망개념의 추상을 조명한다. 그리고 무의식적 욕망 개념을 언어적 의미의 이미지로 명확하게 실재화한다.
이렇게 욕망 개념의 실제화는 가역적 빛의 음영으로 조명한 욕망의 주체가 바라는 상상에 의해 생성한 보편적인 가역적 존재 이미지를 무의식적 행위로서 특정된 효과로서 추상화된다.
따라서 무의식으로 자각할 수 없는 생각을 보편적 실재에서 은폐된 조각난 평면 구조로 선택하여서 욕망의 틀로서 의미있는 공간으로서 “나팔꽃과 대나무숲 그리고 연못”을 구성하는 것은 욕망 개념 디자인 프로세스4에 따른다.
"사라진 연못"에 존재했던 욕망이 언어적 의미의 본질적 이미지로서 무의식의 과거적 경험과의 상관조건에 맞춘 실재 이미지로 추상된다.
여기서 연못에 시간성에 은폐된 유의미한 욕망의 중복된 이미지가 실재의 이미지로 출현하지만 전체의 이미지는 원근법적 시각체계에서 벗어난 추상적 구성이다. 이것의 모양이 평면적인 것은 과거의 욕망 개념의 이미지를 단순화하여서 욕망 개념의 실재와 추상과의 불합치를 무의식적 욕망의 존재를 객관적 실재 이미지로 추상화 한다,
그 추상화의 주체로세 욕망을 최철주는 배경과 행위자로 구분한다. 그는 욕망 배경을 나팔꽃, 대나무숲과 연못의 이미지를 구조화하여서 욕망의 행위자를 사건과 공연의 사진 이미지를 욕망 개념의 객관적 상관물로 표현한다. 그 욕망은 언어적 의미의 풍경을 가역적 빛의 음영이 상황을 구조적으로 욕망을 직유하는 상관물로 사실적으로 추상화한다.
사실적 구조로서 추상하는 욕망의 실재 의미로서 지각하는 욕망의 인상을 보인다. 즉 최철주의 욕망 개념의 배경은 욕망의 구조인 나팔꽃이다. 사건과 공연 이미지로 한 삶의 현상인 언어적 의미와 그 거울 이미지를 대나무숲으로 감춘 것이 그림자다. 그리고 그 그림자의 음영적 구조를 연못에 비친 이미지가 욕망의 배경으로 한 가역적 빛에 따른 시간성의 존재적 의미로서 욕망의 원인을 실재로 표상한다.
따라서 무의식적 욕망의 은폐된 실재 구조를 시간성에서 현존하는 언어적 의미를 표상하는 것은 욕망 개념 추상 디자인 프로세스5에 따른다.
이것은 상상계에서 수동적으로 설정된 가역빛으로 한 욕망 개념의 인상을 드러내고 원인으로서 욕망의 주체인 행위자가 욕망을 표상한 인상과 어긋난 추상을 출현한다,
욕망을 표상한 현상과 마주한 인상의 어긋난 추상은 상상계에서 보이지 않는 욕망의 실재다. 이것은 연못에 비친 추상적 욕망 이미지의 형태와 갖는 언어적 의미를 가진다.
언어적 의미를 회화에서 보이는 욕망 개념은 은유로써 모방적 회화의 범주를 넘지 못한다. 그러나 상상계에서 보이지 않는 실재를 상징하는 욕망의 개념과 이미지가 동일할때 개념적 추상화로 변모한다.
이것은 사회적 규칙을 가진 구조를 이루는 상징계로서 사건과 공연 이미지의 주체가 실재에서 보이지 않는 상징적 의미를 추상적인 실재의 이미지와 동일시한 욕망 구조의 이미지다.
따라서 욕망 이미지의 주체를 욕망의 행위자로서의 대상이다. 그 대상이 실재에서 보이지 않는 상징적 의미를 주체로서 받아들여서 추상적 욕망의 상징계에서 실재로 진입한다.
욕망의 대상을 개념적 주체로 한 디자인으로 상징물로서 보이는 실재 이미지는 회화에서 모방성의 범주에서 실재 이미지를 근대까지 종교적 관습에서 수용했다. 그리고 사회적 제약으로서 욕망 개념을 음폐하여서 회화에서 누드의 형상적 실체를 감추고 신화의 이야기에 근거로한 허상으로 상징화된다. 근대까지 회화의 상상계에서 사회적으로 금기된 상징적 의미는 형태적 실재의 이미지와의 차이를 갖지 못한다.
따라서 최철주는 욕망 개념의 이미지와 동일한 의미 구조를 실재 이미지로 추상한다.
최철주의 욕망 개념의 추상화는 실체적 형상의 이미지로서 사회적 욕망이 실체화된 형상적 의미를 상징적 형상으로 자리바꿈을 한다. 즉 근대까지의 회화는 명암의 단계를 드러낸 사실적인 조형성과 통념적인 추상화의 범주에서 벗어나 타자의 욕망을 보이지 않는 실재로서의 상징성을 파괴하여서 추상적 욕망 개념으로 한 현대 회화다.
이것은 <Disappeared pond>에서 회화의 평면성을 타자의 욕망으로써 드러난 추상 구조로서 욕망의 이미지로서 물고기를 윤곽선으로한 모노톤으로 표현함으로써 물고기의 실재를 추상한다.
연못은 동시대의 사회적 실재를 보여주면서 그 실체와의 교감을 욕망의 회화적 의미를 연못에 비친 관습적 이성에 감추어진 실재 이미지를 드러낸다.
그 실재 이미지는 연못에 침전된 욕망 구조의 실체의 상징성을 원근적 색조를 띈다. 동시에 동시대의 언어적 의미를 특징 짓는 비유적 이미지로서 타자의 욕망을 연못의 경계선에 틀을 만들고 추상적 욕망 구조를 실재 대상의 이미지로 추상을 연출하여서 선과 색으로 한 개념적 추상의 현상적 상징계를 파괴하고 실재로서의 주체가 욕망하는 목적에 어울리는 이미지를 구성한다.
이렇게 욕망 이미지는 주체가 욕망하는 필연적 대상으로서 욕망적 자리를 구성하여서 언어적 개념의 실재 이미지로서 회화적 가치를 획득하고 회화성에 기반을 둔 원본성과 욕망 개념의 실재 이미지를 언어적 추상 의미를 사용하여서 욕망의 내적 개념을 외적인 이미지로서 추상을 표지한다.
언어적 추상은 욕망의 구조로 인식허는 라캉의 상상계와 거울에 비친 실재를 시각적 구조로 정립한 욕망의 배경이 최철주의 <나팔꽃>이다. 그의 욕망 개념 디자인 프로세스에서 가역적 빛의 음영 속의 실재를 감추는 그림자가 <대나무숲>이다. 그리고 언어적 구조로서 무의식적 욕망 개념의 실재를 비춰본 추상적 언어 이미지가 <사라진 연못>이다.
따라서 최철주의 욕망 개념은 상징적 실재의 <사라진 연못> 구조를 언어적 표상으로 욕망 개념을 시각화하여서 현대미술의 이상적인 로고스 표현의 범주에서 추상적 욕망 개념을 실재 이미지로 환원한다.
그리고 욕망 개념의 디자인 프로세스로서 욕망의 대상을 개념적 주체로 한 디자인으로 상징화하여서 억압된 무의식에서 드러난 욕망을 통해 표출된 실재를 디자인으로 형성하고 존재로서 추상화를을 드러낸다./ 글. 미술평론가 최철주 (추상화가 & 문화디자인박사)
Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024
As the appearance of timeliness is depicted realistically, it abstracts the shape of the pond tailored to the aesthetic time and the actual image that occurs at that time, and the light of time that affects the pond as a real meaning and effect becomes the object of desire with different timeliness.
Therefore, the meaning and effect of the pond image influencing desire are mirror images reflected as subjects of desire of the time.
Pond images are reflected in images that exist according to the temporality of influencing desires, revealing the relationship between formal reality forms and subjects of time in reversible shades of light.
The timeliness of the pond creates a space of desire and another time-based reversible light intervention to show real images drawn by abstracting virtual images.
Abstract Design Process of Desire Concepts: The Missing Pond
The border of the pond, where water is collected on the surface of the earth, inside the tangent line of the earth's surface to the water surface, is the same as the geometric tangent line in the shape of the water surface.
The missing pond is a structure of light that deviates from the concept of instantaneous desire as a shade of reversible light, and perspective objectivity distorts the range of the sky and the size of the perspective with reversible light on the object superimposed on the water surface.
It opens its eyes in the pond and emerges an aesthetic structure of desire that casts leaves and flowers on fish and water hovering in the direction of desire.
The concept of desire that emerged in this way abstracts to fit a pond in a realistic hue with a reversible shade of light.
Choi Chul-joo's concept of desire in the disappeared pond does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided into a design, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure obscured by images designed by the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as images in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object of the past and is recognized as an abstract image. And the subject who depicts existence as an actor implements reality that symbolizes the concept of desire and transforms abstract desire into a mental phenomenon of an image.
And Choi Chul-joo's concept of abstract desire is created by the imagination desired by the subject of desire in selecting the image of the object of abstract painting in the unconscious.
Desire Process As an abstract picture image, the Desire concept design process 3 is an unconscious act that is thoughtful but unconscious, and is to repeatedly design a desire that combines lines and colors and transfer it to a real image.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire concept design process 4. is to design the space composition of desire in which the image of the idea is a flat monochromatic painting carved from reality by combining it into a reversible structure of light through conscious movement.
Therefore, the temporality of a linguistic image according to reversible light presents the image of reality as a being through existential-theoretic interpretation, like Aristotle's time.
Here, Choi Chul-joo's Desire Concept Abstraction Design Process 5 represents the linguistic meaning to present the concept of desire. This is a correlation structure of elapsed time, which is abstracted by simplifying a specific surface of the image while converting to an actual image.
Thus, by simplifying the actual image that embodies the abstract structure, the contrast of the cross section is eliminated with reversible shades of light, and the essence of abstraction is flattened into the cross section. This is an image that revives the essence of abstraction in the linguistic and temporal sense of concealing the same object that exists in the present.
In this way, Choi Chul-joo's concept of desire design emerges as an object of desire as another abstract reality in the perspective visual system through his desire design process.
The expression of water as a structure of the object of desire contrasts with the sense of reality and the flat abstract gaze of the lotus, which gave a sense of motion to the flow of water by the movement of the fish,
The perspective simplifies the real image of recognizing the object of a reversible perspective in a linguistic sense from abstract thinking to a phenomenal structure. In other words, it brings the error of abstract perception to a reversible perspective and designs it as a real image that avoids the unconscious surreal formative structure.
Reality creates boundaries of realistic structures and specifies the meaning of images in terms of time as empty spaces abstracted by the concept of desire.
Like Jugendstil, an abstraction of morning glory in linguistic abstraction that specifies the concept of involuntary desire, this abstracts the rhythm of the object and transforms it into a flat design form, but interprets it as reversible light. Therefore, it is not an impressionistic image that captures the moment of 'the disappearing pond' as an impression, but a symbolic image of existence that verbally interprets the abstract meaning of 'the disappearing pond' in an explicit temporality as a shade of reversible light.
Therefore, determining the object of abstract desire as a correlation in reality is the starting point for abstracting the concept of involuntary desire as a being. This is in accordance with Choi Cheol-joo's process 1 of the concept of desire, which abstracts the structure by presenting the present image, that is, the image of temporality verbally, in the shade of reversible light that embodies the concept of desire in the present place.
By simplifying the real image that embodies the abstract structure of desire and eliminating the light and shade of the cross section into reversible light and shade, the essence of abstraction is flattened into a cross section. This is an image that returns the essence of abstraction to temporality in a linguistic sense.
The abstraction of the concept of desire creates an image of a pond that existed in a linguistic sense as a shade of reversible light tailored to the linguistic logic in which the shadow of the existing light returned to temporality.
The pond captures the lotus and the fish whose temporality is superimposed on the waves as the subject of desire. This is a linguistic demand separated by abstraction, and the aesthetic value in the pond is recognized in an abstract sense as a structure of desire and as a symbolic structure of the concept of desire.
Therefore, we follow the Desire Concept Design Process 2 to harmonize the concept of desire and abstraction, where symbolic meanings are fantasized to conform to the concept of esthetic values and desires, in which reality represented by the abstraction of linguistic meaning is distinguished.
In linguistic abstraction, as the philosophical logic approaches, images formed in the structure of letters are tailored to art to form a formative structure.
Choi Chul-joo's abstraction of the concept of desire is the same as abstracting the concept of biblical desire as a real image by personifying a divine character in the Bible, like the the theological formative structure of a Renaissance church that attributed philosophical logic to religion.
Although the artistic inspiration of early Dadaist conceptual art cannot be ignored, Choi Chul-joo's concept of desire in contemporary art, whose conceptual abstraction deviates from the Bible, is a concept of installing flat images in conceptual art with literal concepts and linguistic meanings as sketches through images reflected in a pond.
The unconscious abstraction, in which abstract words are drawn in a linguistic sense, is difficult to interpret as an image of an idea as the content of the mind, and the concept of abstract desire is an annular structure.
Therefore, according to Desire Concept Design Process 3, it is to repeatedly design images generated by abstraction as reality that symbolizes desire and express actual images of desire with arbitrary unconscious actions desired by desire.
On the other hand, it is conceptual art in a linguistic sense that expresses abstract concepts as real images. Therefore, Choi Chul-joo's conceptual art of desire transfers the structure of Idea to the structure of reality. And abstract works show real images as images of the subject's events and performances.
The image is a conceptual abstraction that goes beyond the limits of the real image of impressionist painting. It illuminates the impressive abstraction of the concept of desire in photographs with instantaneous impressions of images of events and performances. And it clearly realizes the concept of unconscious desire as an image in a linguistic sense.
In this way, the realization of the concept of desire is abstracted into an effect specified as unconscious action, a universal reversible being created by the imagination desired by the subject of desire illuminated in the reversible shadow of light.
Therefore, it is according to Desire Concept Design Process 4 to select thoughts that cannot be subconsciously recognized in universal reality as fragmented planar structures to form meaningful spaces "morning glory, bamboo forests, and ponds" as frames of desire.
Desire that existed in the "disappeared pond" is abstracted into a real image tailored to the conditions of correlation with past experiences of the unconscious as an essential image of linguistic meaning.
Here, a superimposed image of meaningful desire hidden in temporality appears in the pond as an image of reality, but the entire image is an abstract composition that deviates from the perspective visual system. Its planar shape simplifies the image of the past concept of desire and abstracts the existence of unconscious desire into an objective image of reality.
Choi Chul-joo divides desire into background and actor as the subject of the abstraction. He structures the image of morning glory, bamboo forest, and pond in the desire background and expresses the actor of desire as an objective correlation of the concept of desire. The desire realistically abstracts the landscape in the linguistic sense as a correlation in which a reversible shade of light structurally directs desire.
It shows the impression of desire perceived as a real meaning of desire that is abstracted as a realistic structure. In other words, the background of Choi Chul-joo's concept of desire is the morning glory, which is the structure of desire. The shadow is the linguistic meaning, which is a phenomenon of life through events and performance images, and the mirror image is hidden in a bamboo forest. And the image reflecting the shadowy structure in the pond represents the cause of desire in reality as the existential meaning of timeliness according to reversible light as the background of desire.
Therefore, it follows the desire concept abstract design process 5 to represent the existing linguistic meaning in temporality to the hidden real structure of unconscious desire.
This reveals the impression of the concept of desire in a reversible light that is passively set in the imagination, and as a cause, an abstract deviating from the impression that the actor, the subject of desire, represents desire.
The stray abstraction of the impression faced by the phenomenon representing desire is the reality of desire that is invisible to the imagination. This has a linguistic meaning along with the form of an abstract desire image reflected in the pond.
The concept of desire, which represents linguistic meaning in a painting as a metaphor, does not fall outside the scope of an imitation painting. However, when the concept and image of desire representing invisible reality in the imagination are the same, they turn into conceptual abstractions.
This is a symbolic system that constitutes a structure with social rules, and it is an image of a desire structure that equates the symbolic meaning invisible to the image of abstract reality.
Therefore, the subject of the image of desire is the object as the subject of desire. The object enters reality from the symbolic world of abstract desire by accepting the symbolic meaning invisible to reality as the subject.
In the category of imitability in painting, the real image, which appears to be a symbol with the object of desire as a conceptual subject, has been accepted in religious customs until modern times. In addition, by obscuring the concept of desire as a social constraint, it hides the figurative reality of nude in painting and is symbolized as an illusion based on a mythical story. In the imagination of painting until modern times, the symbolic meaning, which is socially taboo, has no difference from the image of morphological reality.
Choi Chul-joo's abstraction of the concept of desire is an image of a substantive shape, and the formative meaning in which social desire is embodied is transformed into a symbolic shape. In other words, paintings up to modern times are modern paintings that break away from the category of realistic formativeness and conventional abstraction that revealed the stage of contrast and destroy the symbolism of the other's desires as invisible reality, making it an abstract desire concept.
This abstracts the reality of fish by expressing the flatness of painting in monotone with the outline of fish as an image of desire as an abstract structure revealed by the desire of the other in <Disappeared Pond>.
The pond shows contemporary social reality and reveals the image of reality hidden in conventional reason, reflecting the pictorial meaning of desire through communication with its reality.
The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.
In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.
Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
In addition, as a design process of the concept of desire, the object of desire is symbolized as a conceptual subject, forming the reality expressed through desire revealed in the suppressed unconscious through design and revealing abstraction as being./ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
Louis Chul-joo Choi, the bamboo forest e303-pond, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest f171, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest g160, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest h155-pond, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest b114-pond, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest b166-pond, a hand-painted picture on a computer
Louis Chul-joo Choi, In front of bamboo forest g163-pond, a hand-painted picture on a computer
Louis Chul-joo Choi, the bamboo forest h66-pond, a hand-painted picture on a computer
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest Forest 202-French movie star Alain Delon dies-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p100-14-2-French movie star Alain Delon dies-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Louis Choi chuljoo, morning glory p100-14-2, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p100-14-2-French movie star Alain Delon dies: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Forest g199-Trump gets attacked during the campaign-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Forest f197-Trump gets attacked during the campaign-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Forest e190-Trump gets attacked during the campaign-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
"morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.
Louis Choi chuljoo, Trump gets attacked during the campaign 12-pond [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korean News Cartoon Culture Column in Cartoon Review [188] Trump gets attacked during the campaign, (2024-7-14) / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality. ▶during the campaign _ pendant la campagne
