추상 화가 최철주｜현대추상미술평론 현대추상화가평론 현대미술추상작품평론 Contemporary Abstract Art Painter Criticism [21] 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: 현대미술 회화 디자인: 개념적 의미 구조로서 욕망 개념의 추상화 디자인 프로세스, The artwork posted on Facebook: Modern Art Artist Louis Choi Chul-joo Conceptual Abstract Work Criticism: Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art - Conceptual Art, Abstract Art, Pop Art, Cartoon Criticism/ Louis Choi Chul-joo Abstract Art work ( https://opensea.io/Louisland ) review:
Louis Choi Chul-joo, morning glory p110-7-window shadow-pond, a hand-painted picture on a computer
Louis Choi Chul-joo, morning glory p110-7-window shadow-pond, a hand-painted picture on a computer
연못에 비친 생각에 의해 투영된 욕망 이미지
연못에 비친 생각이 투영하는 욕망의 이미지는 수면 위의 물처럼 모여드는 욕망의 경계를 넘어선 연못의 기하학적 단면과도 같다.
사라진 연못은 가역적인 빛의 그늘로 순간적인 욕망의 개념에서 벗어난 빛의 구조이며, 투시객체성은 수면 위에 덧씌워진 물체에 가역적인 빛으로 하늘의 범위와 투시 단면적의 크기를 왜곡시킨다.
이 왜곡된 욕망의 개념은 가역적인 빛의 음영을 가진 현실적인 형태소의 연못에 맞도록 추상화된다.
그 추상은 최철주 욕망 디자인 과정과 동일하다. 이것은 추상적 형태와 추상적 개념 구조를 통해 욕망의 개념을 탐구하는 시각적 표현을 창조한다,
여기서 개념적 토대는 욕망 디자인 과정에서 추상적 욕망의 개념을 깊이 탐구하는 것에서 시작됩니다. 이것은 추상적 욕망을 감정으로 실재 이미지로 이해하는 것뿐만 아니라 심리적, 사회적, 철학적 요소들의 복잡한 상호작용으로서 타자의 욕망 개념을 해석한다.
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.
따라서 욕망 개념의 추상적 표현은 타자의 욕망을 다양한 측면에서 상징하기 위해 추상적인 형태로서 단면적 형태를 구분하는 기하학적 면과 추상적 유동성을 가역적 빛의 음영으로 다각적인 그 형태를 특징한다.
여기서 가역적 빛과 음영의 사용은 시간성에 따른 빛으로 욕망의 그림자의 깊이를 만들고 추상적인 형태를 강조한다. 이것은 회화적 기술로 한 욕망의 추상적 측면을 시각화하는 데 도움을 주어서 보는 사람이 욕망 개념의 실재에 접근시킨다.
언어적 추상에서 실재 이미지로서 추상의 의미를 귀납적으로 추론하여서 상징적 존재의 의미를 취한다. 그 이미지는 문화적, 보편적 욕망 개념과의 연관성을 전달하는 형태소이다.
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 프로세스1에 따른 추상의 실재 이미지다.
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 구조는 여러개의 단면적인 층과 가역적 빛의 음영으로 반사된 질감을 추가하여서 욕망 개념의 복잡함과 깊이감을 만들어 타자의 욕망의 복잡한 본질과 실재 이미지를을 투영한다.
최철주의 욕망 디자인 과정 2의 개념에 따른 실제 구조물의 욕망 이미지의 심미적 가치는 이렇게 투영된 상징 구조물의 현실이 단일 무대로서 장소에 상응하는 심미적 가치를 가지도록 대상을 현실의 보편적인 색채로 장식하는 것이다.
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 추상화 다.
이것은 무의식적 추상의 인터랙티브 요소로서 욕망 개념의 디자인 프로세스를 통해서 타자의 욕망을 객관화한다.
그리고 추상화 이미지로서 무의식 구조로서 선과 색이 조합된 이미지가 생각속에 있지만 의식되지않는 것을 무의식과의 인터랙티브 행위로서 욕망을 반복해서 디자인하여서 실재의 이미지로 생성하는 것이 욕망 개념 디자인 프로세스3에 따른 무의식 욕망의 디자인이다.
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.
이것은 생각에 대한 스토리텔링으로서 언어적 방식으로 내러티브와 맥락을 주어서 욕망 개념의 심도를 높인다.
따라서 현실에 조각된 평면 단색화인 욕망의 공간구성은 의식적인 움직임을 통해 사유의 이미지를 빛의 가역적인 구조로 결합하고, 사유의 이미지를 빛의 가역적인 구조로 결합하여 욕망의 공간을 디자인하는 욕망 개념설계 과정 4이다.
Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-1, a hand-painted picture on a computer
욕망 개념 디자인 프로세스를 통과한 욕망 이미지는 거울에 비친 욕망의 형태소다.
욕망의 언어적 상관물에 따른 사회적 형태소의 무의식적 욕구를 추상한 개념 이미지를 거울에 비친 단상이 시간성에 따라 사라진 연못의 수면에서 보이는 존재의 이미지다.
그 존재의 이미지를 바라보는 시선은 실재의 외면으로 욕망 개념을 가역적 빛으로 단상하여서 무의식적 욕망 개념으로 실재의 상관물로서 실재 이미지가 추상의 대상에 은폐된다
무의식적 욕구는 시간성에서 은폐된 욕망의 상관물로서 추상할 수 있는 존재물을 반복해서 디자인한 것이 최철주의 욕망 개념 디자인이다.
이것은 디자인의 주체를 타자로 하여서 욕망의 대상을 추상한 존재물을 이미지로 출현시키는 그림의 구조를 생성한다.
관습에 적합한 보편적 추상적 구조에서 욕망의 주체는 그림의 구조로 표상되는 추상적 구조의 실체가 하나의 이미지로서 장소에 상응하는 미적 가치를 갖도록 대상을 현실의 색채로 장식한다.
따라서 욕망의 배경을 추상의 영역한 실재를 주체로 존재적 상관물을 사건과 공연의 주인공을 욕망의 원인을 충족하는 추상의 이미지를 정한다.
그 추상 이미지로서 무의식 구조로서 선과 색이 조합된 이미지가 생각속에 있지만 의식되지않는 것을 무의식적 행위로 한 욕망을 반복해서 디자인하여서 생각 이미지로서 욕망을 자각하게 한다.
그 생각 이미지는 실재에서 조각난 평면적인 단색화가 의식 운동을 통해서 가역적 빛의 구조로 조합하여 자리한 욕망의 공간 구성하여서 타자가 자각하도록 디자인한다.
이것은 욕망을 타자가 자각할 수 있도록 그 주체가 존재했던 시간성에 맞는 대상을 동시대의 사건과 공연 행위적 이미지를 추상으로 출현하기 위해서 가역적 빛의 음영으로 동일한 실재 이미지로 한 대상으로서 욕망이 거울에 비친 존재적 실재다.
그 실재 이미지를 욕망 개념으로 현전하여서 언어적 의미를 욕망의 구조로 표상한다.
욕망과 거울에 비친 모습은 실제상으로서의 욕망의 구조적 형태로 시각적으로 공감되며, 실재 이미지와 동일시된 욕망과의 상관관계로 이해된다.
연못에 비친 욕망의 이미지는 욕망의 형태에 적합한 추상적 개념이며, 현실의 구조로 설계된 욕망의 거울처럼 연못은 언어적 욕망의 형태이다. / 글. 미술평론가 최철주 (개념추상화가 & 문화디자인박사)
Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-2, a hand-painted picture on a computer
an image of the desire projected by thought reflected in a pond
The image of desire projected by thoughts reflected in the pond is like a geometric cross-section of the pond beyond the boundary of desire that gathers like water on the surface of the water.
The missing pond is a structure of light that deviates from the concept of instantaneous desire as a reversible shade of light, and perspective objectivity distorts the range of the sky and the size of the perspective cross-sectional area with reversible light on objects overlaid on the surface of the water.
This notion of distorted desire is abstracted to fit into a pond of realistic morphemes with reversible shades of light.
The abstraction is the same as Choi Cheol-joo's desire design process. It creates a visual expression that explores the concept of desire through abstract forms and abstract conceptual structures,
Here, the conceptual foundation begins with a deep exploration of the concept of abstract desire in the process of designing desire. This not only understands abstract desire as an emotion as a real image, but also interprets the concept of desire of others as a complex interaction of psychological, social, and philosophical elements.
Choi Chul-joo's concept of desire in the disappeared pond does not presuppose causality with the real image, but rather symbolizes the object of desire as a conceptual subject from an abstract concept in which an abstract real image appears as a real correlation by dividing desire alienated by unconsciousness into design.
Therefore, the abstract expression of the concept of desire is characterized by symbolizing the desires of others in various aspects by dividing the cross-sectional form into abstract forms and abstract fluidity into reversible shades of light.
Here, the use of reversible contrast creates the depth of the shadow of desire with light according to temporality and emphasizes the abstract form. This helps viewers access the reality of the concept of desire by visualizing the abstract aspect of desire with a pictorial technique.
From linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence. The image is a morpheme that conveys a connection with the concept of cultural and universal desire.
And the gaze on 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 an abstract real image according to 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.
The symbolic structure represented in this way adds a texture reflected by several cross-sectional layers and reversible shades of light to create the complexity and depth of the concept of desire, projecting the complex nature and real image of the other's desire.
The aesthetic value of the image of desire of the actual structure according to Choi Chul-joo's concept of desire design process 2 is to decorate the object with a universal color of reality so that the reality of the symbol structure projected in this way has an aesthetic value corresponding to the place as a single stage.
The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image 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 in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
This is an interactive element of unconscious abstraction, objectifying the desires of others through the design process of the concept of desire.
In addition, as an abstract image, an image that combines lines and colors as an unconscious structure, but is not conscious, is an interactive act with the unconscious, and it is the design of unconscious desire according to the desire concept design process 3 by repeatedly designing desire as an image of reality.
Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-3, a hand-painted picture on a computer
The concept of unconsciously abstracting desire is an image of reality that does not see the object of reality as a shadow of light that can be overturned, and shows another aspect of reality by concealing reality with shadows.
The image of desire is an unconscious mind maintained by the image of reality and the imagination desired by the subject of desire, and it is an idea that cannot be recognized by that image.
This is a storytelling for thinking that enhances the depth of the concept of desire by giving a narrative and context verbally.
Therefore, the spatial composition of desire, a flat monochromatic painting carved into reality, is a desire conceptual design process 4 that combines the image of thought into a reversible structure of light through conscious movement and designs the space of desire by combining the image of thought into a reversible structure of light.
Desire concept The image of desire that has passed the design process is a form of desire reflected in the mirror.
It is an image of existence seen on the surface of a pond that has disappeared according to temporality, reflecting a conceptual image that abstracts the unconscious needs of social morphemes according to the linguistic correlation of desire.
The gaze at the image of its existence is the external surface of reality, and the concept of desire is a reversible light, and the real image is concealed by the object of abstraction as a correlation of reality with the concept of unconscious desire.
Unconscious desire is a correlation between desires concealed in temporality, and Choi Chul-joo's conceptual design of desire is a repetitive design of objects that can be abstracted.
This creates a picture structure in which the object of desire appears as an image, using the subject of design as the other.
In a universal abstract structure suitable for customs, the subject of desire decorates the object with the color of reality so that the reality of the abstract structure represented by the structure of the picture has an aesthetic value corresponding to the place as a single image.
Therefore, the background of desire is the subject of reality in the realm of abstraction, and the existence correlation and the protagonist of the event and performance are determined as an abstract image that satisfies the cause of desire.
As an abstract image, an image that combines lines and colors as an unconscious structure is repeatedly designed as an unconscious act, and the desire is recognized as a thought image.
The thought image is designed so that the other becomes aware by combining the flat monochromatic paintings carved from reality into a reversible structure of light through conscious movement.
This is an existential reality in which desire is reflected in a mirror as an object that fits the temporality in which the subject existed in order to abstractly appear contemporary events and performance images.
The real image is presented as a concept of desire, and the linguistic meaning is represented as a structure of desire.
Desire and the reflection in the mirror are visually sympathized with each other as a structural form of desire as a real image, and are understood as a correlation with desire identified with the real image.
The image of desire reflected in the pond is an abstract concept suitable for the form of desire, and like a mirror of desire designed as a structure of reality, the pond is a form of verbal desire.
/ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
Louis Choi Chul-joo, morning glory p100-14-2-French movie star Alain Delon dies-pond, a hand-painted picture on a computer
Choi Chul-joo's concept of desire design process
"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.
Choi Chul-joo's concept of desire to design abstraction in contemporary art 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, 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 concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image 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 in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.
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 designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.
In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
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 Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p100-14-2> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <French movie star Alain Delon dies> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory p100-14-2-French movie star Alain Delon dies> becomes a non-real abstraction of reality.
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.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p100-14-2-French movie star Alain Delon dies" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection
Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p100-14-2-French movie star Alain Delon dies-pond" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory
Louis Choi chuljoo, French movie star Alain Delon dies 5-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 [193] French movie star Alain Delon dies, (2024-8-18) / 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.
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory window 2024-2-shadow, 357X225cm, acrylic and composite materials on cloth, 2024
Louis Choi Chul-joo's "morning glory window 2024-2-shadow" absorbs temporal light and removes the symbolic representation of the image surface to create an image of realistic desire and hides the conceptual image of desire in the shadow of reversible light. The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.
Combined with images of reality with reversible light, including a desire for abstraction.
The image of desire repeats the process of directly acquiring the concept of the aesthetic structure of the real world that is subordinate to the concept, a reality that embodies the abstraction of desire as an event and facilitates performance.
The fact that the concept of desire cannot overlap with the image of reality is that factual abstraction is a treacherous conceptual art.
Abstracted realistic concepts reveal realistic figures similar to reality, but they momentarily pause space-time with the light of a conceptualized landscape like clouds.
Abstracting from the back of the morning glory landscape undermines timeliness, realizes the past time-adjusted traces of desire and the present overlapping landscape of color, and transfers images of desire into the painting.
It also doesn't represent the symbolic ideas abstracted from the image in a hidden form of color, but it gathers the image in shades of light in several directions.
In this way, the painting becomes a desire concept as a result of desire, dismantling abstract images interacting in real space. It shows a differentiated impression with a realistic abstraction that transforms the situation of desire in abstraction into a real world.
It shows aesthetic value by shading bright and dark parts in a distorted landscape and drawing a desireful meaning with a realistic expression.
Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time. It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.
Desire concept superimposes abstractions on morning glory and bamboo forests with dual landscapes, leaving fragmented real space in the gaps of light without disassembling and unifying symbolic images, and then repeatedly portraying reality over the present representation and the gap in between.
In this way, he creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality.
In order to reveal the realistic abstraction of the image of dance and music performance that is momentarily distorted in real life, the object of the conceptual form is abstracted in a semantic structure.
As a conceptual form, the realistic shape of non-realism with the same structure of meaning is abstract as a conceptual meaning structure, but abstraction with the same meaning with different shapes is a non-realistic existence with different colors and sizes.
Its existence defines an abstract space as an actual reversible shape, and abstracts the image in which the window shape placed in front of the morning glory is covered by the actual changed movement by the shade of reversible light into installation art outside the window. It is an image of desire in a picture, that is, a space without atmosphere reflected in a mirror. mirror. This is an abstraction as a being abstracted from a non-real painting into a realistic image.
This is an abstract urban impression in which images of the concept of desire are developed at small intervals as reversible shades of light that exist momentarily, just as a dancer reflected in the background of the concept of desire implements an unrealistic surface image of the sky like a cloud as a surface image.
In this way, the fragments of urban images in modern visual culture are abstracted into the structure of desire in the realistic structure.
Louis Chul-joo Choi, morning glory window 2024-2-shadow, 357X225cm, acrylic and composite materials on cloth, 2024
Louis Choi Chul-joo's <morning glory window 2024-2-shadow> absorbs temporal light and removes the symbolic representation of the image surface to create an image of realistic desire and hides the conceptual image of desire in the shadow of reversible light. The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.
Combined with images of reality with reversible light, including a desire for abstraction.
The image of desire repeats the process of directly acquiring the concept of the aesthetic structure of the real world that is subordinate to the concept, a reality that embodies the abstraction of desire as an event and facilitates performance.
The fact that the concept of desire cannot overlap with the image of reality is that factual abstraction is a treacherous conceptual art.
Abstracted realistic concepts reveal realistic figures similar to reality, but they momentarily pause space-time with the light of a conceptualized landscape like clouds.
Louis Chul-joo Choi, morning glory window 2024-2-shadow, 357X225cm, acrylic and composite materials on cloth, 2024: Image installation overlaps with the impression of the city as a fragmented installation image of the concept of desire by abstracting the image as the concept of desire as a structure of desire in a realistic structure.
Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time. It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.
Desire concept superimposes abstractions on morning glory and bamboo forests with dual landscapes, leaving fragmented real space in the gaps of light without disassembling and unifying symbolic images, and then repeatedly portraying reality over the present representation and the gap in between.
In this way, he creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality.
In order to reveal the realistic abstraction of the image of dance and music performance that is momentarily distorted in real life, the object of the conceptual form is abstracted in a semantic structure.
As a conceptual form, the realistic shape of non-realism with the same structure of meaning is abstract as a conceptual meaning structure, but abstraction with the same meaning with different shapes is a non-realistic existence with different colors and sizes.
Its existence defines an abstract space as an actual reversible shape, and abstracts the image in which the window shape placed in front of the morning glory is covered by the actual changed movement by the shade of reversible light into installation art outside the window. It is an image of desire in a picture, that is, a space without atmosphere reflected in a mirror. mirror. This is an abstraction as a being abstracted from a non-real painting into a realistic image.
This is an abstract urban impression in which images of the concept of desire are developed at small intervals as reversible shades of light that exist momentarily, just as a dancer reflected in the background of the concept of desire implements an unrealistic surface image of the sky like a cloud as a surface image.
In visual culture as contemporary art, the fragmented image installation of urban images overlaps with the impression of the city as a fragmented installation image of the concept of desire by abstracting the image into the concept of desire as a structure of desire in a realistic structure. And in the , the brings out the desires of others / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
