추상화가 최철주｜현대추상미술평론 현대추상화가평론 현대미술추상작품평론 Contemporary Abstract Art Painter Criticism [23] 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: Contemporary conceptual artwork criticism: Contemporary conceptual art Criticism [12] Abstract conceptual art = Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024 & cartoon designer Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [195] 2024 U.S. presidential candidate (2024-9-8) / Reporter Choi Chul-joo’s Cartoon Review
Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024
최철주의 욕망 개념 추상 디자인 개념은 낭만주의에서 추상으로 변모한 현대 추상 개념을 현대 미술 운동에서 출발하여 실제 이미지로 구현한 새로운 추상 미술 방법론이다.
하나의 개념 예술은 추상적이 아닌 선택자의 욕망이라는 개념으로 이중적 장소를 만들고, 이중적 장소에서 추상적 개념 예술을 추월하며, 선택자가 원하는 추상적으로 결핍된 욕망 구조를 주체로 하여 의미 실체로서 현실 이미지를 반복적으로 설계한다.
욕망의 현실을 설계하는 도형의 개념적 미학은 미적 경험을 삶의 가치로서 객관적 현실로 추상화하려는 경험적 욕망의 결핍을 설계한 결과이며, 필요한 대상의 결핍을 충족시킴으로써 실제 이미지로부터 형성적 가치를 얻게 된다.
여기서 욕망의 대상은 불충분하며 경험적 의식 움직임을 통해 의미적 상관관계를 얻고자 하는 상대방의 욕망 개념을 따르고 있다.
따라서 욕망의 구조물로서의 실제 이미지는 욕망의 개념으로 인해 현실 세계에서 그림자 이미지를 생략하고 빛의 범위에 배치함으로써 기존의 관행에 부합하는 미적 가치를 가지며, 현실 주체의 구조와 현실의 본질에 안착한다. 빛의 가역적 그림자 속에서 개념을 귀납적으로 조명함으로써 이미지의 언어적 의미와 현실 현상을 명확하게 구현한다.
공룡의 욕망을 현실로 추상화한 병아리
시간성에 따른 추상적 욕망 개념은 가역적 빛으로 생성한 공룡의 공간을 만들고 기어처럼 욕망의 존재를 현상적 실재에 멈추고 그 빛의 음영으로 변화를 작게하여서 의인화한 병아리가 닭으로 오인한 욕망 개념의 공간과 동일시한다.
지각이 만들어지고 지질시대를 지나서 공룡 화석에서 부터 생존 욕망을 시작한 주체로서 인간 욕망이 생존을 넘어선다.
유아로서 병아리가 닭으로 오인하는 결핍이 존재하여서 욕망과 대치(對治) 한다.
공룡은 시간성에 따라 욕망이 비존재함 즉 결핍과 대치하지 않는 빈 공간의 흔적이다.
욕망의 배경이 되는 '나팔꽃'은 욕망의 주체로서 사건과 공연의 이미지를 중첩시켜 추상적 욕망의 개념을 실제 이미지로 대체하는 개념적 추상을 형성하고, '대나무 숲'은 빛의 시간성으로서 그늘을 형성하며, '연못'은 현실을 반영하는 거울로서 그늘을 형성한다.
욕망의 주체와 배경은 언어적 의미 작용으로서 외적 욕망, 상징적 디자인, 주체의 개념을 연쇄시키고, 배경은 주체의 언어적 의미 작용을 통해 무의식적 이미지를 현실로 전이시킨다.
욕망 개념의 추상적 상징하는 기호의 주체는 기호의 의미가 상징하는 무의식적 욕구의 존재물로 운폐된 상태를 보인다.
무의식적 욕구는 시간성에서 은폐된 욕망의 상관물로서 공룡과 닭이 추상할 수 있는 욕망의 존재물을 반복해서 디자인한다.
무의식은 실제 구조에 맞춘 본능적 동기인 존재 주체가 결여된 대상을 의식적으로 표현하려고 시도하며, 자의식이 결여된 대상 의식을 자의식으로 대체한 존재 주체가 결여된 대상을 의식적으로 표현하려고 시도한다.
그 자의식이 무의식의 대상을 의식적으로 표현하기 위해서는 추상적 욕망의 대상이 결여된 대상을 의식적 움직임을 통해 언어적 의미로 인식하고, 본능적 욕망의 대상의 본질적 존재를 인식하고자 하는 욕망의 개념을 추상으로 명시한다.
이것은 욕망 개념의 언어적 의미를 결정짓는 디자인으로 이미지를 만들고, 기호 기호가 디자인된 현실의 구조 속에 욕망의 추상적 개념을 숨긴다. 디자인의 주체로서 욕망의 추상적 대상으로서 병아리는 추상적 대상을 반영하는 닭으로 거울에 나타나 언어적 의미를 통해 현실의 숨겨진 구조를 만들고, 현실의 거울상과 현실의 주체가 식별되는 공간을 만든다.
그 욕망 개념의 언어적 의미를 설계하여 이미지를 만들고, 추상적인 욕망 개념은 현실의 구조에 의해 은폐되어 언어적 의미를 통한 현실의 구조와 욕망 개념이 식별되어 의미를 유발하는 현실의 이미지를 형성한다.
따라서 욕망 개념이 언어적 의미구조로 표상된 추상 구조의 또 다른 실재가 하나의 단상으로서 자리에 조응된 미적 가치를 갖도록 욕망 주체의 무의식의 자리를 풍습에 어울리는 언어적 추상 구조에서 욕망의 주체가 실재 이미지의 색으로 대상을 꾸민다.
이렇게 욕망 개념은 실재 이미지와의 인과성를 전제하지 않고 추상적 개념에서 실재의 구조로 전이된 오인에서 벗어나려고 욕망의 대상을 특정하여서 '나팔꽃'을 욕망의 배경으로 한 존재의 자리를 개입하여서 즉 실제 이미지 간의 상관관계로서 욕망의 개념에 대한 추상적 실제 이미지를 도출한다. 즉 욕망의 존재성을 반대가 없는 욕망 개념의 대상을 실재 이미지의 상관 관계로서의 욕망 개념으로 추상한 실재 이미지로 귀결한다.
Louis Chul-joo Choi, Part of "A chick Abstracting Desire from Dinosaurs into Reality",
실재 이미지로 귀결된 욕망은 그 이미지가 욕망 개념으로 한 추상 디자인 프로세스를 통과함으로 반복하여서 원근법적 시각체계 공간에서 존재하지 않는 실재 즉 추상적 실재 이미지를 형성하는 새로운 결과를 취득할 수 있다.
그러나 그 추상 디자인 과정의 결여는 하나의 결과로 종결된 추상을 이루고 결핍된 욕망으로 멈춘다. 이것은 해석하기 어려운 욕망의 중단단계로서 회화적 추상 구조에서 선, 면과 색으로한 형성성을 담고있는 작은 조각이다. 여기서 낭만주의 화가들은 사진같은 이미지에 대한 회화적 결핍애서 조형성을 파괴한다. 그들은 현실을 추상적인 구조로 표현하기 위해 광학 원리와 기계적 구성으로 물체의 모양을 재구성했다.
화폭은 모니터 화소처럼 검정색 천위에 좌우상하가 대칭대는 작은 네모 점의 볼륨있는 무늬를 보인다.
캔버스에서 이미지 요소로 픽셀의 크기를 늘리려면 이미지의 크기를 선명하게 보이도록 늘리고, 캔버스에서 일정 거리에 초점을 맞추기 위해 가역적인 빛의 색광과 음영을 분리하고, 여러 부분을 비추며, 욕망 개념의 의식적 작용으로 여러 직관적 표현을 중첩합니다.
욕망 개념의 상관물로서 욕망의 표상적 이미지는 언어적 의미가 동일한 구조로 가역적 빛의 음영으로 무의식으로 직관된 욕망으로 전체 형상에서 생략된 이미지로 관념을 특정하여 표현된 추상화다.
최철주의 욕망 개념 추상화 디자인은 낭만주의 회화에서 추상으로 변모한 현대 추상의 개념을 실제 이미지로 구현하는 새로운 추상 미술 방법론으로서의 현대 미술 운동이다.
하나의 개념미술이 추상이 아니라 선택자의 욕망 개념으로 이중적 자리를 만들고 그 이중적 자리에서 추상적 개념미술을 추월해서 주체로서 선택자가 원하는 추상으로 결핍된 욕망 구조를 의미적 존재로서 실재를 반복해서 디자인한다.
욕망의 실재를 디자인한 형상에 대한 개념적 미학은 삶의 가치로 한 미적 경험이다.
경험적 욕망의 결핍을 객관적 실재를 디자인하는 형식에 따른 결과가 욕망의 결핍을 충족함으로 가치를 획득한다.
이것은 욕망 대상에 대한 결핍으로 경험적 의식 운동으로 의미적 상관관계를 이루는 타자의 욕망 개념이다.
따라서 욕망 개념의 결과로서 사건과 공연 이미지의 주체가 욕망 구조와 교합된 개념을 담고 있다.
그리고 촬영을 위해 조명과 배경을 움직인 피사체의 이미지와 마찬가지로 실제 이미지의 모양은 검은색 배경의 음영이므로 실제 이미지는 피사체와 일치하는 욕망의 개념으로 미적 가치를 갖도록 조정한다.
따라서 그 실재 이미지를 음영으로 크기를 생략하고 빛으로 보이는 범위로 자리하여서 실재 이미지가 하나의 단상으로서 자리에 조응된 미적 가치를 갖도록 그 자리를 풍습에 어울리는 피사체 실재의 구조과 배경을 필름에 옮겨진 피사체의 이미지처럼 검정색에 배치한다.
사건과 공연 이미지의 순간적 인상으로 사진에 담아서 인상적인 욕망개념의 추상을 조명한 욕망 개념을 언어적 의미를 이미지를 명확하게 실재화하고 그 개념을 귀납적으로 가역적 빛의 음영으로 조명한 욕망의 추상 이미지를 보편적 실재로 귀결한다.
이것은 실재적 현상이 추상적 개념을 구체화할 수 있도록 실재의 자리에 존재했던 가역적 빛의 음영 구조가 욕망 개념에 맞춘 현상에서 허용된 실재에 본질에 안착한다.
여기서 추상적 욕망 개념이 슬라이드 필름에 가역적 빛의 음영된 내거티브의 피사체 이미지를 검정 바탕에 포지티브로 인화한 것처럼 실재를 순간적으로 수용한다.
욕망 개념의 실재를 이미지로 표상하는 중간 단계에 욕망을 정확하게 추상적 욕망의 여러 가지 개념 가운데서 실재를 지각하여서 이미지로 가려내어서 욕망의 결핍과 치환한다.
감광된 이미지를 지각하는 것은 욕망 이미지를 왜곡된 형태로 순간적으로 인식한 이미지가 그 순간을 촬영한 필름을 인화한 것과 동일하기 때문이다.
욕망의 결핍에 따른 대상은 무의식에서 추상된 욕망의 불만족한 대상에서 언어적 의미와 동일한 차원의 실재 이미지를 불완전한 경험에서 현존하게 한다.
현존하지 못한 결핍이 남아 있는 자리에 소유하지 못한 존재가 욕망이다.
따라서 욕망 개념의 실재로서 공용에서 의인화한 병아리까지 결핍된 주체로서 욕망의 언어적 의미를 상징하는 존재를 추상한다. 즉 공룡이 상징하는 과거 또는 죽음과 존재로서 병아리가 욕망의 결핍으로 추상된 상징의 의미적 존재를 욕망 개념으로 현존하는 실재로 표상한다.
그 표상은 욕망의 개념을 검은색으로 빛의 그늘을 덮고 욕망의 개념을 경험적 욕망의 구조로 변환하여 경험적 욕망 구조로 분류하고, 욕망의 개념을 기존의 형태로 분류하여 추상적 디자인 시스템으로 분류한다.
그리고 추상 디자인 시스템에서는 욕망의 개념을 경험적 욕망 구조로 분류하여 형태를 분류한 후 기존 현실 형태로 변화하는 반사색광으로 나누어 형태를 현존하는 실재의 형상으로 바꾼다.
이것은 욕망 개념을 실재화하기 위한 사건과 공연을 주체로 한 이미지의 화소와 욕망 구조와의 의식운동으로 추상적 욕망 개념을 실재 이미지로 디자인하는 방법이다,
공룡의 현실을 욕망 개념의 현실로 의인화한 병아리 추상화는 욕망 사건의 현실에서 존재의 추상적 현실을 은폐한 존재가 욕망 동기를 유발한 결과로 실존의 실제 이미지를 식별한다.
여기서 실재에서 분리된 사실적 존재로서 사건의 원인을 은폐된 욕망 개념의 디자인 효과가 실재 이미지의 추상화다.
주체가 분열한 존재의 자리에 주체가 사라진 추상적 욕망이 욕망의 실재 이미지다. 그 욕망은 억압된 무의식에서 응시로써 실재를 만나기 위해 주체의 불충분함에서 실재를 드러냅니다. 그리고 주체의 불충분함에서 실재를 드러내려고 욕망과 추상적 실재의 이미지가 결합한다./ 글. 현대 개념 추상화가 최철주 (문화디자인박사)
Louis Chul-joo Choi, Part of "A chick Abstracting Desire from Dinosaurs into Reality",
Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
A chick Abstracting Desire from Dinosaurs into Reality
The concept of abstract desire according to temporality creates space for dinosaurs created by reversible light, stops the existence of desire in phenomenal reality in the connection of clock gears, and identifies it with the space of the concept of desire that chicks personified by reducing the change to the shade of light were mistaken for chickens.
Human desire goes beyond survival as a subject who began the desire for survival from dinosaur fossils after the earth's crust was created and the geological era passed.
A chick, such as a baby, is mistaken for a chicken and confronts desire as a lack of desire exists.
Dinosaurs are traces of empty spaces where desire does not exist according to temporality, that is, empty spaces where deficiencies do not face.
]As the background of desire, "morning glory" forms a conceptual abstraction that replaces the concept of abstract desire with a real image by overlapping the image of events and performances as the subject of desire, "Bamboo Forest" forms a shade as the temporality of light, and "Pond" as a mirror reflecting reality.
The subject and background of desire chain the concept of extraneous desire, symbolic design, and the subject becomes real as a verbal semantic action, and the background transfers the unconscious image through the verbal semantic action of the subject to reality.
The subject of the symbol, which symbolizes the concept of abstract desire, shows a state concealed by the existence of unconscious desire symbolized by the meaning of the symbol.
Unconscious desire is a correlation of desire hidden in temporality, and repeatedly designs objects of desire that dinosaurs and chickens can abstract.
The unconscious attempts to consciously express an object lacking the subject of existence, which is an instinctive motive tailored to the actual structure, and consciously attempts to represent an object lacking the subject of existence that has replaced the object consciousness lacking self-consciousness with self-consciousness.
In order for self-consciousness to consciously express the object of unconsciousness, the object lacking the object of abstract desire is recognized as a linguistic meaning through conscious movement, and the concept of desire to recognize the essential existence of the object of instinctive desire is specified as abstraction.
It creates an image with a design that determines the linguistic meaning of the concept of desire, and hides the abstract concept of desire in the structure of reality in which symbolic symbols are designed. As an abstract object of desire as the subject of design, chicks appear in a mirror as chicken reflecting abstract objects to create a hidden structure of reality through linguistic meaning, and create a space where the mirror image of reality and the subject of reality are identified.
An image is created by designing the linguistic meaning of the concept of desire, and the abstract concept of desire is concealed by the structure of reality, so that the structure of reality and the concept of desire through linguistic meaning are identified to form an image of reality that causes meaning.
As a result, the subject of desire creates an object with the color of the actual image in a linguistic abstract structure that matches the custom so that another reality of the abstract structure represented by the concept of desire as a linguistic semantic structure has an aesthetic value in accordance with the position as a single image.
In this way, the concept of desire does not presuppose causality with the real image, but embodies the object of desire to escape from the misunderstanding that has shifted from the abstract concept to the structure of reality, and intervenes in the place of existence with 'morning glory' as the background of desire, resulting in an abstract real image of the concept of desire as a correlation between real images. In other words, the existence of desire results in a real image abstracted from the object of the concept of desire without opposition to the concept of desire as the correlation of the real image.
Desire resulting in a real image can acquire the result of a new reality that does not exist in the perspective visual system space, that is, an abstract real image, by repeatedly passing through the abstract design process as a concept of desire.
However, the absence of an abstract design process consequently achieves an abstract ending and stops with a lack of desire. This is a small piece containing a pictorial abstract structure of the formability of lines, planes, and colors as an interruption stage of desire that is difficult to interpret. Here, Romantic painters destroyed the form in a situation where paintings were lacking compared to photographic images. They reconstructed the shape of the object with optical principles and mechanical configurations to express reality as an abstract structure.
Like monitor pixels, the canvas shows a voluminous pattern of small square dots on a black cloth that are symmetrical to the left and right and symmetrical to the top and bottom.
To increase the size of pixels from the canvas to image elements, increase the size of the image to make it look clear, separate the color light and shade of reversible light to focus on a certain distance from the canvas, illuminate several parts, and superimpose multiple intuitive representations as a conscious action of the concept of desire.
An image that represents desire as a correlation of the concept of desire is an abstraction that expresses a concept by specifying it as an image that is unconsciously and intuitively omitted from the entire form as desire in the shade of reversible light with the same linguistic meaning.
Louis Chul-joo Choi, Part of "A chick Abstracting Desire from Dinosaurs into Reality",
Choi Chul-joo's Desire Concept Abstraction Design is a modern art movement as a new abstract art methodology that realizes the concept of modern abstraction, transformed from romantic painting to abstraction, as a real image.
One conceptual art creates a double place with the concept of the selector's desire, not abstract, and overtakes abstract conceptual art in that double place, and repeatedly designs reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as a subject.
The conceptual aesthetics of shapes that designed the reality of desire are aesthetic experiences as values of life.
The lack of empirical desire acquires value by satisfying the lack of desire as a result of the form of designing objective reality.
This is the concept of the other's desire to achieve semantic correlation through empirical consciousness movements due to the lack of objects of desire.
Therefore, as a result of the concept of desire, the subject of the event and action image contains the concept of occlusion with the desire structure.
And like the image of the subject who moved the lighting and background for shooting, the shape of the actual image is a shade of black background, so the actual image is adjusted to have aesthetic value with the concept of desire consistent with the subject.
Therefore, the actual image is omitted as a shade and placed in the range of light, so that the actual image has an aesthetic value that conforms to the custom, and the structure and background of the actual subject are placed in black like the image of the subject transferred to the film.
The concept of desire, which illuminates the abstraction of the concept of desire by putting it in a photo as a momentary impression of events and performance images, clearly realizes the linguistic meaning of the image, and inductively illuminates the concept in a reversible shade of light, resulting in a universal reality.
This settles into the essence of reality, where the reversible shaded structure of light that existed in the place of reality is tailored to the concept of desire so that the real phenomenon can embody the abstract concept.
Here, the concept of abstract desire momentarily embraces reality, as if printing an image of a shaded subject of reversible light on a slide film against a black background.
In the intermediate stage of representing the reality of the concept of desire as an image, desire is accurately perceived among various concepts of abstract desire, and it is distinguished as an image, replacing it with a lack of desire.
Recognizing sensitized images is because the image that immediately recognizes the desired image in a distorted form and the image of the film capturing the moment are the same.
Objects arising from the absence of desire allow real images of the same dimension as linguistic meaning to exist in imperfect experiences in objects of unsatisfactory desires abstracted from the unconscious.
Desire is a being who does not possess a place where non-existent deficiencies remain.
Therefore, as a subject lacking from dinosaurs to anthropomorphized chicks, beings that symbolize the linguistic meaning of desire are abstracted as the substance of the concept of desire. In other words, as a past or death and existence symbolized by dinosaurs, chicks represent the semantic existence of symbols abstracted by lack of desire as a concept of desire as an existing reality.
The representation classifies the concept of desire into an empirical desire structure by covering the shade of light with black and transforming the concept of desire into an empirical desire structure, and classifies the concept of desire into an abstract design system.
And, in the abstract design system, the concept of desire is classified into an empirical desire structure, classifying the form, and dividing it into reflective color light that changes to the existing reality form to change the form into the existing reality shape.
This is a method of designing the abstract concept of desire in reality as a real image as a conscious movement between the pixels of the image and the structure of desire with events and performances as the subject.
The abstraction of chicks, which personified reality in dinosaurs as the reality of the concept of desire, identifies the real image of existence as a result of inducing desire motives by a being who made the abstract reality of a being concealed from the reality of a desire event.
Here, the design effect of the concept of desire concealing the cause of the event as a realistic being separated from reality is the abstraction of the real image.
The image of actual desire is an abstract desire in which the subject has disappeared instead of a being in which the subject is divided. The desire and the subject of abstract reality combine to stare at reality from the repressed unconsciousness and reveal reality from the subject's inadequacy to satisfy reality.
And in order to reveal reality from the subject's inadequacy, desire and abstract reality images combine./ Writing. Choi Chul-joo, an abstract concept art critic (Doctor of Cultural Design)
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p125-1, a hand-painted picture on a computer
Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News
Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design
Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.
The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.
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)
Louis Choi Chul-joo, 2024 U.S. presidential candidate, a hand-painted picture on a compute
News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [195] 2024 U.S. presidential candidate (2024-9-8) / Reporter Choi Chul-joo’s Cartoon Review
. 2024 U.S. presidential candidate
. 2024 Candidat à la présidentielle américaine
Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest ㅇ210-2024 U.S. presidential candidate-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.
■ 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.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest d209-2024 U.S. presidential candidate-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.
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 "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: <bamboo forest d209-2024 U.S. presidential candidate-pond> 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 <2024 U.S. presidential candidate> 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 <bamboo forest d209-2024 U.S. presidential candidate> 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.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest d209-2024 U.S. presidential candidate-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.
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 "bamboo forest 209-2024 U.S. presidential candidate-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.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest d209-2024 U.S. presidential candidate". Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest d209-2024 U.S. presidential candidate-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, 2024 U.S. presidential candidate 7 [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 [195] 2024 U.S. presidential candidate (2024-9-8)/ 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.
