현대미술작가 최철주｜현대미술평론, 현대미술작가평론, 현대미술추상작품평론 [14] Contemporary Artist Choi Chul-joo｜ Contemporary artist criticism criticizes contemporary art, which Louis Choi Chul-joo examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of works through visual art theory. Picture speaking language structure is a gaze reality image in which the image of abstract desire seems to be the meaning structure of the concept of desire. This approaches the aesthetic value, process, and artistry of contemporary art criticism along with contemporary art criticism as the concept of desire abstract design. And as a contemporary artist, as the artistry of photography, cartoons, art, and design approaches the meaning of the work in language structure, he criticizes the reality of the concept of desire for others as an aesthetic value of the artist:
Louis Chul-joo Choi, Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire-sketch 2, a hand-painted picture on a computer, 2024 & cartoon designer Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [197] Tyson totally gave in to the boxing match, but I'm happy., (2024-11-17) / Reporter Choi Chul-joo’s Cartoon Review
Louis Chul-joo Choi, Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire-sketch 2, a hand-painted picture on a computer, 2024
욕망의 '나팔꽃'을 배경으로 부부의 세계가 렌다링한 욕망 개념 이미지
욕망 개념 이미지는 욕망의 뱌경 이미지로서의 나팔꽃, 대나무 숲, 연못 등 추상적 공간에 사건의 개념 뉴스 만화와 공연 이미지를 병치하여 현실과 추상의 독특한 조합으로 욕망의 개념과 실재 이미지의 교차점을 탐구한다.
여기서 추상적 욕망의 개념은 가역적인 빛이 정지된 시계의 기어와 같은 현상적 현실에서 욕망의 존재를 멈추고 빛의 그늘의 변화를 줄임으로써 생성되는 공간을 의미합니다. 무의식적 욕망은 시간성에 숨겨져 있는 욕망의 개념과 실제 이미지 사이의 상관관계로 추상화될 수 있는 대상을 반복적으로 디자인한다.
이것은 욕망 개념을 이미지로 넘긴 욕망의 주체를 상대의 욕망을 추상적 대상으로 삼아 욕망의 대상이 추상적 대상으로 나타나는 그림 구조를 만드는 것인데, 이는 시간성에 숨겨져 있는 욕망의 상관관계로 반복적으로 디자인된다.
따라서 관습에 적합한 보편적 추상구조에서 욕망의 주체는 그림 구조로서 욕망의 개념으로 표현되는 추상구조의 실체가 장소에 상응하는 미적 가치를 단일 이미지로 갖도록 대상을 실제 색채로 장식한다.
이렇게 욕망 개념은 실재 이미지와의 인과를 전제하지 않고 추상적 개념에서 실재의 구조로 전이된 오인에서 벗어나려고 실재 이미지의 상관 관계로서의 욕망 개념으로 추상한 실재 이미지로 귀결한다.
실제 이미지는 가역적인 빛으로 음영을 주어 욕망의 시선 위에 올려놓는다. 또한 욕망의 배경을 시선의 배경인 나팔꽃, 대나무 숲, 연못으로 장식하고 사건과 공연에 대한 순간적 욕망의 개념을 추상적인 그림으로 조명하는 욕망 개념의 언어적 의미를 명확하게 구현한다.
또한 욕망 개념의 추상성을 조명하는 욕망 이미지가 순간적으로 포착되어 이미지의 언어적 의미를 구현하고, 유도적으로 가역적인 빛의 음영으로 개념을 조명하는 욕망의 추상적 이미지는 보편적 현실로 귀결된다.
빛의 그림자에서 전체적인 크기는 가역적인 빛의 그림자처럼 보이는 범위로 위치한다. 사물의 배경은 나팔꽃, 대나무 숲, 연못으로 장식되어 관습에 부합하는 보편적인 현실 색채를 입혀 현실이 단일 무대로서 자신의 위치에 상응하는 미적 가치를 갖도록 한다.
욕망의 개념을 순간적인 사건과 퍼포먼스 이미지의 인상으로 사진에 담아 추상화를 조명하는 욕망의 개념은 이미지의 언어적 의미를 명확하게 깨닫고 가역적인 빛의 그늘에서 그 개념을 귀납적으로 조명하여 보편적인 현실을 구현한다.
Louis Chul-joo Choi, Rendering of the couple's world set in the 'morning glory' of Desire, 112X162cm, acrylic and composite materials on cloth, 2024
욕망의 '나팔꽃'을 배경으로 한 부부의 세계 렌더링
평면적 욕망 배경인 나팔꽃, 대나무숲과 연못의 자리는 시간성에 따라 변한다.
따라서 욕망 배경에 사건과 공연 이미지로 한 욕망 개념의 실재성을 가역적 빛의 음영으로 공간을 구성한다
여기서의 공간은 여러개의 기어가 맞물린 시계가 시간 즉 공간의 순간을 정하지만 기어는 공간의 존재를 연속시킨다.
최철주의 추상적 욕망 개념은 가역적 빛으로 공간을 만들고 기어처럼 욕망의 존재를 추상적 실재에 멈추고 그 빛의 음영으로 변화를 작게하여서 실재와 공간을 동일시한다. (최철주 욕망개념의 정의)
부부 세계의 스케치는 욕망의 배경인 나팔꽃에 자리를 맞춘다. 그 자리가 욕망이 사라지기 전에 이미지를 주체로서 부부가 욕망과 일치하는 스케치한다.
이것은 부부 세계가 만족할 수 있게 선공간을 결정하게 한다.
따라서 욕망 개념의 추상을 디자인하는 것이 부부 세계를 삶의 공간의 적절한 기획이다.
이것은 부부 세계를 선공간으로 끌어드리는 실재를 스테치하는 추상적 욕망 개념의 자리를 정하는 것이다.
주체로서 사건과 공연 뉴스 이미지에 따라 욕망의 배경인 나팔꽃, 대나무숲 그리고 연못은 주체의 형상화가 실재 이미지의 상징적 자리가 변모한다.
따라서 주체가 현상적 구조를 넘어선 원하는 욕망 구조를 암시하는 가역적 빛의 음영으로 실재적 현상이 욕망 개념이 유도하는 동시대가 미술적 추상 구조를 실재화한다.
이것은 실재 이미지가 추상적 욕망 개념을 대리하는 메타포로서 욕망 개념을 현상적 구조로 강조함으로서 욕망 개념이 실재 이미지에 적절하게 배치된다. 즉 추상적 욕망을 언어적 개념으로 실재 이미지로 묘사한다.
욕망의 추상적 언어를 실재 이미지로 읽고 개념을 특정하여서 욕망에 종속한다.
이것은 욕망의 추상적 개념을 실재로 치환하여서 개념을 가역적 빛의 음영으로 상징적 이미지로 소거한다.
여기서 욕망 개념의 렌더링은 실재를 추상적 욕망 개념의 이미지로 검증함으로서 미적 구조로 추상하는 현상적 구조를 이룬다. / 글. 현대 개념 추상화가 최철주 (문화디자인박사)
Louis Chul-joo Choi, morning glory p124-2-Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire, a hand-painted picture on a computer, 2024
Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire
Conceptual image of desire is a background image of desire, and by juxtaposing the concept of event news cartoons and performance images in abstract spaces such as morning glory, bamboo forests, and ponds, it explores the intersection of conceptual desire and real images with a unique combination of reality and abstraction.
Here, the concept of abstract desire identifies the space created by reversible light, stopping the existence of desire in phenomenal reality, like the gear of a stationary clock, and reducing changes in the shade of light. Unconscious desire repeatedly designs objects that can be abstracted as a correlation between the concept of desire hidden in temporality and the real image.
This is to create a picture structure in which the object of desire appears as an abstract object by using the other's desire as the subject of desire that passed Concept of desire as an image, which is repeatedly designed as a correlation between desire hidden in temporality.
Therefore, in a universal abstract structure suitable for custom, the subject of desire decorates the object with real colors so that the reality of the abstract structure expressed as the concept of desire as a picture structure has an aesthetic value corresponding to the place as a single image.
In this way, Concept of desire does not presuppose causality with the real image, but results in an abstract image as a correlation between the real image in order to escape from the misunderstanding that has shifted from the abstract concept to the real structure.
The actual image is shaded with reversible light and placed on the gaze of desire. In addition, it clearly embodies the linguistic meaning of the concept of desire, which decorates the background of desire with morning glory, bamboo forest, and pond, which are the background of the gaze, and illuminates the concept of instantaneous desire for events and performances with abstract pictures.
In addition, the desire image that illuminates the abstractness of the desire concept is captured instantaneously, embodying the linguistic meaning of the image, and the abstract image of desire that illuminates the concept with inductively reversible shades of light results in universal reality.
The overall size in the shadow of light is positioned as a range that appears to be a reversible shadow of light. The background of the object is decorated with morning glory, bamboo forest, and pond with universal reality colors that match customs so that reality has an aesthetic value that corresponds to its place as a single stage.
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.
Louis Chul-joo Choi, Rendering of the couple's world set in the 'morning glory' of Desire, 112X162cm, acrylic and composite materials on cloth, 2024
Rendering of the couple's world set in the 'morning glory' of Desire
The background of flat desires, such as morning glory, bamboo forests, and ponds, varies over time.
Thus, the reality of the concept of desire as an image of events and performances in the background of desire consists of reversible shades of light
Here, the space is determined by a watch with multiple gears combined, but the gears keep the space.
Choi Chul-joo's concept of abstract desire equates reality with space by creating a space with reversible light, stopping the existence of desire in abstract reality like the gears of a clock, and reducing the change to the shade of light. (Definition of the concept of Choi Chul-joo's desire)
Sketches of the couple's world take place in the morning glory, the background of desire. In that place, the couple sketches with desire as the subject of the image before the desire disappears.
This allows the couple's world to decide the space beforehand to be satisfied.
Therefore, designing the abstract concept of the concept of desire is a suitable plan for the marital world as a space of life.
This is to pave the way for an abstract concept of desire to sketch a real that draws the couple's world into the line space.
According to the news images of events and performances as subjects, morning glory, bamboo forest, and pond, which are the background of desire, are embodied as symbolic places in real images.
Therefore, the abstract structure of contemporary art is realized by the concept of desire as a reversible shade of light that implies the desired desire structure beyond the actual structure of the subject.
This is a metaphor in which the real image represents the concept of abstract desire, and by emphasizing the concept of desire as a phenomenal structure, the concept of desire is appropriately disposed of in the real image. In other words, abstract desire is described as a real image as a linguistic concept
It reads the abstract language of desire as a real image, specifies the concept, and is subordinate to desire.
This replaces the abstract concept of desire with reality, erasing the concept from a reversible shadow of light into a symbolic image.
Here, the rendering of the concept of desire forms a real structure that verifies reality as an image of the concept of abstract desire and abstracts it into an aesthetic structure.
Louis Chul-joo Choi, morning glory-A couple's world set in the 'morning glory' of Desire-sketch 1, 112X162cm, acrylic and composite materials on cloth, 2024
A couple's world set in the 'morning glory' of Desire
When a couple breaks away from the correlation of desire and enjoys desire with another boss, the couple reveals existential meaning in the correlation faced by the subject of inappropriate desire as a structure of confrontation according to sociality.
The behavioral reality in the play is destroyed, and the narrative structure of desire shows the confrontation and conflict of correlations.
This abstracts the confrontation of inner desires in the morning glory, which is the background of desire, as the meaning of unconscious language structure is the real image of the correlation.
Therefore, painting, which abstracts the desires of the couple's world, does not compare desire as a correlation, but replaces desire with confrontational conflict and realizes it. The real image replaces the phenomenon with a conflict image and creates an objective image that is opposed to desire as a correlation between opposing desires.
The objective gaze of desire constitutes a correlation as a being according to unconscious desire and creates a pictorial framework tailored to the linguistic semantic structure that interprets it as a real image of desire with existential significance faced by the desires of others in the phenomenal space.
In this way, the image of desire tailored to the linguistic meaning structure is interpreted as a real image of desire with an existential meaning faced by the other's desire in a phenomenal space, and the background of desire is composed like a distant image using spumato techniques so that traces of temporality overlap and the surface of the object overlaps with reversible traces of light.
Like Da Vinci's Mona Lisa, the color light reflected sloping from the underlying surface of the skin is produced between small holes on the back of the shaded fabric and depicts the real structure of a woman who contains desire.
In this way, the objectivity of the external structure is secured so that the abstract unconscious structure of women expressing conflict in the couple's world can be considered phenomenally.
In "A couple's world set in the 'morning glory' of Desire" the background of social phenomena and desires, the couple aims for a contradictory appearance, but it is intended to camouflage their desire to deny decision-making relationships and justify the phenomenon of desire.
This is identified with the reality of freely finding a desire to stop judging the couple's empirical phenomena, reduce the desires of others to unrealistic phenomena, and form confrontational relationships because the couple's world aims for ideal happiness.
In the marital world, desires and phenomena are combined into an unconscious desire structure to hide conflict in the disclosure structure as a linguistic meaning and recognize the meaning of desire that is out of alignment.
This darkens the morning glory with a reversible shade of light and repeatedly designs the image of desire as a linguistic meaning to reveal the phenomenon of an abstract couple that forms a confrontational relationship as the subject of desire as a structure of reality.
The actual image revealed in this way enables the desire to obtain the desired way from an object that causes conflict, not desire, under the influence of the concept of desire.
Here, the design of the concept of desire as an abstract reality structure transitions the abstract frame of looking at desire into the abstract design process of the concept of desire through Choi Chul-joo's concept of desire, and the abstract structure is transferred to the actual structure so that desire can be viewed as a gaze that makes you stare at reality.
Conflicts concealed by the abstract desires of the married couple's world reveal real images that can experience the meaning of desire, constructing an abstract line space in which the effect of confrontational conflict occurs.
This is an abstract real image that causes misunderstanding in the existential dimension, and it is an abstract painting that sets a clear place by comparing it with the morning glory, which is the background of desire./ Writing. Choi Chul-joo, abstract concept artist (Doctor of Cultural Design)
Louis Choi Chul-joo's morning gnlory p124-5, a hand-painted picture on a computer
The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.
Louis Choi Chul-joo, Tyson totally gave in to the boxing match, but I'm happy, a hand-painted picture on a computer
Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning gnlory p124-5" 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.C.News: Tyson totally gave in to the boxing match, but I'm happy. (2024-11-17)/ Reporter Choi Chul-joo’s Cartoon Review
Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory', 'Bamboo forest' ' & 'pond' 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, the world of husband and wife 13-3, a hand-painted picture on a computer, 2024
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 [197] Tyson totally gave in to the boxing match, but I'm happy., (2024-11-17) / Reporter Choi Chul-joo’s Cartoon Review
. Tyson totally gave in to the boxing match, but I'm happy.
. Tyson a totalement cédé au match de boxe, mais je suis heureux.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 219-the world of husband and wife-Tyson totally gave in to the boxing match, but I'm happy: 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.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest i219-the world of husband and wife-Tyson totally gave in to the boxing match, but I'm happy: 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, Bamboo Forest i219-the world of husband and wife-Tyson totally gave in to the boxing match, but I'm happy-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.
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.
Louis Choi chuljoo, morning glory p124-5, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p124-5-Tyson totally gave in to the boxing match, but I'm happy: 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 p124-5> 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 <Trump gets attacked during the campaign> 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 p124-5-Tyson totally gave in to the boxing match, but I'm happy> 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 p124-5-Tyson totally gave in to the boxing match, but I'm happy" 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 "Bamboo Forest i219-the world of husband and wife-Tyson totally gave in to the boxing match, but I'm happy-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
Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 219, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest i219, a hand-painted picture on a computer
Background image of an artist's artwork:Louis Chul-joo Choi, morning glory-A couple's world set in the 'morning glory' of Desire-rendering-sketch 2, 112X162cm, acrylic and composite materials on cloth, 2024
Final image superimposed on the artist's work: Louis Choi Chul-joo, pond s3, a hand-painted picture on a computer
Louis Choi chuljoo, the world of husband and wife-Tyson totally gave in to the boxing match, but I'm happy-sketch [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 [197] Tyson totally gave in to the boxing match, but I'm happy., (2024-11-17) / 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.
