현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [5/ 23~24] Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./
Art Design Review of Contemporary Art works [5] Abstract Artist Louis Choi Chuljoo Treacherous Conceptual Art Abstract Painting <Morning glory> Art Review & Conceptual Art Pop Art Abstract Painting Design / Contemporary art examples of Abstraction Review : Treacherous Contemporary Art Abstract Painter Louis Choi Chul-joo Pop Art Abstract Art Works & Art Reviews / 추상화 디자인 abstraction design: 배반적 개념미술 의미 구조의 이미지를 설치한 한국화 추상 디자인한 팝아트 현대미술 작품 <나팔꽃 추상화 p45-1-1> 한국화가 루이 최철주 뉴욕 전시 포스터100 이미지로 한 한국화 추상 디자인4 = 유명 현대 개념 미술가, 현대미술 작가, 현대 추상미술 한국화가 작품 / 추상 화가 그림 최철주 개인전: 2022 루이 최철주 뉴욕 전시 나팔꽃 추상화 p45 유명한 현대 미술가 작품 현대 화가 추상 화가 루이 최철주 / Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' pop art abstraction design / 현대 배반적 개념미술로 한 한국화 추상화 작품 <morning glory p45-1-1> 디자인 평론
Design review: the New York Contemporary Art Exhibition of "Morning glory" abstract painting(Poster): an exhibition of the desires of others seen by a chick as an infant." a contemporary art work that applies artist Louis Chul-joo Choi's Lacan art theory. 20220301
~20220308 Flushing Town Hall, New York.
현대미술 디자이너 최철주는 현대미술을 그의 욕망 공식을 통해서 추상화를 디자인한다.
최철주의 욕망 공식은 I/I(이미지)와 D/d(디자인)를 기호로 사용하여 디자인 이미지의 개수와 사건 및 공연 이미지를 연결하여 다항식의 욕망 이미지를 생성하는 곱셈 공식이다. 기호로서의 이미지의 언어적 의미는 욕망의 추상적 개념을 식별하고자 하는 욕망 개념의 이미지(I/i)이다.
추상화가로서 최철주의 현대 개념미술은 타자의 욕망을 주제로 한 비실재로서 실제적 조형성의 흔적과 가역적 빛의 음영으로 개념을 추상하는 미술이다. 이것은 초기 개념미술의 개념으로 한 회화성의 복귀 즉 사실적 실재의 자리를 대리하는 타자의 욕망을 추상하는 추상화다.
최철주의 욕망 개념의 추상적 이미지를 도출하는 것은 빛의 가역적인 음영속에서 욕망 개념의 언어적 의미를 표현하는 이미지를 디자인하여서 이루어진다.
반예술적 형태와 달리, 이것은 욕망 개념의 언어적 의미와 동일한 사건과 공연의 이미지 형태로 그려진 추상적 욕망의 실제 이미지다.
따라서 개념미술로서 허무주의의 반미술적 미니멀 아트가 아닌 추상적 욕망 개념을 실재의 이미지로 적시한다. 즉 욕망 개념과 동일한 언어적 의미로서 사건과 공연 이미지를 지적하여 보인다. 이것은 추상적 욕망을 언어적 의미와 동일한 실재의 이미지를 미학적으로 디자인한 최철주의 현대개념추상화운동이다.
여기서 기존 개념미술에서 미술가의 관점으로 한 미적 가치보다는 타자의 욕망 개념에서 출현한 실재룰 추상화한 조형성을 추구한다.
Louis Chul-joo Choi, morning glory p45-1-1, a hand-painted picture on a computer, 2022/
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.
개념적 의미 구조로서 추상 이미지 디자인: 이미지를 오브제로 디자인한 라캉의 오브제ɑ
<morning glory>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로 디자인한 배면이 비춰지는 교직된 천의 형태에 그리진 라캉의 오브제ɑ다.
그 오브제ɑ의 형상은 뉴욕(Flushing Town Hall & Yeomyeong Hall)에서 루이 2022년 <나팔꽃>개인전 관련 현대미술 추상화 작품으로서 디자인 컨셉으로 한 포스터<morning glory poster>를 제작하여서 이것을 라캉적 의미 구조로서 형상의 디자인 즉 회화의 전시 이미지를 기호화하여서 연쇄한 현대 개념미술을 추상화했다.
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.
욕망적 개념미술로서의 추상화는 미술에서 사실적 구조물로서의 추상화를 말한다. 사실적 형상의 자리에 존재하는 개념적 의미들은 카툰 만평 이미지로 구분될 수 있으므로, 추상화는 타인의 추상적 욕망을 카툰 만평 이미지로 해석하는 가역적인 빛의 음영을 통해 그려진다.
Abstract painting as a desire conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, abstraction is drawn through reversible light shading that interprets others' abstract desires as cartoon review images.
Louis Chul-joo Choi, <Corona mutant viruses 5>, a handpainted picture on a computer/ Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula. Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire. As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.
Abstract painting as a desire conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, abstraction is drawn through reversible light shading that interprets others' abstract desires as cartoon review images.
욕망적 개념미술로서의 추상화는 미술에서 사실적 구조물로서의 추상화를 말한다. 사실적 형상의 자리에 존재하는 개념적 의미들은 카툰 만평 이미지로 구분될 수 있으므로, 추상화는 타인의 추상적 욕망을 카툰 만평 이미지로 해석하는 가역적인 빛의 음영을 통해 그려진다.
미술가 개념미술 추상화 작품 : Chul-joo Choi, morning glory 45+Corona mutant viruses(p45-0), a hand-painted picture on a computer / 만화뉴스 만평을 개념 미술가 작품으로 재해석한 현대미술 추상화 개념만평
가역적 빛으로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 2022 뉴욕 전시 포스터-45)는 병아리가 타자의 욕망을 시간성에 감춘 이미지를 가역적 빛의 음영으로 <Corona mutant viruses 5>를 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 형상의 실제 변화된 움직임에 의해 가려지는 개념적 추상의 의미 즉 거울속의 이미지는 가상적인 비실재의 이미지로서 타자의 무의식적 욕망에서 드러낸 추상적 이미지의 순간적 왜곡된 상 오브제ɑ를 보인다.
현대 미술평론가 & 개념미술가 최철주의 현대 개념 디자인은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 회화 작품으로 생성하는 개념미술 디자인이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 디자인적 가치를 말한다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다.
반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로 한 최철주의 개념미술 추상화 디자인은 시사만평으로 개념의 의미를 라캉적 개념미술 추상화 이미지에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 개념미술 추상화 디자인을 통해서 삶적 가치를 교합시킨다. 여기서 라캉적 개념미술 추상화 디자인은 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 추상성 디자인을 말한다. (ACN ・ 2022. 10. 7. 2:33 최철주 개념미술 추상화 디자인 해석)
라캉적 디자인방법론(Lacan's design methodology)으로 한 회화 디자인에 대한 라캉적 도슨트: 라캉적 디자이너, 디자인평론가 & 현대미술가 최철주 라캉적 디자인방법론: 현대미술 추상 한국화 작품으로서 <morning glory p-45>에 라캉의 환유공식 f(S...S')S=˜ S (-)s 적용하여서 가역적 빛으로 생성한 페인팅 <Corona mutant viruses 5>를 중첩한다. 그리고 언어적 은유 이미지를 연쇄하여서 라캉의 환유공식을 재적용하여서 가역적 빛의 음영으로 한 공간의 또 다른 자리에 <Corona mutant viruses 5>의 현상적 자리를 정하여 <morning glory 포스터45>로 보인다. 이것은 루이 최철주 뉴욕 전시에서의 라캉적 개념미술로 디자인한 포스터가 라캉적 오브제를 실제화한 추상화임을 말한다.
2022 <나팔꽃> 뉴욕 전시/전시작품 & 현대미술 작품: 라캉의 오브제ɑ와 피카소의 아나몰포시스 이미지로 한 현대 추상화가 루이 최철주 개념 미술 추상화: <나팔꽃 p8-2-1>
Louis Chul-joo Choi, morning glory 2022-h, 149X185cm, acrylic and composite materials on cloth, 2022/ The derivation of abstract images of Choi Chul-joo's concept of desire is achieved by designing images that express the linguistic meaning of the concept of desire in the reversible shadow of light. Unlike the anti-artistic form, this is a real image of abstract desire drawn in the form of the same image of events and performances as the linguistic meaning of the concept of desire. Therefore, as an existing conceptual art, the concept of abstract desire, not the anti-artistic minimal art of nihilism, is indicated as an image of reality. In other words, the image of events and performances is pointed out as the same linguistic meaning as the concept of desire. This is Choi Chul-joo's modern concept abstraction movement, which aesthetically designs abstract desire and the same image of reality as the linguistic meaning.
욕망 개념 미술의 추상화 "나팔꽃 morning glory" 의미
가역적 빛으로 생성된 공간에서 보이는 의미로 그려진 대상으로서 병아리가 타자의 욕망을 시간성에 감추어진 이미지를 가역적 빛의 음영으로 그 대상을 비추어서 다른 어떤 형상의 의미를 가리키며, 그 대상은 실제 가역할 수 있는 형상으로서 추상 공간을 정의하고 그 형상이 가역적 빛의 음영으로 실제 변화된 움직임에 의해 가려지는 개념 미술의 추상화 의미를 말한다.
현대미술 작품: 루이 최철주 뉴욕 전시 morning glory 포스터-37
Louis Chul-joo Choi, morning glory p45-0, a hand-painted picture on a computer
Louis Chul-joo Choi, morning glory p45-1-1, a hand-painted picture on a computer
현대 미술평론가 & 개념미술가 최철주의 현대 개념 디자인은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 회화 작품으로 생성하는 개념미술 디자인이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 디자인적 가치를 말한다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다.
반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로 한 최철주의 개념미술 추상화 디자인은 시사만평으로 개념의 의미를 라캉적 개념미술 추상화 이미지에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 개념미술 추상화 디자인을 통해서 삶적 가치를 교합시킨다.
여기서 라캉적 개념미술 추상화 디자인은 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 추상성 디자인을 말한다. (ACN ・ 2022. 10. 7. 2:33 최철주 개념미술 추상화 디자인 해석)
Louis Chul-joo Choi, morning glory p45-1-1, a hand-painted picture on a computer
라캉적 페인팅 디자이너 루이 최철주, 라캉의 미술이론을 스토리보드로 포스터를 형상화하여서 페인팅 디자인/ Painting designer, Louis Choi Chul-joo (Doctor of Modern Painter & Culture Design), a Lacan designer, designs the image of the painting by shaping Lacan's art theory as a storyboard = 라캉적 디자인방법론(Lacan's design methodology)으로 한 회화 디자인에 대한 라캉적 도슨트: 라캉적 디자이너, 디자인평론가 & 현대미술가 최철주 라캉적 디자인방법론: 현대미술 추상 한국화 작품으로서 <morning glory 포스터45>에 라캉의 환유공식 f(S...S')S=˜ S (-)s 적용하여서 가역적 빛으로 생성한 페인팅 <Corona mutant viruses 6>을 중첩한다. 그리고 언어적 은유 이미지를 연쇄하여서 라캉의 환유공식을 재적용하여서 가역적 빛의 음영으로 한 공간의 또 다른 자리에 <Corona mutant viruses 6>의 현상적 자리를 정하여 <morning glory 포스터45>로 보인다. 이것은 루이 최철주 뉴욕 전시 기간에 Covid-19가 심각한 상태임을 말하며 2022년2월22일 뉴욕 Yeomyeong Hall 전시가 2022년3월8일로 연기된 것이 2022년3월1일 뉴욕 Flushing Town Hall 전시 <morning glory 포스터45>를 생성하는 동기를 제공했다.
상상계에서 개념 미술의 추상적 의미는 실재와의 동일시하여서 외형적으로 오브제의 이미지와 추상적 의미를 동일한 주체로써 오브제의 이미지와 동일시되면서 내적으로 주체는 변형된 추상적 의미를 형성한다. 여기서 형성된 추상적 의미는 거울 앞에 선 유아가 본 것으로서 실재의 결핍을 타자의 욕망으로 수립한 허상이면서 실재의 이미지와 개념 미술의 추상적 의미를 상징하는 등록소다. 여기서 의미를 상징하는 등록소는 결핍된 실재의 추상적 의미를 보이는 은유로서의 상상계는 거울에 비친 오브제를 봄으로써 실재의 오브제의 상과 병아리가 만족하는 이미지로서 은유되며 거울에 비친 실재의 상에서 은유로서의 실재의 이미지는 거울에 비친 실재의 상과 동일시 되면서 그 이미지와 또 다른 추상적 의미의 상이 된다.
그리고 육화된 추상된 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각의 이미지는 그 형상의 실제 사전 Covid-19로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 공간을 추상화로서 나팔꽃 포스터45로 보인다.
이것은 형상의 추상적 의미를 가리키며, 그 형상은 실제 가역할 수 있는 추상적 공간을 정의하고 그 형상의 실제 변화된 움직임에 의해서 변화된 형상이 음영으로 가려지는 추상된 형상의 디자인적 의미를 가리킨다.
/ 글. 디자인평론가 최철주 (추상 화가 & 문화디자인박사)
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Contemporary art designer Louis Choi
Contemporary art designer Louis Choi Chul-joo art work 23
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [23] Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./ morning glory p121-4-Installing an image of a firm desire & Review of Korean News Cartoon [195] 2024 U.S. presidential candidate.(2024-9-8) / Reporter Choi Chul-joo’s Cartoon Review
Louis Choi chuljoo, Louis Choi chuljoo, morning glory p121-6-2024 U.S. presidential candidate-pond, a hand-painted picture on a computer
Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula. Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire.
As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.
Installing an image of a firm desire
The installation of the desire image is to reveal a significant painting image in the mind through an error in the subjective abstract image of an object that does not exist by realizing the representation of a linguistic object.
It simulates (模寫) the concept of linguistic desire as a painting and displays the representation perceived as desire as a real image. In other words, displaying linguistic desire as a painting image embodies desire as an actual painting image with an objective correlation, like T. S Eliot. In other words, it abstracts the linguistic image as a concept of desire, but metaphorically as a real image of the concept.
The real image manages and abstractly defines the object as the meaning of existence.
Therefore, in linguistic abstraction, the meaning of existence is taken as a real image. By showing existence as an image rather than an object as reality, it becomes a reality in abstraction that transcends the subject of the object. In this way, existence generalizes the object as a firm subject with a phenomenal gaze.
The installation of an image of firm desire is the installation of an image as a subject of firm existence, which is viewed through the gaze of the desire for existence.
Even if the actual object's light is bright, it does not reach the light in the sky, and the cloud divides the space according to the installation of the image of existence. Therefore, by rejecting metaphysics that do not affect the object of desire with reversible light, the existence of an object is recognized as an image through the shadow of light.
Here, imaginary desire is a linguistic impression concept, and the image of meaning is repeatedly designed to reconstruct the abstract formative color into a real image, and the outer surface of reality is developed as an objective correlation.
Louis Chul-joo Choi, morning glory window 2024-8-Installing an image of a firm desire, 150X112cm, acrylic and composite materials on cloth, 2024
The design process of Choi Chul-joo's concept of desire abstract art is to install such a firm gaze image as the outer surface of reality and abstract the outer surface of reality as a correlation of reality as a concept of desire.
Since this is reversely abstracted as a correlation of a phenomenal real image, the image design of the concept of desire is repeated to show the correlated real image of the concept of interpreting desire as a cartoon cartoon only as an event or performance image, and the real image as an event and performance image is drawn as a phenomenal perception and installed as a correlated image in the thought intended by the action of the image.
It acts as a coincidence to reduce the non-visual image derived from this to a linguistic abstraction cartoon review. Image correlation, which replaces the symbolic phenomenon of an image with a reality that symbolizes the meaning of the image, does not presuppose a causal relationship with a single meaning, but results in an image that is connected to the concept of desire as a correlation between an abstract concept that deviates from the structure of non-realism and reality.
Image is a concept of desire without abstract meaning and spatial constraints and grasps the desires of others as subjects related to reality.
In the aesthetic structure concealed by the subject, the sky divided by clouds is the shaded light of the object and stops the abstract concept in real life. And the size of the image of a correlated reality as a shade is omitted and it is positioned as a range that appears to be light. This is a place where reality has an aesthetic value adapted to the place as an image, and decorates the place with the colors of universal reality that fit the custom. This is Choi Chul-joo's concept of installing an image of desire.
The object of reality is a shape that has remained as a color in the linguistic sense that existed conventionally, and is composed of a single image of the desire of the other in contrast to the light of the past. The image shows the image of reality that existed in the original place of the image with a shape stopped by desire.
When an image is a desire image, it is not affected by the subject of the shape and is visually abstracted as a subject according to the desires of others. Therefore, the abstract effect reproduced by the desire gaze is reduced to abstraction from the actual image in which the desire image is superimposed as the gaze image of a firm desire is installed. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
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] Kamala Harris Accepts 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 d204-2024 U.S. presidential candidate, a hand-painted picture on a computer: 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 d204-2024 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 d204-pond-2024 U.S. presidential candidate> 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 d204-pond-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.
■ 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.
■ 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.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p121-4-2024 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 "morning glory p121-4-2024 U.S. presidential candidate" 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 "morning glory p121-4-2024 U.S. presidential candidate". Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p121-4-2024 U.S. presidential candidate" 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, morning glory p121, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p114, a hand-painted picture on a computer
Final image superimposed on the artist's work:Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024
The derivation of abstract images of Choi Chul-joo's concept of desire is achieved by designing images that express the linguistic meaning of the concept of desire in the reversible shadow of light. Unlike the anti-artistic form, this is a real image of abstract desire drawn in the form of the same image of events and performances as the linguistic meaning of the concept of desire.
Therefore, as an existing conceptual art, the concept of abstract desire, not the anti-artistic minimal art of nihilism, is indicated as an image of reality. In other words, the image of events and performances is pointed out as the same linguistic meaning as the concept of desire. This is Choi Chul-joo's modern concept abstraction movement, which aesthetically designs abstract desire and the same image of reality as the linguistic meaning.
Abstract Design Process of Desire Concepts: The Missing Pond
The border of the pond, where water is collected on the surface of the earth, inside the tangent line of the earth's surface to the water surface, is the same as the geometric tangent line in the shape of the water surface.
The missing pond is a structure of light that deviates from the concept of instantaneous desire as a shade of reversible light, and perspective objectivity distorts the range of the sky and the size of the perspective with reversible light on the object superimposed on the water surface.
It opens its eyes in the pond and emerges an aesthetic structure of desire that casts leaves and flowers on fish and water hovering in the direction of desire.
The concept of desire that emerged in this way abstracts to fit a pond in a realistic hue with a reversible shade of light.
Choi Chul-joo's concept of desire in the disappeared pond does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided into a design, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure obscured by images designed by the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as images in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object of the past and is recognized as an abstract image. And the subject who depicts existence as an actor implements reality that symbolizes the concept of desire and transforms abstract desire into a mental phenomenon of an image.
And Choi Chul-joo's concept of abstract desire is created by the imagination desired by the subject of desire in selecting the image of the object of abstract painting in the unconscious.
Desire Process As an abstract picture image, the Desire concept design process 3 is an unconscious act that is thoughtful but unconscious, and is to repeatedly design a desire that combines lines and colors and transfer it to a real image.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire concept design process 4. is to design the space composition of desire in which the image of the idea is a flat monochromatic painting carved from reality by combining it into a reversible structure of light through conscious movement.
Therefore, the temporality of a linguistic image according to reversible light presents the image of reality as a being through existential-theoretic interpretation, like Aristotle's time.
Here, Choi Chul-joo's Desire Concept Abstraction Design Process 5 represents the linguistic meaning to present the concept of desire. This is a correlation structure of elapsed time, which is abstracted by simplifying a specific surface of the image while converting to an actual image.
Thus, by simplifying the actual image that embodies the abstract structure, the contrast of the cross section is eliminated with reversible shades of light, and the essence of abstraction is flattened into the cross section. This is an image that revives the essence of abstraction in the linguistic and temporal sense of concealing the same object that exists in the present.
In this way, Choi Chul-joo's concept of desire design emerges as an object of desire as another abstract reality in the perspective visual system through his desire design process.
The expression of water as a structure of the object of desire contrasts with the sense of reality and the flat abstract gaze of the lotus, which gave a sense of motion to the flow of water by the movement of the fish,
The perspective simplifies the real image of recognizing the object of a reversible perspective in a linguistic sense from abstract thinking to a phenomenal structure. In other words, it brings the error of abstract perception to a reversible perspective and designs it as a real image that avoids the unconscious surreal formative structure.
Reality creates boundaries of realistic structures and specifies the meaning of images in terms of time as empty spaces abstracted by the concept of desire.
Like Jugendstil, an abstraction of morning glory in linguistic abstraction that specifies the concept of involuntary desire, this abstracts the rhythm of the object and transforms it into a flat design form, but interprets it as reversible light. Therefore, it is not an impressionistic image that captures the moment of 'the disappearing pond' as an impression, but a symbolic image of existence that verbally interprets the abstract meaning of 'the disappearing pond' in an explicit temporality as a shade of reversible light.
Therefore, determining the object of abstract desire as a correlation in reality is the starting point for abstracting the concept of involuntary desire as a being. This is in accordance with Choi Cheol-joo's process 1 of the concept of desire, which abstracts the structure by presenting the present image, that is, the image of temporality verbally, in the shade of reversible light that embodies the concept of desire in the present place.
By simplifying the real image that embodies the abstract structure of desire and eliminating the light and shade of the cross section into reversible light and shade, the essence of abstraction is flattened into a cross section. This is an image that returns the essence of abstraction to temporality in a linguistic sense.
The abstraction of the concept of desire creates an image of a pond that existed in a linguistic sense as a shade of reversible light tailored to the linguistic logic in which the shadow of the existing light returned to temporality.
The pond captures the lotus and the fish whose temporality is superimposed on the waves as the subject of desire. This is a linguistic demand separated by abstraction, and the aesthetic value in the pond is recognized in an abstract sense as a structure of desire and as a symbolic structure of the concept of desire.
Therefore, we follow the Desire Concept Design Process 2 to harmonize the concept of desire and abstraction, where symbolic meanings are fantasized to conform to the concept of esthetic values and desires, in which reality represented by the abstraction of linguistic meaning is distinguished.
In linguistic abstraction, as the philosophical logic approaches, images formed in the structure of letters are tailored to art to form a formative structure.
Choi Chul-joo's abstraction of the concept of desire is the same as abstracting the concept of biblical desire as a real image by personifying a divine character in the Bible, like the the theological formative structure of a Renaissance church that attributed philosophical logic to religion.
Although the artistic inspiration of early Dadaist conceptual art cannot be ignored, Choi Chul-joo's concept of desire in contemporary art, whose conceptual abstraction deviates from the Bible, is a concept of installing flat images in conceptual art with literal concepts and linguistic meanings as sketches through images reflected in a pond.
The unconscious abstraction, in which abstract words are drawn in a linguistic sense, is difficult to interpret as an image of an idea as the content of the mind, and the concept of abstract desire is an annular structure.
Therefore, according to Desire Concept Design Process 3, it is to repeatedly design images generated by abstraction as reality that symbolizes desire and express actual images of desire with arbitrary unconscious actions desired by desire.
On the other hand, it is conceptual art in a linguistic sense that expresses abstract concepts as real images. Therefore, Choi Chul-joo's conceptual art of desire transfers the structure of Idea to the structure of reality. And abstract works show real images as images of the subject's events and performances.
The image is a conceptual abstraction that goes beyond the limits of the real image of impressionist painting. It illuminates the impressive abstraction of the concept of desire in photographs with instantaneous impressions of images of events and performances. And it clearly realizes the concept of unconscious desire as an image in a linguistic sense.
In this way, the realization of the concept of desire is abstracted into an effect specified as unconscious action, a universal reversible being created by the imagination desired by the subject of desire illuminated in the reversible shadow of light.
Therefore, it is according to Desire Concept Design Process 4 to select thoughts that cannot be subconsciously recognized in universal reality as fragmented planar structures to form meaningful spaces "morning glory, bamboo forests, and ponds" as frames of desire.
Desire that existed in the "disappeared pond" is abstracted into a real image tailored to the conditions of correlation with past experiences of the unconscious as an essential image of linguistic meaning.
Here, a superimposed image of meaningful desire hidden in temporality appears in the pond as an image of reality, but the entire image is an abstract composition that deviates from the perspective visual system. Its planar shape simplifies the image of the past concept of desire and abstracts the existence of unconscious desire into an objective image of reality.
Choi Chul-joo divides desire into background and actor as the subject of the abstraction. He structures the image of morning glory, bamboo forest, and pond in the desire background and expresses the actor of desire as an objective correlation of the concept of desire. The desire realistically abstracts the landscape in the linguistic sense as a correlation in which a reversible shade of light structurally directs desire.
It shows the impression of desire perceived as a real meaning of desire that is abstracted as a realistic structure. In other words, the background of Choi Chul-joo's concept of desire is the morning glory, which is the structure of desire. The shadow is the linguistic meaning, which is a phenomenon of life through events and performance images, and the mirror image is hidden in a bamboo forest. And the image reflecting the shadowy structure in the pond represents the cause of desire in reality as the existential meaning of timeliness according to reversible light as the background of desire.
Therefore, it follows the desire concept abstract design process 5 to represent the existing linguistic meaning in temporality to the hidden real structure of unconscious desire.
This reveals the impression of the concept of desire in a reversible light that is passively set in the imagination, and as a cause, an abstract deviating from the impression that the actor, the subject of desire, represents desire.
The stray abstraction of the impression faced by the phenomenon representing desire is the reality of desire that is invisible to the imagination. This has a linguistic meaning along with the form of an abstract desire image reflected in the pond.
The concept of desire, which represents linguistic meaning in a painting as a metaphor, does not fall outside the scope of an imitation painting. However, when the concept and image of desire representing invisible reality in the imagination are the same, they turn into conceptual abstractions.
This is a symbolic system that constitutes a structure with social rules, and it is an image of a desire structure that equates the symbolic meaning invisible to the image of abstract reality.
Therefore, the subject of the image of desire is the object as the subject of desire. The object enters reality from the symbolic world of abstract desire by accepting the symbolic meaning invisible to reality as the subject.
In the category of imitability in painting, the real image, which appears to be a symbol with the object of desire as a conceptual subject, has been accepted in religious customs until modern times. In addition, by obscuring the concept of desire as a social constraint, it hides the figurative reality of nude in painting and is symbolized as an illusion based on a mythical story. In the imagination of painting until modern times, the symbolic meaning, which is socially taboo, has no difference from the image of morphological reality.
Choi Chul-joo's abstraction of the concept of desire is an image of a substantive shape, and the formative meaning in which social desire is embodied is transformed into a symbolic shape. In other words, paintings up to modern times are modern paintings that break away from the category of realistic formativeness and conventional abstraction that revealed the stage of contrast and destroy the symbolism of the other's desires as invisible reality, making it an abstract desire concept.
This abstracts the reality of fish by expressing the flatness of painting in monotone with the outline of fish as an image of desire as an abstract structure revealed by the desire of the other in <Disappeared Pond>.
The pond shows contemporary social reality and reveals the image of reality hidden in conventional reason, reflecting the pictorial meaning of desire through communication with its reality.
The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.
In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.
Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
In addition, as a design process of the concept of desire, the object of desire is symbolized as a conceptual subject, forming the reality expressed through desire revealed in the suppressed unconscious through design and revealing abstraction as being./ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
Louis Choi chuljoo, 2024 U.S. presidential candidate 5 [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.
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Contemporary art designer Louis Choi
Contemporary art designer Louis Choi Chul-joo art work 24
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [24] Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./ 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 d210-2024 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 d210-2024 U.S. presidential candidate-pond-p: 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 d210-2024 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 d210-2024 U.S. presidential candidate-pond-p> 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.
■ 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.
■ 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.
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
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p125, a hand-painted picture on a computer
Final image superimposed on the artist's work:Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024
Abstract Design Process of Desire Concepts: The Missing Pond
The border of the pond, where water is collected on the surface of the earth, inside the tangent line of the earth's surface to the water surface, is the same as the geometric tangent line in the shape of the water surface.
The missing pond is a structure of light that deviates from the concept of instantaneous desire as a shade of reversible light, and perspective objectivity distorts the range of the sky and the size of the perspective with reversible light on the object superimposed on the water surface.
It opens its eyes in the pond and emerges an aesthetic structure of desire that casts leaves and flowers on fish and water hovering in the direction of desire.
The concept of desire that emerged in this way abstracts to fit a pond in a realistic hue with a reversible shade of light.
Choi Chul-joo's concept of desire in the disappeared pond does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided into a design, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure obscured by images designed by the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as images in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object of the past and is recognized as an abstract image. And the subject who depicts existence as an actor implements reality that symbolizes the concept of desire and transforms abstract desire into a mental phenomenon of an image.
And Choi Chul-joo's concept of abstract desire is created by the imagination desired by the subject of desire in selecting the image of the object of abstract painting in the unconscious.
Desire Process As an abstract picture image, the Desire concept design process 3 is an unconscious act that is thoughtful but unconscious, and is to repeatedly design a desire that combines lines and colors and transfer it to a real image.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire concept design process 4. is to design the space composition of desire in which the image of the idea is a flat monochromatic painting carved from reality by combining it into a reversible structure of light through conscious movement.
Therefore, the temporality of a linguistic image according to reversible light presents the image of reality as a being through existential-theoretic interpretation, like Aristotle's time.
Here, Choi Chul-joo's Desire Concept Abstraction Design Process 5 represents the linguistic meaning to present the concept of desire. This is a correlation structure of elapsed time, which is abstracted by simplifying a specific surface of the image while converting to an actual image.
Thus, by simplifying the actual image that embodies the abstract structure, the contrast of the cross section is eliminated with reversible shades of light, and the essence of abstraction is flattened into the cross section. This is an image that revives the essence of abstraction in the linguistic and temporal sense of concealing the same object that exists in the present.
In this way, Choi Chul-joo's concept of desire design emerges as an object of desire as another abstract reality in the perspective visual system through his desire design process.
The expression of water as a structure of the object of desire contrasts with the sense of reality and the flat abstract gaze of the lotus, which gave a sense of motion to the flow of water by the movement of the fish,
The perspective simplifies the real image of recognizing the object of a reversible perspective in a linguistic sense from abstract thinking to a phenomenal structure. In other words, it brings the error of abstract perception to a reversible perspective and designs it as a real image that avoids the unconscious surreal formative structure.
Reality creates boundaries of realistic structures and specifies the meaning of images in terms of time as empty spaces abstracted by the concept of desire.
Like Jugendstil, an abstraction of morning glory in linguistic abstraction that specifies the concept of involuntary desire, this abstracts the rhythm of the object and transforms it into a flat design form, but interprets it as reversible light. Therefore, it is not an impressionistic image that captures the moment of 'the disappearing pond' as an impression, but a symbolic image of existence that verbally interprets the abstract meaning of 'the disappearing pond' in an explicit temporality as a shade of reversible light.
Therefore, determining the object of abstract desire as a correlation in reality is the starting point for abstracting the concept of involuntary desire as a being. This is in accordance with Choi Cheol-joo's process 1 of the concept of desire, which abstracts the structure by presenting the present image, that is, the image of temporality verbally, in the shade of reversible light that embodies the concept of desire in the present place.
By simplifying the real image that embodies the abstract structure of desire and eliminating the light and shade of the cross section into reversible light and shade, the essence of abstraction is flattened into a cross section. This is an image that returns the essence of abstraction to temporality in a linguistic sense.
The abstraction of the concept of desire creates an image of a pond that existed in a linguistic sense as a shade of reversible light tailored to the linguistic logic in which the shadow of the existing light returned to temporality.
The pond captures the lotus and the fish whose temporality is superimposed on the waves as the subject of desire. This is a linguistic demand separated by abstraction, and the aesthetic value in the pond is recognized in an abstract sense as a structure of desire and as a symbolic structure of the concept of desire.
Therefore, we follow the Desire Concept Design Process 2 to harmonize the concept of desire and abstraction, where symbolic meanings are fantasized to conform to the concept of esthetic values and desires, in which reality represented by the abstraction of linguistic meaning is distinguished.
In linguistic abstraction, as the philosophical logic approaches, images formed in the structure of letters are tailored to art to form a formative structure.
Choi Chul-joo's abstraction of the concept of desire is the same as abstracting the concept of biblical desire as a real image by personifying a divine character in the Bible, like the the theological formative structure of a Renaissance church that attributed philosophical logic to religion.
Although the artistic inspiration of early Dadaist conceptual art cannot be ignored, Choi Chul-joo's concept of desire in contemporary art, whose conceptual abstraction deviates from the Bible, is a concept of installing flat images in conceptual art with literal concepts and linguistic meanings as sketches through images reflected in a pond.
The unconscious abstraction, in which abstract words are drawn in a linguistic sense, is difficult to interpret as an image of an idea as the content of the mind, and the concept of abstract desire is an annular structure.
Therefore, according to Desire Concept Design Process 3, it is to repeatedly design images generated by abstraction as reality that symbolizes desire and express actual images of desire with arbitrary unconscious actions desired by desire.
On the other hand, it is conceptual art in a linguistic sense that expresses abstract concepts as real images. Therefore, Choi Chul-joo's conceptual art of desire transfers the structure of Idea to the structure of reality. And abstract works show real images as images of the subject's events and performances.
The image is a conceptual abstraction that goes beyond the limits of the real image of impressionist painting. It illuminates the impressive abstraction of the concept of desire in photographs with instantaneous impressions of images of events and performances. And it clearly realizes the concept of unconscious desire as an image in a linguistic sense.
In this way, the realization of the concept of desire is abstracted into an effect specified as unconscious action, a universal reversible being created by the imagination desired by the subject of desire illuminated in the reversible shadow of light.
Therefore, it is according to Desire Concept Design Process 4 to select thoughts that cannot be subconsciously recognized in universal reality as fragmented planar structures to form meaningful spaces "morning glory, bamboo forests, and ponds" as frames of desire.
Desire that existed in the "disappeared pond" is abstracted into a real image tailored to the conditions of correlation with past experiences of the unconscious as an essential image of linguistic meaning.
Here, a superimposed image of meaningful desire hidden in temporality appears in the pond as an image of reality, but the entire image is an abstract composition that deviates from the perspective visual system. Its planar shape simplifies the image of the past concept of desire and abstracts the existence of unconscious desire into an objective image of reality.
Choi Chul-joo divides desire into background and actor as the subject of the abstraction. He structures the image of morning glory, bamboo forest, and pond in the desire background and expresses the actor of desire as an objective correlation of the concept of desire. The desire realistically abstracts the landscape in the linguistic sense as a correlation in which a reversible shade of light structurally directs desire.
It shows the impression of desire perceived as a real meaning of desire that is abstracted as a realistic structure. In other words, the background of Choi Chul-joo's concept of desire is the morning glory, which is the structure of desire. The shadow is the linguistic meaning, which is a phenomenon of life through events and performance images, and the mirror image is hidden in a bamboo forest. And the image reflecting the shadowy structure in the pond represents the cause of desire in reality as the existential meaning of timeliness according to reversible light as the background of desire.
Therefore, it follows the desire concept abstract design process 5 to represent the existing linguistic meaning in temporality to the hidden real structure of unconscious desire.
This reveals the impression of the concept of desire in a reversible light that is passively set in the imagination, and as a cause, an abstract deviating from the impression that the actor, the subject of desire, represents desire.
The stray abstraction of the impression faced by the phenomenon representing desire is the reality of desire that is invisible to the imagination. This has a linguistic meaning along with the form of an abstract desire image reflected in the pond.
The concept of desire, which represents linguistic meaning in a painting as a metaphor, does not fall outside the scope of an imitation painting. However, when the concept and image of desire representing invisible reality in the imagination are the same, they turn into conceptual abstractions.
This is a symbolic system that constitutes a structure with social rules, and it is an image of a desire structure that equates the symbolic meaning invisible to the image of abstract reality.
Therefore, the subject of the image of desire is the object as the subject of desire. The object enters reality from the symbolic world of abstract desire by accepting the symbolic meaning invisible to reality as the subject.
In the category of imitability in painting, the real image, which appears to be a symbol with the object of desire as a conceptual subject, has been accepted in religious customs until modern times. In addition, by obscuring the concept of desire as a social constraint, it hides the figurative reality of nude in painting and is symbolized as an illusion based on a mythical story. In the imagination of painting until modern times, the symbolic meaning, which is socially taboo, has no difference from the image of morphological reality.
Choi Chul-joo's abstraction of the concept of desire is an image of a substantive shape, and the formative meaning in which social desire is embodied is transformed into a symbolic shape. In other words, paintings up to modern times are modern paintings that break away from the category of realistic formativeness and conventional abstraction that revealed the stage of contrast and destroy the symbolism of the other's desires as invisible reality, making it an abstract desire concept.
This abstracts the reality of fish by expressing the flatness of painting in monotone with the outline of fish as an image of desire as an abstract structure revealed by the desire of the other in <Disappeared Pond>.
The pond shows contemporary social reality and reveals the image of reality hidden in conventional reason, reflecting the pictorial meaning of desire through communication with its reality.
The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.
In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.
Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
In addition, as a design process of the concept of desire, the object of desire is symbolized as a conceptual subject, forming the reality expressed through desire revealed in the suppressed unconscious through design and revealing abstraction as being./ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
Louis 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: In the concept of Choi Chul-joo's desire,
mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire./ 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.
■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire.
