개념 추상화가 최철주｜현대추상미술평론 현대추상화가평론 현대미술추상작품평론 Contemporary Abstract Art Painter Criticism [26] Contemporary Art Today Choi Chul-joo's Art Criticism, Abstract contemporary art that designed modern art abstract painting & Abstract artist Louis Choi Chul-joo Abstract art work: 현대미술 회화 디자인: 개념적 의미 구조로서 욕망 개념의 추상화 디자인 프로세스, The artwork posted on Facebook: Modern Art Artist Louis Choi Chul-joo Conceptual Abstract Work Criticism: Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art - Conceptual Art, Abstract Art, Pop Art, Cartoon Criticism/ Louis Choi Chul-joo Abstract Art work ( https://opensea.io/Louisland ) review: Louis Chul-joo Choi, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024 & Korean news cartoon review-A line News of Choi Chul-joo’s Manwha Review [197] Tyson totally gave in to the boxing match, but I'm happy-sketch 1. (2024-11-17) / newsmanwha K-Pop Song illustratoin [14] IZ*ONE Reveals 3rd mini-album 'Oneiric Diary <My diary is filled with your magic 7>' ACN・2020. 6. 11. 4:50/ Reporter Choi Chul-joo’s Cartoon Review
Louis Choi Chul-joo, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024
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.
현재의 욕망 이미지에 비친 사물들은 근대까지 종교적 제약에 중첩된 르네상스 시대의 과학적 사고에서의 레온 바티스타 알베르티 (Leon Battista Alberti)의 회화론 즉 원근법적 구성으로 한 피사체의 비례와 개념에서 연속된 동시대의 추상적 욕망 개념을 다자인한 것이 최철주의 욕망 공식이다. 이것은 현대 이상적 추상과는 다르게 욕망 개념의 언어적 의미를 그의 추상 디자인 프로세스를 통해서 가역적 빛의 음영으로 알베르티의 원근법을 회귀하여서 욕망 구조를 실재 이미지로 구현한다.
여기서 최철주의 <나팔꽃>은 욕망의 배경으로서 욕망의 구조를 말한다. 따라서 그림의 배경이 아니라 욕망의 한 조각으로서 레오나르도 다빈치의 데생 <아르노 풍경>처럼 풍경을 하나의 주체로서 <나팔꽃>은 현실의 시선으로 바라보고자 하는 욕망을 현실적 실재에 대리하는 배경이다. 이것은 응시자에 시선에 맞추고자 개념 추상화로서 <나팔꽃>을 실재 공간이 평면 구조로 보임에 맞추여 대상을 평면적으로 왜곡하여 그림으로서 욕망 개념의 언어적 의미에 대상의 오브제로서 사건과 공연 이미지를 동일한 평면 구조 즉 카툰 이미지로 <나팔꽃>과 가역적 빛의 음영으로 한 카툰 이미지로 그려서 중첩한다. 그리고 현존재의 욕망 이미지로 비치는 오브제로서 연못을 가역적 빛의 음영으로 주체로서 욕망의 자리를 꾸민다.
최철주의 욕망 개념 추상 디자인 개념은 낭만주의에서 추상으로 변모한 현대 추상 개념을 현대 미술 운동에서 출발하여 실제 이미지로 구현한 새로운 추상 미술 방법론입니다.
하나의 개념 예술은 추상적인 장소가 아닌 선택자의 욕망이라는 개념으로 이중적인 장소를 만들고, 이중적인 장소에서 추상적인 개념 예술을 추월하며, 선택자가 원하는 추상적으로 결핍된 욕망 구조를 주체로 하여 현실 이미지를 의미적 실체로 반복적으로 디자인합니다.
욕망의 현실을 디자인하는 도형의 개념적 미학은 미적 경험을 삶의 가치로서 객관적 현실로 추상화하려는 경험적 욕망의 부족을 설계한 결과이며, 필요한 대상의 부족을 충족시킴으로써 실제 이미지로부터 형성적 가치를 얻습니다.
여기서 욕망의 대상은 불충분하며 경험적 의식 움직임을 통해 의미적 상관관계를 얻고자 하는 상대방의 욕망 개념을 따릅니다.
따라서 욕망의 구조로서의 실제 이미지는 욕망이라는 개념으로 인해 현실 세계에서 그림자 이미지를 생략하고 빛의 범위에 배치함으로써 기존의 관행에 부합하는 미적 가치를 지니고 있으며, 현실 주체의 구조와 현실의 본질에 정착합니다. 빛의 가역적인 그림자 속에서 개념을 귀납적으로 조명함으로써 이미지의 언어적 의미와 실제 현상을 명확하게 구현합니다.
시간성에 따른 하나의 자리에 중첩된 여러개의 공간
시간성에 따른 하나의 자리에 중첩된 여러개의 공간에 존재하는 현재 공간은 시간성에서 현재의 공간에 이미지의 구조다. 즉 공간의 주체가 인지하는 시간성에 따른 시간적 현재의 이미지 구조다. 이것은 현재 이미지의 구조를 보이는 미적 시간성이다.
미적 시간성의 추상적 욕망의 언어적 의미로서의 회화에서 보이는 은유로써 모방적 회화의 범주를 넘지 못한다. 그 회화에서 모방성의 범주에서 기표를 캔버스에 담고서 근대까지의 회화는 종교적 관습에서 수용할 수 있는 사회적 제약(制約)이다. 기의는 회화에서 누드의 형상적 실체를 감추고 신화의 이야기에 근거로한 허상으로 상징화된다. 상상계에서 사회적으로 금기된 기의는 상징적 의미를 갖지만 형태적 기표는 차이를 갖지 못한다.
따라서 추상적 욕망 개념의 언어적 의미와 동일한 실제 이미지로 추상화한 최철주의 미적 욕망 개념은 과거의 시대성에서 가역적 빛의 그림자에 이르기까지 특정 장소에서 추상적 욕망을 현재의 시간성으로 조명합니다. 여기서 추상적 욕망 개념의 언어적 의미로 식별되는 현재의 실제 이미지는 가역적인 빛 그늘 구조로 이어집니다.
그 이미지는 시간성에서 현존하는 실재의 욕망 구조를 가역적 빛의 음영으로 연속하여 추상한 언표적 의미의 자리를 꾸민다.
추상적 언표의 의미로서 보이지 않는 실재는 보이는 은유의 형태적 기표가 추상적 의미의 기의로 전이된다. 회화는 실체적 형상인 기표로서 형상의 실체는 사라지고 허상적 상징의 기의로서의 환유적 고착이다. 즉 회화에서 사회적 제약으로서의 기의는 화가의 욕망으로 실체화된 형상적 의미를 상징적 형상으로 자리바꿈을 한다.
근대까지의 회화는 명암의 단계를 드러낸 사실적인 조형성과 통념적인 주체성의 범주에 머물고 있었다. 정해진 욕망 개념의 주체에서 벗어나려는 최철주의 욕망 개념은 보이지 실재로서 상징성을 넘어서 실재 이미지한 미학적 추상을 추구한다.
미학적 논리를 적용시 예술관련 철학적 근거로 해석하여서 오류를 회피하지 않도록 욕망 공식과 추상 디자인 프로세스를 최철주 문화디자인박사의 현대미술 디자인 방법론 임을 동시대에서 공시적 추론으로서 그의 작품을 예시로 한 현대 개념 추상미술운동읊 전개한다.
최철주의 추상미술이론에서 그의 <나팔꽃>에서 욕망 개념의 주체로서 실재가 주체성을 인식하면서 그 실재 이미지와 욕망 개념과 동일시하는 추상계이다. 회화에서 실재 이미지를 표명한 시대에서부터 19세기까지 계속적인 사회적 규정에 의해 실재 이미지가 회화적 인식의 구조이다. 그의 추상계는 욕망 개념의 추상과는 다르게 실재가 시간성으로 한 욕망의 자리에서 욕망 개념의 언어적 의미의 실재 이미지가 욕망의 주체임을 인식한다.
시간성에 따른 하나의 자리에 중첩된 여러개의 공간은 미적 추상화로서 시간성이 존재 이미지를 구분하지 않고 가역적 빛의 음영으로 은폐된 하나의 욕망 개념의 동시성으로 중첩한 실재의 자리를 만들고 타자의 욕망 이미지를 연속하여서 포치한다.
추상화가 루이 최철주의 현대 개념미술은 타자의 욕망을 주제로 한 비실재로서 실제적 가능성의 흔적과 가역적 빛의 음영으로 개념을 추상하는 미술이다. 이것은 초기 개념미술의 개념으로 한 회화성의 복귀 즉 사실적 실재의 자리를 대리하는 타자의 욕망을 추상하는 추상화다.
따라서 욕망 개념의 추상화는 추상적 욕망 개념의 언어적 의미를 추상화와 현실의 이중 구조 속에서 창조하며, 사건과 공연의 이미지를 빛의 가역적인 그림자 속에서 욕망의 주체가 선택한 불충분한 욕망의 의미적 실체로 만들어낸다.
이처럼 언어적 의미에서 추상적 욕망의 개념을 가진 사건과 공연의 이미지는 욕망의 부재에 따라 추상적 욕망의 주체가 실제 구조로 나뉘는 실제 이미지와 동일시됩니다. 이는 반예술적 형태와 달리 사건과 공연의 실제 이미지와 동일한 언어적 의미를 가진 사물의 형태를 사용하는 추상적 욕망의 실제 이미지입니다.
최철주는 추상적 욕망의 실재 이미지를 그의 욕망으로써 드러난 환유가 새로운 기의로 욕망 기표에서 그 기표의 언어적 의미로 추상화로 표현함으로써 추상의 욕망 개념을 실재로 왜곡한다. 그는 동시대의 사회적 실상을 사회적 칼럼의 카툰으로 보여주면서 그 실체와의 교감을 하고 있다.
카툰 속에서 사건과 공연의 주체가 환유적 고착으로써 욕망 개념을 추상하여서 실재로 드러냄으로써 상상계의 회화적 의미를 거부하고 관습적 이성에 감추어진 허상의 실재를 욕망 개념의 추상계로 드러낸다. 이것은 욕망 개념이 이미지로 보이는 실재로서의 상징성에서 실체를 드러내면서 동시대의 절대적인 환유의 고착현상으로한 기존의 개념미술로서의 허무주의적 반미술적 미니멀 아트를 그의 추상적 욕망 갸념에서 파괴한다.
따라서 욕망적 개념미술은 허무주의의 반미술적 미니멀 아트가 아닌 추상적 욕망 개념을 실재의 이미지로 적시한다. 즉 욕망 개념과 동일한 언어적 의미로서 사건과 공연 이미지를 지적하여 보인다.
실재로서 사건과 공연 이미지는 무의식적 욕망 구조를 가역적 빛으로 여러개의 시간성에 따라 실제적 의식의 자리를 구성한다.
이렇게 추상적 욕망 개념을 언어적 의미로 한 사건과 공연 이미지는 결핍된 욕망에 따라 추상적 욕망의 주체가 실재 구조로 분열하여서 결핍된 욕망이 디자인된 실재 이미지와 동일시 된다. 이것은 실재 이미지를 제시하고 실재가 아닌 추상이라고 한 것은 추상적 실재를 재현할 수 없다는 것 즉 회화에서 실재를 재현할 수 없기 때문에 추상의 언어적 의미의 이미지가 추상을 대리한다. 추상적 욕망을 언어적 의미와 동일한 실재의 이미지를 미적으로 디자인한 최철주의 현대개념추상화운동이다.
최철주의 욕망을 언어적 의미로 한 추상적 디자인의 효과는 상대방에 대한 욕망으로 현실을 경험한 수혜자는 소극적이지만 가해자의 입장에서 적극적으로 실행할 수 있는 권력자는 동조자와 동일한 욕망을 가지고 실천에 옮깁니다. 공감자는 권력자가 권력의 혜택을 제공하거나 동조자가 이를 받을 때 동일한 욕망이 되어 실제 행동의 주체가 됩니다.
여기서 숨겨진 상대방의 욕망은 부적절한 권력자와 동조자의 실제 행동을 또 다른 욕망의 대상으로 일반화하여 전쟁의 승리자처럼 행동합니다. 그러나 가역적 빛에 가려진 행위로서의 실제 효과가 공적 행위로 일반화되지 않으면 부적절한 욕망의 주체는 부적절한 권력과 동조자에 대한 상대방의 일반적인 욕망에서 벗어나 상대방의 욕망에 의해 적대시됩니다.
빛은 그림자를 만들고 욕망 구조의 그림자에 가역적 빛을 비추면 어두운 자리에 추상적 욕망 개념의 언어적 의미로 음영을 이룬다. 그 음영은 욕망의 언어적 의미로서 사후적 욕망을 지배하는 실재가 기호적 이미지로 분열하여서 주체를 상징하는 실재 이미지로서의 욕망을 출현한다. 욕망적 실재는 왜상적 이미지로서 전체의 형상에서 분리된 또 다른 실재이다. 여기서 추상적 이미지는 욕망 개념의 언어적 의미와 어긋난 욕망과의 추상적인 만남을 피하려는 실재화의 시도를 통해 언표 이미지가 추상화 디자인 운동이 반복하여서 욕망 개념의 언어적 의미가 동일한 기능성의 조건으로 실재의 거울 이미지와 동일한 이미지를 추상적 욕망 개념의 언표적 실재를 표상한다.
현재에선 그 음영이 시선에 따라 여러개의 그림자로 중첩하여서 이미지로 분열한 주체가 추상적 욕망 구조를 실재의 거울 이미지와 동일한 이미지를 실재에 맞추어 실재 이미지를 엮어낸다. 이처럼 욕망의 구조는 현실에서 상징적 이미지의 디자인을 음영으로 연결하여 추상적인 장소를 만듭니다. 이는 무의식적인 욕망이 거울 이미지에서 가역적인 빛의 그림자에 특정한 실제 이미지로 구조를 형성하고 이를 타자의 욕망 구조로 일반화하는 언어적 의미입니다.
따라서 욕망 구조를 특정 시선에 맞춘 가역적 빛의 음영으로 여러개의 실재 이미지에 그림자를 만들고 욕망 구조에서 여러개의 그림자를 지우고 하나의 욕망 자리에 의식적 실재를 대리하는 이미지로한 무의식적 추상화를 이룬다.
여기서 실제 이미지로서의 추상화는 추상적인 디자인 과정을 통해 추상적인 욕망 개념과 동일한 언어적 의미의 거울 이미지를 지우고, 최철주의 욕망 공식에 따라 실제 이미지를 디자인과 연결합니다.
빛으로 연속되는 그림자는 전체를 가리거나 별처럼 음양으로 지적하여서 존재를 이분한다. 따라서 회화적 재현에서 시작한 가상적 이미지는 실재에서 벗어난 새로운 개념의 도입을 통해 실재에서 분리된 또 다른 실재가 형성된다.
욕망 개념의 대상은 원근법적 시각체계에서 인지할 수 있는 형상인데 반해 추상적 욕망 개념의 언어적 의미의 이미지로서 가역적 빛의 음영으로 그 대상을 특정한다./글. 현대 미술평론가 최철주 (문화디자인박사)
Louis Choi Chul-joo, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024
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.
"Objects reflected in the image of desire of the present" is Choi Chul-joo's desire formula that visualizes the concept of contemporary abstract desire from the proportion and concept of a subject as a perspective composition of Leon Battista Alberti's painting theory in Renaissance scientific thinking overlapped with religious constraints until modern times. Unlike modern ideal abstraction, Choi Chul-joo embodies the structure of desire as a real image by returning Alberti's perspective in a reversible shade of light through his abstract design process.
Here, Choi Chul-joo's "morning glory" refers to the structure of desire as the background of desire. Therefore, not as a background of the painting, but as a piece of desire, "morning glory" as a subject of the landscape, like Leonardo da Vinci's drawing "Arno landscape", is a background that represents the desire to look at the landscape as a gaze in real.
This conceptual abstraction, "morning glory", focuses on the gaze of the examinee by looking at the object with a real gaze and aligning the object in a flat structure, distorting the object flatly. As an object of linguistic meaning that expresses the concept of desire as a picture, the images of events and performances are overlapped by drawing the same flat structure, that is, a cartoon image in which "morning glory" and reversible light shades are overlapped. The object “pond” reflected in the image of desire in the presence is decorated with a reversible shadow of light.
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.
Overlapping multiple spaces in one place depending on the time
The current space existing in several spaces overlapped in one place according to temporality is the structure of an image in the current space in temporality. In other words, it is an image structure in the temporal present according to temporality perceived by the subject of space. This is the aesthetic temporality that shows the structure of the current image.
It does not exceed the scope of imitative painting as a metaphor seen in painting as a linguistic meaning of the abstract desire of aesthetic temporality. In the category of imitability in the painting, the notation is contained on the canvas, and painting until modern times is a social constraint (制約) that can be accepted in religious customs. In painting, the meaning hides the figurative reality of nude body and is symbolized as an illusion based on a mythical story. In the imagination world, socially taboo signifiers have symbolic meaning, but morphological signifiers do not differ.
Therefore, Choi Chul-joo's concept of aesthetic desire, which abstracts into the same real image as the linguistic meaning of the concept of abstract desire, illuminates abstract desire in a specific place as the present temporality from the timelessness of the past to the shadow of reversible light. Here, the present real image identified by the linguistic meaning of the concept of abstract desire results in the reversible light shade structure.
The image creates a place of abstract expressive meaning by continuing the desire structure of existing reality in temporality with reversible shades of light.
Invisible reality as the meaning of abstract expressions, the morphological signifiers of visible metaphors are transferred to the sign of abstract meaning. Painting is a signifier that is a substantial shape, and the substance of the shape disappears, and it is a metamorphic fixation as a signifier of an imaginary symbol. In other words, the significance as a social constraint in painting transforms the figurative meaning embodied by the artist's desire into a symbolic shape.
Painting until modern times remained in the category of realistic formability and conventional subjectivity that revealed the stage of contrast. Choi Chul-joo's concept of desire to escape from the subject of the concept of desire seeks an aesthetic abstraction that is real beyond symbolism as a visible reality.
When applying aesthetic logic, it interprets it as a philosophical basis related to art to avoid errors and develops the desire formula and abstract design process as a modern abstract art movement exemplified by Choi Chul-joo's modern art abstract design methodology as a Ph.D. in cultural design.
In Choi Chul-joo's abstract art theory, it is an abstract world in which reality recognizes the subjectivity of the concept of desire in his "morning glory" and identifies it with the real image and the concept of desire. From the era of expressing the real image in painting to the 19th century, the real image is the structure of painting perception according to continuous social regulations. Unlike the abstraction of the concept of desire, his abstract world recognizes that the real image of the linguistic meaning of the concept of desire is the subject of desire in the place of desire in which reality is temporal.
Several spaces overlapped in one place according to temporality are aesthetic abstractions, creating a place of reality in which temporality does not distinguish the image of existence, but overlaps with the simultaneity of a concept of desire hidden in a reversible shadow of light, and continuously captures the image of the other's desire.
Modern conceptual art by abstract artist Louis Choi Chul-joo is an art that abstracts the concept with traces of actual formability and reversible shades of light as a non-reality subject to the desire of others. This is an abstraction that abstracts the desire of the other to represent the place of realistic reality, that is, the return of pictoriality as a concept of early conceptual art.
Therefore, the abstraction of the concept of desire creates the linguistic meaning of the concept of abstract desire in the dual structure of abstraction and reality, and creates the image of events and performances as a semantic entity of insufficient desire chosen by the subject of desire in a reversible shadow of light.
In this way, the image of events and performances with the concept of abstract desire in the linguistic sense is identified with the actual image in which the subject of abstract desire is divided into a real structure according to the lack of desire. Unlike the anti-artistic form, this is a real image of abstract desire using the form of an object as the same verbal meaning as the concept of desire as the actual image of events and performances.
Choi Chul-joo distorts the concept of abstract desire into reality by expressing the real image of abstract desire as abstraction in the linguistic meaning of the sign from the desire sign in a new signifier. He shows the contemporary social reality as a cartoon of a social column and communicates with the substance.
In the cartoon, the subject of events and performances rejects the pictorial meaning of the imagination by abstracting the concept of desire and revealing it as reality by expressing the concept of desire as a real thing, and reveals the reality of the imaginary world hidden in conventional reason as the abstract world of the concept of desire. This destroys the nihilistic anti-artistic minimal art as an existing conceptual art as a fixed phenomenon of absolute metonymy at the same time, revealing reality as the concept of desire as an image.
Therefore, the concept of desire art points to the abstract concept of desire as an image of reality, not as an anti-artistic minimal art of nihilism. In other words, it shows the image of events and performances as the same linguistic meaning as the concept of desire.
As a reality, the image of events and performances constitute a place of actual consciousness according to several timeliness with the structure of unconscious desire as reversible light.
In this way, the image of events and performances with the concept of abstract desire in a linguistic sense is identified with the actual image in which the subject of abstract desire is divided into a real structure according to the lack of desire.
The image in the linguistic meaning of abstraction represents abstraction because it is impossible to reproduce abstract reality by presenting an image of reality and calling it abstract rather than reality. It is Choi Chul-joo's modern concept abstraction movement, which aesthetically designs abstract desire and an image of reality that is the same as linguistic meaning.
The effect of abstract design with Choi Chul-joo's concept of desire as a linguistic meaning is that the beneficiary who experienced reality as a desire for the other party is passive, but the person in power who can actively implement it from the perspective of the perpetrator puts it into practice with the same desire as the sympathizer. When the powerful person provides the benefits of power or the sympathizer receives it, the sympathizer becomes the same desire and becomes the subject of the actual action.
The other person's desire, which is hidden here, generalizes the actual actions of the inappropriate powerful and sympathizers to another object of desire and acts like the victors of the war. However, if the actual effect as an act overshadowed by reversible light is not generalized to public action, the subject of inappropriate desire is turned away from the other person's general desire for inappropriate power and sympathizers and is antagonized by the other person's desire.
When light creates a shadow and reflects reversible light on the shadow of the desire structure, it forms a shadow in a dark place with the linguistic meaning of the concept of abstract desire. The shadow is a linguistic meaning of desire, and the reality that dominates ex post desire is divided into a symbolic image, and desire as a real image symbolizing the subject appears.
Desireful reality is another reality separated from the overall shape as a dwarf image. Here, the abstract image represents the expressive reality of the abstract desire concept under the condition of functionality that the abstract design movement repeats the abstract image of the concept of desire and the same image as the mirror image of reality under the condition of the same linguistic meaning of the concept of desire.
Currently, the shadow overlaps into several shadows according to the gaze, and the subject divided into images weaves the real image by matching the abstract desire structure with the same image as the real mirror image.
In this way, the structure of desire creates an abstract place by linking the design of symbolic images in shades in reality. This is a linguistic meaning in which unconscious desire forms a structure from a mirror image to a real image specific to a reversible shadow of light and generalizes it to the structure of the desire of the other.
Therefore, the desire structure is created by creating shadows in multiple real images with reversible light shades tailored to a specific gaze, erasing multiple shadows from the desire structure, and creating an unconscious abstraction as an image representing conscious reality in one place of desire.
Here, abstraction as a real image erases the mirror image in the same linguistic sense as the abstract desire concept through the abstract design process and links the real image into design according to Choi Chul-joo's desire formula.
Shadows that are continuous with light are divided between beings by covering the whole or pointing out them in yin and yang like stars. Therefore, another reality separated from reality is formed through the introduction of a new concept that deviates from reality in the virtual image that started from pictorial representation.
While the object of the concept of desire is a shape that can be perceived in the perspective visual system, it is an image of the linguistic meaning of the abstract concept of desire and specifies the object in a reversible shade of light./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.
"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.
■ 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.
Conceptual Artwork Criticism: Korean news cartoon review-A line News of Choi Chul-joo’s Manwha Review [197] Tyson totally gave in to the boxing match, but I'm happy-sketch 1. (2024-11-17) / Reporter Choi Chul-joo’s Cartoon Review
Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' 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)
Tyson totally gave in to the boxing match, but I'm happy [197] Korean News Cartoon Review-A line News of Choi Chul-joo’s Manwha Review:
Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction.
- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.
- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work
Abstract painting as a treacherous 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, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 229-Tyson totally gave in to the boxing match, but I'm happy: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest a229-Tyson totally gave in to the boxing match, but I'm happy: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest a229-Tyson totally gave in to the boxing match, but I'm happy-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest a229-Tyson totally gave in to the boxing match, but I'm happy-pond-mirror: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 228-Tyson totally gave in to the boxing match, but I'm happy-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest i228-Tyson totally gave in to the boxing match, but I'm happy: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest i228-Tyson totally gave in to the boxing match, but I'm happy-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i228-Tyson totally gave in to the boxing match, but I'm happy-pond-mirror: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence
Louis Choi chuljoo, morning glory p130-1-Tyson totally gave in to the boxing match, but I'm happy, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p129-2-South Korean President Threatens People With Declaration of Emergency Order: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p130-1> 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 <Louis Choi Chul-joo, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024> 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 <Louis Choi chuljoo, morning glory p130-1-Tyson totally gave in to the boxing match, but I'm happy> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p130-1-Tyson totally gave in to the boxing match, but I'm happy" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection
Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest i228-Tyson totally gave in to the boxing match, but I'm happy-pond-mirror" 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. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 231-Tyson totally gave in to the boxing match, but I'm happy: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest f231-Tyson totally gave in to the boxing match, but I'm happy: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest f231-Tyson totally gave in to the boxing match, but I'm happy-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest f231-Tyson totally gave in to the boxing match, but I'm happy-pond-mirror: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p130-3> 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 <Louis Choi chuljoo, morning glory p130-3-Tyson totally gave in to the boxing match, but I'm happy> 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 <Louis Choi chuljoo, morning glory p130-3-Tyson totally gave in to the boxing match, but I'm happy> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p130-3-Tyson totally gave in to the boxing match, but I'm happy" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection
Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest f231-Tyson totally gave in to the boxing match, but I'm happy-pond-mirror" 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. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.
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.
By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.
As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.
In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.
■ Choi Chul-joo's Concept of Desire Formula: 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./ 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)./ Objects reflected in the image of desire of the present:.It is Choi Chul-joo's desire formula that visualizes the concept of contemporary abstract desire from the proportion and concept of a subject as a perspective composition of Leon Battista Alberti's painting theory in Renaissance scientific thinking overlapped with religious constraints until modern times. Unlike modern ideal abstraction, Choi Chul-joo embodies the structure of desire as a real image by returning Alberti's perspective in a reversible shade of light through his abstract design process. Here, Choi Chul-joo's "morning glory" refers to the structure of desire as the background of desire. Therefore, not as a background of the painting, but as a piece of desire, "morning glory" as a subject of the landscape, like Leonardo da Vinci's drawing "Arno landscape", is a background that represents the desire to look at the landscape as a gaze in real. This conceptual abstraction, "morning glory", focuses on the gaze of the examinee by looking at the object with a real gaze and aligning the object in a flat structure, distorting the object flatly. As an object of linguistic meaning that expresses the concept of desire as a picture, the images of events and performances are overlapped by drawing the same flat structure, that is, a cartoon image in which "morning glory" and reversible light shades are overlapped. The object “pond” reflected in the image of desire in the presence is decorated with a reversible shadow of light.
■ 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.
Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 231, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p128, a hand-painted picture on a computer
newsmanwha K-Pop Song illustratoin [14] IZ*ONE Reveals 3rd mini-album 'Oneiric Diary <My diary is filled with your magic 7>' ACN・2020. 6. 11. 4:50/ Reporter Choi Chul-joo’s Cartoon Review
Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction.
- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.
- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work
Abstract painting as a treacherous 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, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.
■ 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.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 230-My diary is filled with your magic: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest c230-My diary is filled with your magic: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest c230-My diary is filled with your magic-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest c230-My diary is filled with your magic-pond-mirror: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p130-3> 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 <Louis Choi Chul-joo, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024> 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 <Louis Choi chuljoo, morning glory p130-3-My diary is filled with your magic> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p130-3-My diary is filled with your magic" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection
Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest c230-My diary is filled with your magic-pond-mirror" 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. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.
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.
By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.
As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.
In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.
Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 230, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest c230, a hand-painted picture on a computer
Final image superimposed on the artist's work: Louis Choi Chul-joo, pond s3, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p130-3, a hand-painted picture on a computer
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./ Objects reflected in the image of desire of the present:.It is Choi Chul-joo's desire formula that visualizes the concept of contemporary abstract desire from the proportion and concept of a subject as a perspective composition of Leon Battista Alberti's painting theory in Renaissance scientific thinking overlapped with religious constraints until modern times. Unlike modern ideal abstraction, Choi Chul-joo embodies the structure of desire as a real image by returning Alberti's perspective in a reversible shade of light through his abstract design process. Here, Choi Chul-joo's "morning glory" refers to the structure of desire as the background of desire. Therefore, not as a background of the painting, but as a piece of desire, "morning glory" as a subject of the landscape, like Leonardo da Vinci's drawing "Arno landscape", is a background that represents the desire to look at the landscape as a gaze in real. This conceptual abstraction, "morning glory", focuses on the gaze of the examinee by looking at the object with a real gaze and aligning the object in a flat structure, distorting the object flatly. As an object of linguistic meaning that expresses the concept of desire as a picture, the images of events and performances are overlapped by drawing the same flat structure, that is, a cartoon image in which "morning glory" and reversible light shades are overlapped. The object “pond” reflected in the image of desire in the presence is decorated with a reversible shadow of light.
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.
