Modern Art and Cultural Design
Choi Chul-joo's Culture Design Review 14
Modern Art and Cultural Design [14] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Abstract contemporary art that designed modern art abstract painting & Louis Choi Chul-joo Contemporary Art Critic and Contemporary Art History Cartoonist Louis Choi Chul-joo Abstract Work Criticism on Contemporary Art = Contemporary Art Concept Cartoonist Louis Choi Chul-joo describes realistic pop art cartoons as conceptual art through the series "Bamboo Forest" of morning glory. And "The Missing Pond" / "The Desire Conceptual Abstract Design of Contemporary Art": abstract artist Louis Choi Chul-joo. A realistic abstraction of cartoon art and the conceptual abstract of contemporary desire based on the concept of desire of others: Art Review-Reading the New Works: Louis Choi Chul-joo <morning glory p103>
Louis Choi chuljoo's "morning glory woman" Exhibition poster An image of desire based on the cartoon review concept as an object ɑ of the concept of desire, 20230704~20230714 Haeundae-gu Office Gallery, Busan.
"Morning glory window p103" is an abstraction of the concept of desire as a abstract conceptual art with the concept of cartoon satire with an image created as an anamorphosis desire image, which means the reality of morning glory. This is a contemporary art movement that presents a methodology of realistic abstraction with the concept of contemporary art desire.
In 2023. Busan (Haeundae-gu Office Gallery), a poster of Korean conceptual abstract artist Louis Choi Chul-joo's "Morning glory Window" related to the individual exhibition is produced, and this is a modern abstraction that symbolizes the image of the exhibition poster of painting as a structure of desire. In addition, the "morning glory" abstraction is composed of a cartoon review character image, and the abstraction of the concept of desire <a morning glory outside the window 2023-1> appears.
Louis Choi Chuljoo, morning glory outside the window 2023-1, 151X178cm, acrylic
The object (morning glory outside the window 2023-1), which depicts the meaning of the shape seen in the meaning space created by the reversible light of the abstract reality, structures the meaning of the meaning of an abstract space in which the object can be reversible to the actual shape by concealing the other's desire with a shade of reversible light, and the conceptual abstract meaning, that is, the desire image in the mirror, is the realistic images of News Cartoon Review and "morning glory", an abstract image of desire that reveals the place of the other's unconscious desire painting (morning glory p103).
Louis Choi chul-joo, morning glory p103, a hand-painted picture on a computer, 2023
Contemporary Art Painting Design Works: Desire Object Design Symbolizing Shape Image as a semantic structure = Louis, morning glory p26-2-1, a hand-painted picture on a computer, 2022
"Morning glory p26-2-1", which is an image of desire art, is an image in which the abstract area of painting where a specific effect of the desire structure as an exhibition poster meaning occurs can momentarily see the desire of the other who functions gaze in the desire landscape.
This is a dwarf planarity that seems to have a consistent meaning of morning glory in painting. The morning glory is the same as the mirror's reality, but the shape of the background is not the same. This is because abstraction as a conceptual semantic structure is an abstraction of the realistic shape of the non-real world with the same meaning structure as a conceptual form, but abstraction as the same meaning with different shapes is an unrealistic reality as an ideological atypical being of different colors and sizes.
Its existence defines an abstract space as an actual reversible shape and refers to the abstract image of art as an exhibition poster concept in which the shape is covered by actual structure in a reversible shade of light.
<Morning glory Window> July 2023 Busan Exhibition Abstract Poster and Contemporary Art Abstraction Work: Contemporary Conceptual Abstract Artist Louis Choi Chul-joo Desire Concept Art Work: <morning glory p103-1-Drama>
<Morning glory Window> July 2023 Busan Exhibition Abstract Poster and Contemporary Art Abstraction Work: Louis Choi Chul-joo's art work, a conceptual abstract artist with realistic images of events and performances based on morning glory objects and cartoon satirical cartoons as a background of desire, and art abstraction of desire: <morning glory p103-2-a riot>
<Morning glory Window> Abstract Poster and Contemporary Art Abstraction Work: Louis Choi Chul-joo's art work, a conceptual abstract artist with realistic images of events and performances based on morning glory objects and cartoon satirical cartoons as a background of desire, and art abstraction of desire: <morning glory p103-3-a disaster>
<Morning glory Window> July 2023 Busan Exhibition Abstract Poster and Contemporary Art Abstraction Work: Louis Choi Chul-joo's art work, a conceptual abstract artist with realistic images of events and performances based on morning glory objects and cartoon satirical cartoons as a background of desire, and art abstraction of desire: <morning glory p103-4-War>
The visual system is concealed in the desire of the perspective visual system that reproduces an abstract object as an object "morning glory window" as a conceptual image of desire, but it is an object that seems to be a momentary gaze from the desire perspective revealed in the unconscious. This is a realistic abstraction with the image of event and performance as the concept of desire.
As an abstract painting, "morning glory woman" forms a dwarf image expressed through the desire revealed in the other's suppressed unconsciousness to acquire artistry beyond generality through design and creates objects as beings, revealing artistry with the momentary distorted desire image of drama, disaster, riot, and war as a semantic structure.
The abstraction "morning glory woman" repeats the concept design of a desire to hide the shadow image of others' desires and collects an image of desire that overlaps with the timeliness of reversible light.
In <Morning glory outside the window 2023-1>, a person dancing against the backdrop of morning glory is overlaid like a small pillar, covering and hiding desire like a shadow of an emoji.
By giving reversible time sensitivity to the shade, it becomes the desire of others, and it has the effect of setting a phenomenal position so that the image of light does not overlap.
Louis Choi Chul-joo's <morning glory outside the window 2023-1> absorbs temporal light to remove symbolic representations of the image surface.
In this way, it creates an image of desire and is hidden by reversible light to reveal the concept of desire in the shadow.
"morning glory window" repeats the concept of desire to cover the shadow image of others' desires and collects images of desire in which external light overlaps with timeliness.
In "morning glory outside the window 2023-1", a person dancing against the backdrop of morning glory overlaps like a small pillar to cover and hide the shade.
It gives reversible time sensitivity to shades, becoming the desire of others, and has the effect of setting phenomenal positions so that images of light do not overlap.
Louis Choi Chul-joo's "morning glory outside the window 2023-1" absorbs temporal light and removes symbolic representation on the image surface.
In this way, it creates an image of desire and is obscured by reversible light, leading to the concept of desire in the shadow.
The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.
Combined with images of reality with reversible light, including a desire for abstraction.
The image of desire repeats the process of directly acquiring the concept of the aesthetic structure of the real world that is subordinate to the concept, a reality that embodies the abstraction of desire as an event and facilitates performance.
The fact that the concept of desire cannot overlap with the image of reality is that factual abstraction is a treacherous conceptual art.
Abstracted realistic concepts reveal realistic figures similar to reality, but they momentarily pause space-time with the light of a conceptualized landscape like clouds.
Abstracting from the back of the morning glory landscape undermines timeliness, realizes the past time-adjusted traces of desire and the present overlapping landscape of color, and transfers images of desire into the painting.
It also doesn't represent the symbolic ideas abstracted from the image in a hidden form of color, but it gathers the image in shades of light in several directions.
In this way, the painting becomes a desire concept as a result of desire, dismantling abstract images interacting in real space
It shows a differentiated impression with a realistic abstraction that transforms the situation of desire in abstraction into a real world.
It shows aesthetic value by shading bright and dark parts in a distorted landscape and drawing a desireful meaning with a realistic expression.
Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time.
It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.
Desire concept superimposes abstractions on morning glory and bamboo forests with dual landscapes, leaving fragmented real space in the gaps of light without disassembling and unifying symbolic images, and then repeatedly portraying reality over the present representation and the gap in between.
In this way, he creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality.
Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024
Rendering the intersection of desire outside the window
Reversible light-crossed windows that make up the structure of desire can face multiple intersections of desires depending on their temporality.
Through the window at the intersection of desire, the selector of desire creates a double place as a concept of desire and overtakes the linguistic meaning of the concept of desire, and the actual image emerges as the meaning substance of the abstractly deficient desire structure desired by the selector of desire as the subject.
The aesthetic value of a real image as a semantic being of desire is possible as a real being formed in the concept of desire by rendering the image as if it were a real thing to form a virtual shape. Here, rendering under the condition of an aesthetic work expresses materiality by rendering a flat structure composed of reversible shades of light, the concept of desire becomes a real image to express the image in reversible shades, and applies the Choi Chul-joo Desire Formula as a mathematical design process to realize the existence of an image at the intersection of desire outside the window.
Desire created as a subject outside the window is the linguistic meaning of the concept of abstract desire, and insufficient desire dominates the subject's desire, loses the subject of that desire, and desire reduced by division is identified with the deficient desire that dominates desire.
The object of desire is rendered as a distorted image containing the desire of the other person, which is difficult to replicate the same image as the linguistic meaning.
Here, the distorted image is a real image as the existence of desire as another reality separated from the entire image of the object of desire.
Real images reveal desires as existing real images by transforming abstract concepts of desire into reality by the structure of the linguistic meaning of the unconscious according to the deferred action meaning of the unconscious experienced in the past.
In the structure of desire, unconscious desire through past visual experiences becomes a verbal meaning according to delayed desire, and the object of the same visual experience appears as the object of desire in the present. This forms an intersection where the concept of unconscious desire and the image of conscious reality overlap by grasping the reality of the desire structure experienced in the past time reflected in the window beyond temporality and interpreting the concept of abstract desire reflected in the window as the meaning of delayed desire.
The reversible shadow of light at that intersection forms a real image that intersects the present in another empty space without contacting the object space of desire. At that intersection, the structure of desire hidden by the concept of ex post desire in the current real image meets reversible light.
The concept of unconscious desire and the object of conscious desire intersect when insufficient desire meets several objects as the subject of the desire to be the object of ex post desire. And at that intersection, the concept of unconscious desire is transferred to a real image designed to identify with the concept of conscious desire as a semantic function and a divided subject.
Here, unconscious desire design has an artistic meaning as autonomous creativity by rendering the other's suppressed unconsciousness into an aesthetic image suitable for reversible light timeliness in order to acquire artistry beyond generality.
Desire, which appears to be the light of temporality, shows the image as a difference in distance, like a window, and the current form that distinguishes the direction and size of the image intersects outside the window.
As a result, an object that appears to have stared at the intersection of desire outside the window is revealed as the intersection of light reflected in the eyes of the other, the subject. This is not an unrealistic image viewed from the perspective of desire from the perspective of the unconscious, but a real image viewed from the gaze system of desire from the perspective of the suppressed unconscious.
This is a concept of abstract desire, such as a mirror image, and in order to identify other objects of desire reflected in the pond, a conscious image that generates an expressive image generated by desire as a subject can be designed with the Choi Chul-joo Desire Formula.
As a result, desire, which is distinguished by temporality, is a concept of conscious desire in which different forms of desire intersect to achieve a gradual change in desire, and desire appears as an image of reality in a reversible shadow of light. This is the intersection of desire that meets reality between the desire of others to look at the object of desire and the cultural space that differs according to temporality.
The lack of desire that meets at the intersection of desire exchanges images in a place specified by the structure of the object as a reversible shade of light.
In addition, desire as a subject structures the structure of reality that interprets the linguistic meaning as an image of desire, and the event or performance image as an opportunity for desire as a result of other desires, and the subject of desire structures the linguistic meaning spoken by the unconscious.
The structure interprets linguistic meaning as an image, but abstracts linguistic meaning into the inevitable specific object the other person wants, equating it to a real image.
Here, as the subject of abstracting desire, the window limits desire to a real image as an empirical illusion, and selects one of the other's desires to reveal the real image.
In the concept of desire, the selector as a divided subject forces a specific object into a real image reflected in the pond by the other's desire, a reversible shadow of light with temporality creates a window as an abstract virtual frame, and the vector that forms the direction of the real image beyond the window at the intersection of desire outside the window connects the desire concept to the image vector, and creates an image that the selector lacks in the concept of desire.
In addition, although the other's desire cannot be transformed into a numerical image of a vector at the intersection of desire, it realizes the abstract other's desire as a real image by limiting the real image to a deficient desire structure and equating it with an alienated linguistic meaning.
In a real image, a specific object composed of a psychological vector of the concept of unconscious desire and an instruction vector in which desires are opposed to each other's gaze creates a lack of desire. In a 1971 lecture, Lacan expressed desire as a mathematical sign, explaining the lack of desire seen as a gaze as a mathematical sign.
As an axiomatic proposition, mathematical statements contain linguistic meanings that logically judge desire. This determines it as a real image with the same desire structure as the concept of desire without distinction from the real image by defining a linguistic meaning so that insufficient desire can determine a specific object.
In this way, mathematical statements 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.
In this way, 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 rendering of the real image resulting from the intersection of the concept of desire and the abstract structure overlaps the real image in the same position as the outline of the meaning abstracted by the concept of desire with a shade of reversible light, resulting from the intersection of the concept of desire and the abstract structure, creating a flat image by shadowing the three-dimensional shape in which the shade of reversible light overlaps with the real image in the same position as the outline of the meaning abstracted by the concept of desire.
The rendering at the intersection of desire outside the window created by the morning glory, the background of insufficient desire, and the abstraction of the concept of unconscious desire, which forms the meaning of the concept of unconscious desire as a real image in a specific place, are drawn according to Choi Chul-joo's desire formula.
Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to produce a desire image of polynomial products by linking 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. This image creates a window as a frame of the real structure so that the subject of insufficient desire makes the concept of desire hidden in the shade of reversible light appear as a real image, and constitutes a line space as a being in which a specific concept of desire can gaze as a real image as an abstract symbol.
Desire design creates an aesthetic for the object of desire by flattening the concept of desire into abstract symbols. Here, the abstract symbol is the expressive semantic structure of desire as being. The structure transitions to abstraction through the Choi Chul-joo concept of desire, which connects the unconscious meaning of the concept of desire and the design balance with the real conscious image as an abstract symbol.
As a design process with a mathematical desire formula of desire structure, the design is repeated until the metaphysical desire concept is identified as a symbolic aesthetic image.
In this way, the concept of desire is interpreted as an aesthetic abstraction.
The concept of desire that can accurately respond to formal aesthetics is interpreted as an aesthetic abstraction, and it is a new modern art that applies the image of the concept of desire to the Choi Chul-joo Desire Formula without conforming to the trend of emphasizing the aesthetic pleasure of contemporary art as sentimental acceptance aesthetics, forming the history of the abstract art movement with real images.
Therefore, the abstraction of the concept of desire envisions the concept of linguistic desire that reproduces the real subject. This is a stereoscopic conceptual work that visualizes reality that divides abstract structures into reversible shades of light.
The structure of desire, which repeats the design that simplifies the actual structure flat so that the actual image in the linguistic sense can be observed by overlapping the reversible shadow of light and the formability of reality according to temporality, constitutes a reality identified with the entire image in the place of being created by weaving the linguistic meaning inherent in the concept of unconscious desire.
Additionally, as a framework for the actual structure, the desire structures of several pieces outside the window differ in the direction of the reversible light, and the illuminated pieces alternate with each other to form an intersection. This is not absorbed by the reversible light shadow, but is captured by a white intersection that illuminates the place of reality as a being like a star according to temporality.
The actual structure of temporality is interpreted as a meaningful image at the time of existence. Therefore, according to temporality, the existential reality image is abstracted as a reversible non-existence of time. The desire structure consists of a general real image, starting with the existing one as a linguistic meaning that unifies the past and the future into the present.
This constitutes a structure as a causal object of the concept of desire by summoning the real image transferred from the existing symbolic relationship at the intersection of desire outside the window so that the abstract past and future images cannot return to their original state,/ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, Contemporary Art Critic (Abstract Artist & Doctor of Culture Design) 