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Contemporary Art Sketch Pop Art [72] Art Review: Modern painter & Cartoonist Louis Choi Chul-joo's Pop Art Abstract Art Work = Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) Criticism: Louis Choi Chul-joo, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024 & Review of Korean News Cartoon [197] Tyson totally gave in to the boxing match, but I'm happy. (2024.11.17) / 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
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.
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 beneficiary who experienced martial law as a desire for the other is passive, but the powerful person who can actively enforce it from the perspective of the perpetrator puts it into practice with the same desire as the sympathizer. When a powerful person provides the benefit of power or a sympathizer receives it, the sympathizer becomes the same desire and becomes the subject of martial law enforcement. Here, the desire of the other, which is obscured, generalizes martial law practiced by inappropriate powerful and sympathizers as another object of desire and acts like a victor of war.
However, when martial law as an act overshadowed by reversible light is not generalized as a public act, inappropriate power and sympathizers are antagonized by the desire of the other as a subject who implements it according to the general desire of the others.
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, Tyson totally gave in to the boxing match, but I'm happy 6, a hand-painted picture on a computer
The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.
"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.
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.
The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
Louis Chul-joo Choi, morning glory p130-2-Tyson totally gave in to the boxing match, but I'm happy.5, a hand-painted picture on a computer
Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula.
Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire.
As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.
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.
Louis Choi Chul-joo, Bamboo Forest a229-Tyson totally gave in to the boxing match, but I'm happy.
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)
Contemporary Art Work: Review of Korean News Cartoon [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
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 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
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 p130-2> 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 p130-2-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 a229-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).
■ 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 229, a hand-painted picture on a computer
