Art Critic Louis C [3]: 21~25

Contemporary Art Review by Louis Choi 3

Feb 25. 2023

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [3] Contemporary art critic Louis Choi Chul-joo is a contemporary art critic who examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of a work with the theory of visual art. Picture-speaking language structure is a gaze reality image in which the image of abstract desire seems to be the semantic structure of the concept of desire. Contemporary art critic Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with the concept of desire abstract design along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of a work in the language structure and criticizes the reality of the concept of desire. Abstract contemporary art that designed modern art abstract painting [15] Abstract Artist Louis Choi Chuljoo Abstract art work: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory", "Bamboo Forest." and "Disappeared pond" / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: "Disappeared pond" Exhibition by Abstract artist Louis Chul-joo Choi", 20201126-20201210, Minoo media art museum

Louis Choi Chuljoo, Fleshed fish disappear from the pond because they catch them because they look delicious.

Louis Choi Chul-joo's "morning glory" refers to the concept of desire and the concept of abstract desire to establish the structure of reality as a subject by using "morning glory" as a real image.

This reality structure identifies Louis Choi Chul-joo's "morning glory" with a real image on a cloth with an immutable image that means the reality of the concept of desire.

Thus, the abstract meaning of the desire to become the reality of the morning glory is a real image created from a crooked image of a misaligned event, painted equally on the fabric on the back.

Design Criticism: Design Critic Louis Chul-joo Choi's Media Art Abstract Design Review - "Minoo media art museum's "Disappeared pond by Contemporary artist Louis Chul-joo Choi", 20201126-20201210, Minoo media art museum

Media-art: Louis Chul-joo Choi, "Disappeared pond", Still image (a hand-painted picture on a computer), 20201126-20201210, Minoo Media Art Museum

Interactive Media Art Design, Louis "Disappeared pond"

The fish in the pond, not the target, eliminates the texture of the fish and designs the fish embodied in white, separated from the actual lotus flower by the boundary of light.

And abstracts a disappeared pond in black that separates the shaded space of white fish revealed by light.

Visualization, which means the features of interactive features, is a language that visualizes the symbol of the medium.

The pictorial image characterized by the structure interacting with the meaning of the language is the language of symbols designed with simplified media images.

It is the language of the other person from the shape that determines the symbolic symbol. And it refers to interactive images of shapes through the language of the other.

An interactive image that determines a symbolic symbol is recognized by representing the shape of the other person's desire perspective. Therefore, abstract images that appear to be symbols of unconscious expression are formed by the design of the interaction environment.

Terefore, in interactive media, the visual design of the target depends on the environment independent of the target image. This is the symbol of symbolic visual media design combined with the functions of the object.

Its dual function is the emergence of design through the pictorial imitation of the media and the symbolic meaning of influencing each other to the media and viewers.

When the image of the imitated medium becomes a painting, the visual image is distorted, but the image is a designed symbol symbolizing the original image.

The symbol is the design image revealed by the media through other images symbolized by the actual image.

As such, the painting as a media has the artistic meaning of technology, which refers to information as a concrete and symbolic image.

This is a digital media painting design that embellishes a cultural environment that extends the concept of art separated from the reproduction of digital technology and photographic images in the 1990s.

In other words, painting design is an art that shows the technology of digital media, an essential image as the meaning of language dictated by design.

But the interactive media art of the Minoo Media Art Museum's Digital Pond has returned the role of media art to an image of a known painting without designing a symbolic image.

Painting imitations are symbolized by the repetition of very unstable images forming linguistic meanings. This is an imitative painting effect found in abstract proposition. It creates a metaphorical shape defined by the combination of symbols and the combination of meanings that replace them.

The main motifs moving from the "digital pond" to the symbolized lobster and human fish are Joan Miro‘s "glamorous smile of the wings"(the smile of the flamboyant wings, 1953).

And Paul Klee's "Castle and Sun, 1928" on the bottom of the pond is the main motif of the background.

Louis Chul-joo Choi, Media-art "Disappeared pond", Still image (a hand-painted picture on a computer: pond-51), 2020

The image of the pond was described as a symbolic image and a virtual image interacting with the touchscreen.

Collage, which combines the image of Damien Hurst's "Beautiful, amore, gasp, eyes going into the top of the head and flutter painting"(1997) and Gustav Klimt's "Kiss" (1908), with the symbolic image of jellyfish and turtle shapes, forms a surreal pond.

On the other hand, the media art "Disappeared pond" is a digital art of painting designed in monochromatic and contours of objects, separating images of photographs in media art into conditions of light.

It is a reproduction of the digital pond of the Minoo Media Art Museum, which combines the concept of impressionist paintings and popular culture, which is reproduced by collage photographs.

As an alternative image of a real pond, a fish made of media as a moving fish becomes the main body, and the design image of a real fish is decorated in the form of a virtual performance involving timely two-way participants consisting of optical media art.

The form of performance as an object symbolically digitizes the real pond in the media, but the interactive composition emerges from the real design.

In fact, since digital ponds are given a hypothetical meaning, fish there always exist in ponds, even if they are imitative images of images.

The imaginary pond effect is that the image of the pond separated from the lotus flower is expressed differently from the symbolic meaning of the fish

A simplified imitative image of form as a fish defines a linguistic meaning, such as a symbolic mark.

Another symbol is the image of the process of repeating the association with lotus flowers as a verbal meaning of fish and meeting the meaning associated with the design of fish symbols in ponds.

It is a symbolic meaning of interpreting a "Disappeared pond" designed as a simplification process.

Here, the lotus design of impressionist images visualizes the characteristics of "disappeared pond" as symbolic images, but the impressionist painting style emphasizes the primary color of light except black, which defines the form.

The symbolic symbol hides the imitative nature of the painting, which is structured by the symbol around some form of reality that cannot be a fish by the intervention of light.

Miro's fish, like Cezanne, decomposes colors by simplifying shapes into geometrical structures and multidimensionalizing the direction of light like Picasso.

And while creating imaginative symbols transcending reality and designing images with the process of separating the boundaries of light into white and black, the fish in the "disappeared pond" form a white color that distinguishes light and the pond designs lotus flowers by imitating impressionist paintings.

As an impressive painting, a lotus flower becomes a symbolic image of a pond, and a fish separated from the reality replace the pond as an imitative symbol image.

And pictorial imitation are symbolized as a design process by creating aesthetic effects by highlighting simplified features through the design of visual symbols.

"Disappeared pond", shows the linguistic meaning of being real. Here the design of the essential elements of fish and ponds is abstracted into black ponds that contrast with the fish of white, which contrasts with the brightness of the light of realistic lotus flowers.

And by metaphor of fragmented meaning, the visual design image of the fish as a symbol is the white fish as a mark. The abstract design, which replaced the black pond intertwined with the fish in different meanings, expresses the meaning of the disappeared pond.

Therefore, the expression of symbols in pictorial imitation determines the meaning of symbols. To decide here is to abstract the design that determines the expression and meaning of the symbol.

Miro's "smile of brilliant wings" is an abstract of pure colors, such as red and blue, combined in carved symbols. The symbols are symbolized when they have linguistic meanings in abstract images. So beyond the boundaries of impressionist paintings, Miro's fish are abstracted into a pond.

In other words, symbols representing meaning are symbolized by abstract figures that reveal the meaning of the feature.

With this symbolic image that goes beyond the actual range of the fish in the painting, the Miro's fish is reminiscent of a pond.

Abstract design is the sum of the linguistic meaning, i.e., symbols as imitative actual images, where the choice lines of images and designs intersect to form the concept of abstract meaning. The symbol designed like this is a nonverbal pictorial iconic image.

The design value of the image is the effect of the media that enables communication.

However, when its meaning is abstract design, the symbol image designed follows the abstract meaning of the whole symbol image as a communication unit unrelated to the linguistic meaning.

Therefore, the symbolic design, which is abstracted into a black pond, abstracts the disappeared pond in the sense of the sum of the symbol image not the symbolic image of the pond associated with the white fish.

So these symbols, designed through the imitation of paintings, are abstract summing up the meanings of nonverbal images.

The design, which abstracts the image of the picture before it is realized through imitation of the painting, is the "disappeared pond."

It reveals a symbolic image through the language structure of the pond and actualizes the abstract image that disappeared from the black pond, which is not meaningful through the specific symbolic image of the missing pond.

The design of unrealistic symbols focuses on the meaning of the object to the symbol, and the meaning is communicated when it functions as the shape of the media.

Abstract design is the visual appearance of fragmented meaning as a symbol in the media.

This dictates the meaning of symbolic action that characterizes a design that repeatedly combines pieces of distorted images in the process of pictorial imitations.

The meaning is a symbolic language symbolizing the imitated image. Here the image is a piece of symbolic meaning in an unrealistic space. /Writing. Louis Chul-joo Choi, head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Contemporary art critic & media art painter)

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 21

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [21] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary artist review: Contemporary Art Critic Louis Choi Chul-joo's Art criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism: Contemporary Artwork Critic Louis Choi's art criticism published on Facebook: Gaetano Bellei <Windy Day (Un déa ventoso)> =

It seems that the imagination in which the existenGaetano Bellei ce of metaphorical imagination is represented as an image in the symbolic structure is imaginatively structured in the real image that cannot be symbolized in the symbolic order, so that the misconception of reality about perception can be shadowed in reality as an imaginary metaphor.

Gaetano Bellei (1857-1922), "Un día ventoso

Louis Choi Chuljoo's Art criticism: It seems that the imagination in which the existenGaetano Bellei ce of metaphorical imagination is represented as an image in the symbolic structure is imaginatively structured in the real image that cannot be symbolized in the symbolic order, so that the misconception of reality about perception can be shadowed in reality as an imaginary metaphor.

"Windy Day (Un déa ventoso)“

The backdrop is a basilica of Italian arcade architecture and a wall of a long-distance view and stairs to climb the cathedral, such as a dome with a Romanesque ceiling. These cathedrals are classical Italian mannerist compositions, drawn in mathematical proportions that began in the style of da Vinci.

Gaetano Bellei creates a dramatic dynamic composition of two beautiful women to realistically portray "A Windy Day" in contrast to green and red in a delicate and flexible form like Giovanni Boldini.

Here, he dynamically adds the effect of the two women standing on the walls of Italian painting fixed by religious paintings subordinated to the church, in which the colorful colors that fly in the wind of the realization are smeared.

On a windy day like this, the two women are embodied as the subjects of the image. In order to match the two women in such a shape to a happy meaning, the two women are surrounded by walls in the background cathedral.

This is a realistic image, and in order to make the overall shape follow the temporality, he tries to fit the image of two women in the temporality by putting leaves that match the shape of the stationary space.

Therefore, he blows the wind into the space and transfers the shape in a formative sense to the shadow image created by the wind.

In this way, he identifies the two women from an unknown background with the leaves flying in the wind, giving them a happy image. This is the religious background of Italy and the actual phenomenon of the two women, which expresses the Italian woman as an invisible image of reality in the imagination.

The paintings of the two women as metaphors of reality seen in the imagination were social constraints that could be accepted as paintings from the category of imitation to modern times in religious customs.

Therefore, the figurative reality of the two women is concealed and symbolized as an illusion based on a mythical story. In other words, a painting of a woman who is socially forbidden in imagination has an Italian religious symbolic meaning but shows the effect of wind as a morphological reality image.

The difference between art and non-art, which is a social taboo, is an aesthetic value that reveals the desires of others according to their religion and non-existence. This is a transition from contemporary time to a meaningful existence structure as a real being called an image of a shape depending on time.

The Italian painting "A Windy Day" is a real image of two women according to temporality. It structures the femininity of realistic feminism by linearly cross-sectionalizing the Italian romantic style as a leaf against a religious background.

He builds two women with original aesthetic mannerisms in a Baroque style, which opposes the perspective ideals of Renaissance painting, as real models. In other words, he blows air towards the two women in classical costumes to fix them with naturalistic decorations made up of irregular leaves.

And as the effect of color phenomena reflected in the sun's light, which shows the effects of bright colored rays of green and red, decorative classicality results in another real phenomenal image as the desire of the other.

Here, reality as a phenomenal image fixes the images of the two women as metaphors of reality as the meaning of virtual symbols.

So he brings the leaves into the space with the natural wind and places the shades of the color broken by the light in the space.

The painting stops as the meaningless walls close to the steps to the cathedral are captured in the happy images of the two women as the desires of others.

In the still image, light is placed on the faces of the two women, making the dynamic wind that replaces temporality appear as the happiness of the other.

In addition, by drawing out the colorant effect created on the wrinkles of the hem of the two women's hands, it shows that the wind is blowing hard and the desire of the other facing the wind is interpreted in two ways to achieve real aesthetic value.

Like Giovanni Boldini's Portrait of Madame de Mme Chales Max, the two women's faces, he embodies the form of Italian modern painting, which fixes the dynamic hem and the expression of the face that is being moved by the hand with a colorful chroma in a dynamic moment.

As the two women are metaphorical, a wind as a virtual image that reproduces reality emerges, and the existence of reality directs happiness to the two women.

It seems that the imagination in which the existence of metaphorical imagination is represented as an image in the symbolic structure is imaginatively structured in the real image that cannot be symbolized in the symbolic order, so that the misconception of reality about perception can be shadowed in reality as an imaginary metaphor./ Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 22

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [22] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary artist review: Contemporary Art Critic Louis Choi Chul-joo's Art criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism: Contemporary Artwork Critic Louis Choi's art criticism published on Facebook: This is a dual object that simultaneously shows everyday livestock and a family in a symbolic sense through chickens and chicks. The shape of the picture emerges the aesthetic meaning of the image of a desire structure that realistically depicts the concept of desire in the visual system in the thread painting where the image is installed.

This is a pictorial desire act that defines the object in perspective as a limited area, and produces the meaning of actualizing the back of thread painting by drawing the structure of distorted desire in the original space on the canvas.

Media art at the Minoo Media Art Museum has cast doubt on the production process by showing the process of dismantling and combining the completed works. Accordingly, Chul-joo Choi, a doctor of design at the Museum of Minoo media art museum redesigned the media art work and its image in the process of creating media art. Chul-joo Choi's media art <the morning glory> designs the place of flowers and sets the place of leaves and stems that depend on the shape of the flowers. Unlike the media art Qí Báishí's <the morning glory> which shows the process of painting flowers in the structure of stems and leaves in the entire image, the media art that designed the rest of the structure, starting with the flower of the morning glory is <the morning glory> by Chul-joo Choi, a doctor of design. He designs a flower that relies on a set being as a coincidence that black ink spreads. This is realised in the media art form of a computer and painting without the perspective of space.

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Chul-joo Choi, Media-art; morning glory, Still-image (morning glory-4, -7, -15, -25, -35, -65, -75, -85, -95, -105)

abstract artist Louis Choi Chuljoo Thread Painting "morning glory",

In the process of producing the original media art, which is mechanically reproduced here, the picture format is thread painting. This painting embroidery the volume of light in the process of facing objects and ideally depicts the shadow of objects. It is a linear art that emphasizes "one line" in a new painting process combining oriental embroidery and ink painting. In other words, the image of the line, which was stopped during the process of drawing the media art <morning glory> was drawn with thread and paint.

In Kim Hong-seok's <Open and Closed> art review, art critic Louis Chul-joo Choi said the definition of a thread painting is "a trace of paint and yarn equivalent to the time remaining in the fabric, and it is exposed parts and margins."

Also, the structure of the shape was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things.”

and the aesthetic value was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things. The color of the shape reveals a hidden aesthetic value by giving time, not by marking, but by being considered the structure of the discoloured body.” in Thread Painting.

This is different from the aesthetics of M-Duchamp conceptual art that does not decorate materials.

Thread painting is a form of self-consciousness that has been implemented before realizing how things are perceived. The color of the shape does not indicate the distance of time, but shows the hidden aesthetic value as seen by the faded original formative structure. And beyond the literary character of conceptual art, it raises the formalities as a painting, paints the colors left behind, and ties them together with threads in a new formative structure.

Construct a shape in which the color of the linear structure exists so that the shape as a knot that hides the color by inserting the structure of the color into the thread so that it can adapt to a particular color.

Therefore, "Thread Painting" is a painting of yarn and paint on a cloth seeking linear aesthetics that denies the excessive literary nature of conceptual art.

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Qí Báishí's Media-art/ morning glory, Still image(39sec)/ Chul-joo Choi, Media-art: morning glory,

Thread Painting; <the morning glory> is an image drawn on a cloth-like material of an object made by custom. <the morning glory> is a method of drawing an image that is reversed from left to right by constructing a shape that looks like an image of the Lacan's objet on a cloth-like material.

Therefore, his painting is a two-sided painting that does not distinguish the front and the back. To represent an image in terms of practical and cursory features to suit the subject. Here, painting as a object of change in customs is another image that appears to be a object. It disappears as a substance of a subject that is hidden and drawn in small pieces invisible from space.

A small object shows a space that can actually be reversed through the shape's thought movement. This refers to the meaning of a shape in which, a small object defines a space that can actually be reversible and refers to the meaning of a feature that is obscured by the actual changed movement of the feature.

Louis Chul-joo Choi, Media Art: morning glory, a hand-painted picture on a computer,
20201126-20201210, Minoo Media Art Museum

It is the color of light and the shape of a material such as cloth, and the inevitability of an impressionable space determines the position of a object. And by stopping the light and the object of the place, it forms a structure of conventional painting. This is a space where you can stay with the inevitability of a stopped structure. Thus, the meaning of the actual structure of the picture where the shape has stopped is formed by the reverse idea movement. Its conscious meaning as a structure is just a small piece of space that finds its place properties of matter. This small piece coexists as a properties of matter in numerous spaces when it is a similar object. The position is inserted into several spaces by the meaning of the thought movement, where one phenomenon and other meanings intersect. This is a thread painting, <the morning glory> which was created by repeating another space as an thought movement in the space of positioning.

The space here disappears and the morning glory turns into the color of light.

However, as a painting's meaning effect, it chooses a painting as the color of light on a fabric-like material or thread that has disappeared from the past space. Here, the painting distorts the image by changing the light into a line within a space that connects the surface of the morning glory with light.

Therefore, since the composition of the invisible preceding space cannot draw flowers, the beginning screen of the Media Art: <Qí Báishí, the morning glory> of Minoo Media Art Museum distinguishes the leading space by sketching stems and leaves and drawing flowers because the intro space is not the actual structure. Thread painting is a thread that depicts the shape of light that distinguishes objects in stationary media art. This is a thread painting limited to fabric in an empty space and the more you limit the habitual object to the shape, the more empty the space becomes, rather than the actual place, so it decorates the inner surface of the hidden cloth to find the meaning of the space as a small piece of artistic shape. As such, <the morning glory> is painted on cloth-like materials, forming an abstract spot with the inevitable spatiality of the object, thus gaining aesthetic value as a real habitual painting art.

Louis Choi Chuljoo, thread painting <morning glory>, 135X156cm, acrylic and composite materials on cloth, 20201126-20201210, Minoo Media Art Museum

Louis Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting

* The production process of thread painting designs an object that relies on a momentary coincidence, a presence determined by the smudging of a brush at a set object. This realizes media art and painting in the descriptionless space of the atmosphere.

Thread painting is a desire form drawn as a gaze of another person in the process of producing the mechanically reproduced original media art.

* Thread painting (Definition): Thread painting is a form in which images created by media art <morning glory> can be drawn (additional embroidered) on the shape of an overlapping cloth whose back space is illuminated by hand painting. In other words, it is a picture of a shape shaded in crossing thread and a painting with reflective light in a small hole in the cloth.

* The symbolic meaning of media art "morning glory" in thread painting is that the color of its meaning decorates the reality of the custom universality facing the object with the color of light. The dark blank space contrasted with the light of this decorated shape is a shadow created by traces. Here, color as an actual object is a monolithic image of an educated custom that appears to be a gaze. This is a symbolic language that symbolizes a flower that is imitated. Here, the 'morning glory' image is a piece of meaning symbolized in a non-real space as a result of the desire meaning.

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Louis Choi Chuljoo, thread painting: morning glory 2020-b, 135X156cm, acrylic and composite materials on cloth

Media art and painting without description of the perspective structure of the atmosphere are realized through thread painting. Here, in the process of producing the original media art that is mechanically reproduced by perspective description, the form drawn by the other's desireful gaze is thread painting "morning glory B-00-2-1".

The image as a result of the performance of thread painting is <morning glory B-00-2-2> in the form of a painting cloth that is reflected on the back by manually painting the generated image of action painting to Process Art. In other words, Choi Chul-joo's <morning glory B-00-2> was an action painting with an object of desire concept and a desire cencept image of desire cencept's <morning glory> exhibition on December 22, 2021 at Gwangan Gallery as a performance of contemporary image installation artist and contemporary art artist Choi Chul-joo.

Louis Choi Chuljoo, thread painting: morning glory 2020-b → bmorning glory B-00-2-2

The image and color of thread painting in that form show the aesthetic value of the other's desire structure in a hidden shape by forming an imaginary formative structure of a faded desire without marking it by giving a distance of time.

This is a conceptual art based on Choi Chul-joo's desire concept abstract art theory, and the formality as a painting beyond literature was drawn in the structure of thread painting as a new formulation by drawing the image of desire left after the emergence of the concept of desire. It is a picture that reconstructs the formulation in which the concept of desire exists with a linear structure so that the formulation can be adjusted to a specific color like a knot blocking the color by putting the structure of the color into the thread.

Therefore, the concept of "Thread Painting" in which the structure of the thread is added as a color is painted on the structure of color in the concept of cloth and desire that pursues linear aesthetics as artistry of desire.

Thread painting 'morning glory B-00-2-2' is an image of the desire of the other painted on a cloth-like material against the background of the desire of the chick to convey the custom of seeing it as an infant in Choi Chul-ju's concept of desire.

morning_glory_2022-c,_135X156cm,_acrylic_and_composite_materials_on_cloth,_2.jpg?type=w773

Louis Choi Chuljoo, thread painting: morning glory B-00-2-2 → morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth

In "morning glory B-00-2-2", a shape in which an object is seen, such as a desire image, is composed of a material such as fabric to generate an image in which the left and right sides are reversed. Therefore, his picture is a two-sided picture that does not distinguish between the front and the back. Here, a new picture emerges when the image on the back is converted to the front. This is a thread painting in which the image of a desire object that appears to be reversible light that rejects the center of the image of desire, which omits the volume of the chicken and replaces the reality that rejects perspective description.

The back of "morning glory B-00-2-2", "morning glory 2022-c", is a painting that has actually transformed into a system of notation for semantic representation. The painting reduces the planar dimensionality of "morning glory B-00-2-2" to the essence of meaning. This is a dual object that simultaneously shows everyday livestock and a family in a symbolic sense through chickens and chicks. The shape of the picture emerges the aesthetic meaning of the image of a desire structure that realistically depicts the concept of desire in the visual system in the thread painting where the image is installed.

The image of the shape of the object is created by embroidery, and the image of the cloth is expanded to embroidery, or the shape of the embroidery is transformed to widen the position of the cloth by flat painting.

This is conceptual image installation artist Choi Chul-joo's painting. As an installation of images, it is realized in flat painting without adding embroidery in media art and painting without description of the atmosphere.

Here, the shape drawn in the shade of reversible light and the thread painting in the small hole of the cloth are a picture that expands the position of the desire illuminated with reflected light. / Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)

contemporary artist Louis Choi Chuljoo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 23

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [23] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary artist review: Contemporary Art Critic Louis Choi Chul-joo's Art criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism: Contemporary Artwork Critic Louis Choi's art criticism published on Facebook: As a conceptual form, the realistic shape of non-realism with the same structure of meaning is abstract as a conceptual meaning structure, but abstraction with the same meaning with different shapes is a non-realistic existence with different colors and sizes.

Its existence defines an abstract space as an actual reversible shape, and abstracts the image <morning glory> in which the window shape placed in front of the morning glory is covered by the actual changed movement by the shade of reversible light into installation art outside the window. It is an image of desire in a picture, that is, a space without atmosphere reflected in a mirror. mirror. This is an abstraction as a being abstracted from a real painting into a realistic image.

Louis, morning glory p107-7, a hand-painted picture on a computer, 2023 / Louis Choi chuljoo's "Painting Installation Performance" Exhibition poster An image of desire based on the cartoon review concept as an object ɑ of the concept of desire, 20230703 Haeundae-gu Office Gallery, Busan.

"morning glory window p107-7" is a treacherous conceptual art with cartoon review as the concept of an image created as an anamorphosis image, which means the reality of a morning glory, in the shade of reversible light, and is an abstraction of the concept of desire. This is a modern art movement that presents the methodology of realistic abstraction with the concept of modern desire.

In Busan (Haeundae-gu Office Gallery), a poster was produced as a contemporary art abstraction work related to the individual exhibition of Louis Choi Chul-ju <morning glory window> and this is a modern abstraction <morning glory window 2023-6-1>, which symbolizes the exhibition poster image of painting, as a structure of desire. The abstraction <morning glory (outside the) window 2023-6-3> appears by linking the conceptual image of desire through <morning glory (out the side) window 2023-6-2>, which consists of a desire image that appears to be a momentary gaze.

The object <morning glory outside the window 2023-6-3>, which depicts the meaning of the shape seen in the semantic space created with reversible light, is an abstract space that can be reversed into a real shape by structuring the meaning of the image that hides the desire of the other in the temporality in the shade of reversible light, and the meaning of the desire abstraction, which is hidden by the actual changed movement of the shape, is an abstraction that reveals the place of the other's unconscious desire in <morning glory> as a virtual real image of cartoon review.

Louis Choi chuljoo's "Painting Installation Performance" Exhibition poster An image of desire based on the cartoon review concept as an object ɑ of the concept of desire, 20230703 Haeundae-gu Office Gallery, Busan.

Choi Chul-joo's contemporary art movement, which presents a realistic abstraction methodology based on the concept of desire as contemporary art, is created in Busan (Haeundae-gu Office Gallery), an abstraction of the concept of desire through "Painting Installation Performance" that constitutes the abstract as another image of desire.

"morning glory 2023-6-2" as conceptual art is an abstract area of painting in which a specific effect that appears to be a gaze occurs in the concept of instantaneous desire. This is an image that can momentarily see the desire of the other who functions gaze in the landscape.

This is a planarity that seems to have a consistent meaning of a morning glory in painting. The morning glory is the same as the reflection of the mirror real(le Réel), but the shape of the background is not the same. This is because abstraction as the same meaning, which is a conceptual form and abstraction with a structure of the same meaning with the same meaning, is a non-realistic image as an abstract being of an ideological form with different colors and sizes.

Its existence is an abstraction of conceptual art applied to Lacan's "Four Directions of Interpretation," which defines an abstract space as a real reversible shape and refers to the abstraction of conceptual art as a realistic shape in which the shape is hidden by actual changed movements in the shade of reversible light.

Louis Chul-joo Choi, morning glory window 6-3, 241X223cm, acrylic and composite materials on cloth, 2023

Louis, morning glory p104-4-1, a hand-painted picture on a computer, 2023

<morning glory window p104-1-1> is a conceptual abstraction of desire as a treacherous conceptual art based on the cartoon review concept that images created by distorted images meaning the reality of <morning glory> are reversible shadows of light. This is a modern art movement that presents a methodology of realistic abstraction as a concept of modern desire.

In Busan (Haeundae-gu Office Gallery), Korean painter & abstract painter Louis Choi Chul-joo produced a poster as an abstract artwork of contemporary art related to the individual exhibition of "morning glory window", which is a modern abstract painting <morning glory window 2023-6-1> that symbolizes the exhibition poster image of the abstract painting as a desire semantic structure. In addition, the abstraction of the concept of desire <morning glory (outside the) window 2023-6-2> emerges through "Painting Installation Performance," which constitutes the abstraction as another desire image.

Louis Chul-joo Choi, morning glory window 6-2, 241X223cm, acrylic and composite materials on cloth, 2023

The object <morning glory window 2023-6-1>, which depicts the meaning of the shape seen in the meaning space created by the reversible light of realistic non-realism, is an abstract painting that reveals the place of the unconscious desire of others in <morning glory> by structuring the meaning of abstract space that can flip an object into a real shape with a reversible shadow of light. The image of desire in the mirror is a hypothetical non-real image of cartoon review, revealing the place of the other's unconscious desire in "morning glory".

Louis Chul-joo Choi, morning glory window 6-3, 241X223cm, acrylic and composite materials on cloth, 2023

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2023 <morning glory window> Busan Exhibition Abstract Poster Works & Contemporary Art Works: Realistically Abstracted Contemporary Abstract Artist Louis Choi Chul-joo Desire Conceptual Art Abstracts: <morning glory p104-1-4>

The abstract area of painting in which the specific effect of the desire abstract image occurs as an exhibition poster meaning of "morning glory p104-1-4" as conceptual art is an image that can momentarily see the desire of others functioning gazefully in the landscape.

This is a distorted planarity that seems to have a consistent meaning of morning glory in painting. The morning glory is the same as the mirrored reality, but the shape of the background is not the same. This is because abstraction as a conceptual semantic structure is an abstraction of non-realistic realistic form with the same meaning as a realistic structure, but abstraction as the same meaning with different shapes is a real non-realistic being with different colors and sizes..

Therefore, the factual abstract image defines abstract space as a real reversible shape, and Choi Chul-joo's exhibition poster, whose shape is hidden by actual changed movements in the shade of reversible light, means the meaning of abstraction of conceptual art by creating a place of abstraction as a contemporary art abstract art movement.

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Louis Chul-joo Choi, morning glory window 6-2, 241X223cm, acrylic and composite materials on cloth, 2023

In the mechanical diagram of a perspective visual system that reproduces abstract image as an object <morning glory window 6-2> as an image of desire concept, the visual system is concealed, but it is an object that appears to be a momentary gaze from a desire perspective revealed in the unconscious. This is a realistic abstraction of the concept of desire based on the image of events and performances.

As a painting, "morning glory window" forms a distorted image expressed through the desire revealed in the other's suppressed unconscious to acquire artistry beyond generality and creates an object as a being to reveal the artistry of the momentary distorted image of drama, disaster, riot, war, and performance as a semantic structure.

Abstract painting <morning glory window 6-2> repeats the concept of desire to hide the shadow image of others' desires as performance images and collects images of desire overlapping with the timeliness of reversible light.

In <morning glory window 6-2>, there is an abstract effect in which a person dancing against the background of a morning glory hides desire and gives reversible time sensitivity to the performance image to become the desire of others, and sets a phenomenal position so that the image of light does not overlap.

Louis Chul-joo Choi, morning glory window 6-3, 241X223cm, acrylic and composite materials on cloth, 2023

Louis Choi Chul-joo's "morning glory window 6-2" absorbs temporal light and removes the symbolic representation of the image surface to create an image of realistic desire and hides the conceptual image of desire in the shadow of reversible light.

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.

In order to reveal the realistic abstraction of the image of dance and music performance that is momentarily distorted in real life, the object of the conceptual form is abstracted in a semantic structure.

As a conceptual form, the realistic shape of non-realism with the same structure of meaning is abstract as a conceptual meaning structure, but abstraction with the same meaning with different shapes is a non-realistic existence with different colors and sizes.

It realizes the surface image of the non-realistic sky just as the clouds reflected in the building are real as surface images. This is the impression of a city in which the desire concept image is developed at small intervals where it exists momentarily as a reversible shade of light.

The impression of a city is "morning glory window" as the desire of others in a consumption culture that develops at small intervals in which the image of the concept of desire exists instantaneously.

In this way, fragments of contemporary visual culture are abstracted with desire in the realistic structure. / Writing. Art critic Choi Chul-joo (Image Installation artist & Doctor of Cultural Design)

Contemporary Art Critic Louis Choi Chuljoo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 24

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [24] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary artist review: Contemporary Art Critic Louis Choi Chul-joo's Art criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism: Contemporary Artwork Critic Louis Choi's art criticism published on Facebook: This is an abstract urban impression in which images of the concept of desire are developed at small intervals as reversible shades of light that exist momentarily, just as a dancer reflected in the background of the concept of desire implements an unrealistic surface image of the sky like a cloud as a surface image.

In this way, the fragments of urban images in modern visual culture are abstracted into the structure of desire in the realistic structure

Louis Chul-joo Choi, morning glory window 2024-1, 223X227cm, acrylic and composite materials on cloth, 2024 / Louis Choi chuljoo's Art movement Abstract painting "Painting Installation Performance" Exhibition poster An image of desire based on the cartoon review concept as an object ɑ of the concept of desire, 202401

<morning glory window 2024-1> is a conceptual abstraction of desire as a treacherous conceptual art based on the cartoon review concept that images created by distorted images meaning the reality of <morning glory> are reversible shadows of light. This is a modern art movement that presents a methodology of realistic abstraction as a concept of modern desire.

Korean painter & abstract painter Louis Choi Chul-joo produced a poster as an abstract artwork of contemporary art related to the individual exhibition of "morning glory window", which is a modern abstract painting <morning glory window 2024-1> that symbolizes the exhibition poster image of the abstract painting as a desire semantic structure.

The object <morning glory window 2024-1>, which depicts the meaning of the shape seen in the meaning space created by the reversible light of realistic non-realism, is an abstract painting that reveals the place of the unconscious desire of others in <morning glory> by structuring the meaning of abstract space that can flip an object into a real shape with a reversible shadow of light. The image of desire in the mirror is a hypothetical non-real image of cartoon review, revealing the place of the other's unconscious desire in "morning glory".

Louis Chul-joo Choi, morning glory window 2024-1-back, 223X227cm, acrylic and composite materials on cloth, 2024

In the mechanical diagram of a perspective visual system that reproduces abstract image as an object <morning glory window 2024-1-back> as an image of desire concept, the visual system is concealed, but it is an object that appears to be a momentary gaze from a desire perspective revealed in the unconscious. This is a realistic abstraction of the concept of desire based on the image of events and performances.

Abstract painting <morning glory window 2024-1-back> repeats the concept of desire to hide the shadow image of others' desires as performance images and collects images of desire overlapping with the timeliness of reversible light.

In <morning glory window 2024-1-back>, there is an abstract effect in which a person dancing against the background of a morning glory hides desire and gives reversible time sensitivity to the performance image to become the desire of others, and sets a phenomenal position so that the image of light does not overlap.

Louis Chul-joo Choi, morning glory window 2024-1, 223X227cm, acrylic and composite materials on cloth, 2024

Louis Choi Chul-joo's "morning glory window 2024-1" absorbs temporal light and removes the symbolic representation of the image surface to create an image of realistic desire and hides the conceptual image of desire in the shadow of reversible light. 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 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.

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.

This is an abstract urban impression in which images of the concept of desire are developed at small intervals as reversible shades of light that exist momentarily, just as a dancer reflected in the background of the concept of desire implements an unrealistic surface image of the sky like a cloud as a surface image.

In this way, the fragments of urban images in modern visual culture are abstracted into the structure of desire in the realistic structure. / Writing. Art critic Choi Chul-joo (Image Installation artist & Doctor of Cultural Design)

contemporary artist Louis Choi Chuljoo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 25

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [25] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary artist review: Contemporary Art Critic Louis Choi Chul-joo's Art criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism: Contemporary Artwork Critic Louis Choi's art criticism published on Facebook: The object of desire is expressed through identification between the gaze of the other and the desire image revealed in the unconsciousness of the other. At this time, the images combine meaning in abstraction as a separate whole. This equates abstract images with the concept of desire in the background of desire, "morning glory" which identifies the image of non-realism as a being revealed by the unconscious desire of the other and the image of events and performances, which are real phenomena revealed by the unconscious desire of the other.

Modern Korean Pop art Abstraction Design Review & Conceptual Art Korean Painting Abstract Painting Design <morning glory p15-11>

Louis Choi Chul-joo, Choi Chul-joo morning glory p15-11, a hand-painted picture on a computer

Design review: the New York Contemporary Art Exhibition of "Morning glory" abstract painting(Poster: Youn Yuh-jung won the Oscar for Best Supporting Actress): an exhibition of the desires of others seen by a chick as an infant." a contemporary art work that applies artist Louis Chul-joo Choi's Lacan art theory. 20220301~20220308 Flushing Town Hall, New York.

<morning glory p15-11> creates a red monotone that superimposes the desire structure of the other, created by overlapping the concept of desire with <morning glory> as the background of desire.

At 2022 New York Flushing Town Hall, abstract painter Louis Choi Chul-joo's "morning glory" is produced as a design concept based on the concept of desire, and this is the design of the shape as the semantic structure of the concept of desire, that is, the poster abstraction "morning glory".

Desire Concept Abstraction ■ Design Process / Abstraction <morning glory> forms the image into an art theory of Choi Chul-joo's concept of desire to convert the image into a desire meaning by repeating the abstraction of the concept of desire. This means that the desire is expressed in painting by repeatedly applying the desire formula to the desire of others revealed in the unconscious, and as a result of applying the formula of Choi Chul-joo's desire concept to painting, the desire structure gains value in approaching formative beauty.

■ The concept of desire/ <morning glory> is not the subject of the subject, but the spatial background of the desire of others. It is the same as a consistent space of life like the sky. Cartoon review representing the space of life and performance scenes connect to pop art images, but do not criticize and judge, but reproduce reality as news with photos of events and images of performance scenes. In addition, the effect of conceptualizing the reality of the symbolized object as the desire of others is structured into reversible shades of light to paint the concept.

■ By substituting Choi Chul-joo's desire formula into the abstract painting <morning glory> created by abstraction of the concept of desire, the desire of one other is seen as a reversible structure of light, which reaches the morning glory of the desire background along with the satisfaction of pleasure and sexual impulse(Jouissance) and conceals the inconsistency imagined by the chick in the visual system.

Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory 2021-h-back', 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 2021-g-back>, 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).

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Louis Choi Chul-joo 2022 New York Exhibition Poster / 'morning glory p15-11' is a virtual non-real that structures the meaning of abstract space that can turn things into real images by constructing images that hide the desires of others in the temporal shadow of light, and the meaning of conceptual abstraction hidden by the actual changed movement of the shape reveals the place of the unconscious desire of others.

The image "morning glory p15-11," which depicts the meaning of the shape seen in the space of the meaning created by reversible light, refers to the concept of abstract meaning, which means an abstract space where the desires of others become common fossils and an abstract space that can compose the meaning of a shape hidden by long-term nature into a real shape that reverses things, and creates an image on one screen by drawing an image with a different meaning with reversible light hidden by the movement of the actual changed shape.

Here, drawing images with different meanings from different perspectives and gathering them on one screen is an abstract design of the concept of desire, which is a new attempt to reject the romantic painter's style. In other words, it is an abstract painting that revived the structure of desire, "morning glory" by using the material of light projected in romantic paintings as a place of existence to explore a new style of modern art.

It is the conceptual abstract design method of desire that draws images with different meanings from different perspectives and gathers them on one screen to form a revolutionary picture that deviates from perspective. This is a new attempt to reject the mannerisms of the way Romantic painters painted. In other words, in romantic paintings, a reversible shade of light with the subject of light projected as the place of existence pursues a new style of modern art by breaking away from Romantic painter's modern art with realistic <morning glory> abstract painting. / Choi Chul-joo's concept of desire <morning glory> Abstract painting interpretation

Louis Choi Chul-joo, Choi Chul-joo morning glory p15-11, a hand-painted picture on a computer

<morning glory p15-11> based on the concept of desire is an image that allows you to see the desire of others who function gazing visually in the landscape in the abstract area of painting where certain effects occur.

This is a perverse planarity that seems to consistently mean morning glory in painting. The morning glory is the same as the mirrored reality, but the shape of the background is not the same.

This is an artistic discourse on reality and non-realism depending on the viewpoint of view. Reality and non-realism cannot be selected as visible images that reproduce objects, and the pictorial image that expresses the real image has been identified as an image as non-realism. Therefore, the way to find reality in an object is to reveal the abstraction of <morning glory> as a distorted image in a shade of reversible light similar to the concept of desire.

This is because abstraction as a conceptual semantic structure with a non-real shape with the same meaning as a conceptual semantic structure, but abstraction as the same meaning with different shapes is real non-realistic as an ideological non-formal existence with different colors and sizes.

Its existence is an image that defines abstract space as a real reversible shape and whose shape is obscured by actual changes in the shadow of reversible light, which is an exhibition poster image of "morning glory". This is an abstraction of the image of the concept of desire into installation art.

To reveal physical reality as an abstraction is a realistic reality that makes the object 'steady look' and the realistic reality comes from a clear abstracted physical structure. The structural physicality of the abstract has several cross sections in its three-dimensional form. Like Picasso, several perspective shades of reversible light, such as painting a woman in multiple perspectives at the same time, realistically drawing an object from one perspective.

This forms a non-real space with a realistic structure and shows the multifaceted complexity of an abstracted morphological structure.

Here, the abstracted form is an object that the other sees in a conscious space, and an object that appears to be a distorted image that appears to be a gaze to the other due to a desire. As an existential object that passes through the concept of desire in the entire image is formed, an image with the same meaning as the other's unconsciousness and desire is concealed in the reversible shade of light in the entire image.

Chul-joo Choi’, "Grand Prize at the 35th Golden Disc Awards-5", a hand-painted picture on a computer

In the actual <morning glory> shape and gaze shape, the image is shaded and represented with an exterior suitable for the theme of the pop art conceptual cartoon review work <Grand Prize at the 35th Golden Disc Awards-5>.

Here, painting as an object of change in customs is another image that seems to be an object. It is concealed and disappeared as a material of objects drawn in small pieces that are not visible in space.

A small piece of the object is monochromated and shows a reversible real space through a symbolic art movement that actually changes the shape. And it shows how the object as another reality is revealed. In the abstraction, it appears to be an image that appears to be a perspective visual system and a distorted image that reverses the concept of desire, that is, perspective.

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Louis Choi Chul-joo, Choi Chul-joo morning glory p15-6, a hand-painted picture on a computer

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Louis Choi Chul-joo, Choi Chul-joo morning glory p15-11, a hand-painted picture on a computer

The desire image of an image different from reality is hidden in the shadow of reversible light because it is the difference between reality and the desire of others. This metaphorically conveys the meaning of reality to the imaginary world by abstracting the desires of others that appear by equating the image of reality (symbol) in the mirror with the same symbol.

It's an imaginary world as a visible metaphor. However, it is not known which subjects are in the two phases. These two images are identified as images showing objects. Here, the other person sees the desire image as a different image from the real image and shows the desire. Real and non-real images cannot be selected as visible images that reproduce objects, and images that differ from phase are found to be non-real images. Therefore, the way to find reality in objects is to reveal the image of desire that projects the object of desire and the place where the desires of others existed as a reversible shadow of light.

The pictorial meaning is abstracted and transferred to the symbolic world through separation from the symbolic image of the sign and reality, recognizing that the symbolic image as a subject is not itself. Here, symbolic images and reality as abstract paintings meet reality through division.

Abstract images as reality are revealed as deviated images, but as non-real images, they are deviated from real images.

In the abstract painting achieved by the misinterpretation of real and non-real, the desire image forms a momentary image by serializing the sign image from the instantaneous staring image.

The object of desire is expressed through identification between the gaze of the other and the desire image revealed in the unconsciousness of the other. At this time, the images combine meaning in abstraction as a separate whole.

This equates abstract images with the concept of desire in the background of desire, "morning glory" which identifies the image of non-realism as a being revealed by the unconscious desire of the other and the image of events and performances, which are real phenomena revealed by the unconscious desire of the other.

The abstraction here reveals the object as another being of the object by transforming the image of the object into an image that deviates from the other's desire perspective, and contains the meaning of formative desire that the object has with creativity and autonomy. / Writing. Art critic Choi Chul-joo (abstract painter & Doctor of Cultural Design)

Abstract Artist Louis Choi Chuljoo

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