Art Critic Louis C [4]: 26~30
Contemporary Art Review by Louis Choi 4
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 [4] 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.
Painting & Media Art Video Exhibition <“Song·Ha·Sun·In·Chui·Saeng·Do” by Louis Choi Chul-joo>: 20201126-20201210, Minoo Media Art Museum/ Extended exhibition period 2020.12.11- 2021.1.29
Contemporary artist Louis Chul-joo Choi's <“Song·Ha·Sun·In·Chui·Saeng·Do” by Louis Choi Chul-joo>, 20201126-20210129, Minoo Media Art Museum
Louis Chul-joo Choi, The custom (Song, Ha, Sun, In, Chui, Saeng) enjoys acting out of line
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.
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 artist Louis Chul-joo Choi's <“Song·Ha·Sun·In·Chui·Saeng·Do” by Louis Choi Chul-joo>, 20201126-20210129, Minoo Media Art Museum
Exhibition-related painting performance: Painting '<“Song·Ha·Sun·In·Chui·Saeng·Do” by Louis Choi Chul-joo>' Demonstration, Minoo Media Art Museum
Painting Performance: A painting performance related to media art exhibition and exhibition from November 26, 2020 to November 27, 2020 (picture 'Song·Ha·Sun·In·Chui·Saeng·Do” by Louis Choi Chul-joo' demonstration), and a painting work produced by head of the academic research department of research at the Minoo Media Art Museum
The meaning of the <"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do"=“Song·Ha·Sun·In·-Chui·Saeng·Do” by Louis Chul-joo Choi>, painted by Chul-joo Choi, is metaphorical, such as the structure of language, so it is not the same as the shape of <"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do"=“Song·Ha·Sun·In·Chui·Saeng·Do” by Louis Choi Chul-joo>.
As a reality that owns instantaneous time, it is an unexistent painting that overlaps wind with other forms and images.
And he replaces the virtual image drawn by the lack of self-created location of the true form of the <“Song·Ha·Sun·In·-Chui·Saeng·Do” by Louis Choi Chul-joo> with other modern painting and decorates the actuality of the inner image of the <“Song·Ha·Sun·In·-Chui·Saeng·Do” by Louis Choi Chul-joo>
Louis Chul-joo Choi, Media-art "Song·Ha·Sun·In·Chui·Saeng·Do by Chul-joo Choi", Still image, 2020
Media art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is a cartoon image of a cartoonist Louis Choi Chul-joo, who reconstructed Shin Yun-bok's folk painting after seeing Kim Hong-do's “Song·Ha·Sun·In·Chui·Saeng·Do”
Therefore, another proposition of Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is "Song·Ha·Sun·In·Chui·Saeng·Do".
This is a general reflection of the scene where men and women secretly go out to meet to express their love on windy days. Here, the cartoon image expresses affection, but the cartoon images are not involved in the symbolic image.
Thus, the boat play and bath scenes were reconstructed into cartoons that express the affection between men and women in the same way as the original painting by Shin Yun-bok, which depicts the daily lives of women in the Joseon Dynasty.
Considering the fact that Shin Yun-bok's paintings, which satirizes daily life, is similar to that of a cartoon, the cartoon composition of "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" was partially drawn and matched with a close-up scene like the one-cut series of "Roy Lichtenstein.“
Thus, as a cartoon media art of popular art, "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is seen as a series of cartoon cuts aimed at satirizing the status quo of Joseon Dynasty society with cartoon images.
In line with the scene of boat play and bathing by the river as a cartoon image, the sound is the Vivaldi's "summer" of the four seasons, giving a glimpse of the positive contemporary image.
As such, cartoon media art is carried out in a popular art way rather than in a media that reveals social problems.
In the middle of the summer, boat play, gisaeng, men who peeked at women bathing by the river, and boats were drawn in several cartoons to move boats playing in the river. The surrounding figures harmoniously reconstructed the relaxed light and shadow of the gisaeng, men, and landscape.
"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is shown in the media space as a media with cartoon images of the realistic representation of social mannerism, such as Manet's "The Luncheon on the Grass".
It balances the real customs with media art reproduced in animated images. Although the appearance of a woman in the Joseon Dynasty, where Shin Yun-bok bathes, shows sociality, but "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" which were reborn as unrealistic cartoons, focus on the pictorial cartoon characteristics of painting style.
The Manwha painting style of the Joseon Dynasty, which emphasizes media art by moving the cartoon image, was seen as a cartoon so as not to deviate from the relationship between the real landscape and the characters.
And to express the characteristics of media art, Sin Yun-bok's paintings were reconstructed to create a series of cartoon images based on the play culture of the Joseon.
Writing. Louis Choi Chul-joo, former head of the academic research department of research at the Minoo Media Art Museum (Contemporary Artist & Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 26
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 [26] 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: Art Review News- Reading New Works: Modern Art Painting Design/ In contemporary art, the concept of design desire is embodied in Lee Ji-A's Facebook "Summer Valley" with a conceptual semantic structure as a realistic structure: The image is identified with a shaded structure similar to that of summer, so the sky blue rock forms an aesthetic structure as the inner subject of summer.
However, the symbolic structure of the valley hides the real of the object in the shadow of summer. Therefore, after drawing the shadow selected as the shadow structure of the object without covering the object's structure with shadows, Lee Ji-A can capture the gaze that appears to be a connection to the summer valley when drawing the shadow selected as the object's structure.
Lee JiA, Summer Valley, Watercolor painting, 2021
Summer Valley
Trees and rocks, which have a great influence of light, save the static scene by erasing the shadow area of the assimilated sky under the deep-textured water surface.
Therefore, Lee Ji-A's painting moves the object to the sides of light so that the shape can be understood.
The meaning of the color surface is that the images lined up in the valley in the temporality of summer form the shape of temporality as the subject.
The shape represents the theme of summer when the water surface is controlled by the texture of the surface valley in contrast to the color of the tree according to temporality.
The water surface and rock are fixed to the side of light to balance the colors of the valley and summer.
However, hidden shadows in the summer light area cannot be captured, so they are abstracted into the water surface by a different side of light from the actual color of light.
Here, she identifies the location of the object and the viewer with the color of the light she chooses and realizes it.
The place points to the repeated sounds of trees as the color of light.
The color of light reveals the hidden image of summer in the valley, allowing you to see the summer valley.
In addition, trees and rocks are simplified into their colors, making the visible landscape more emotional and reflecting on the spatial aspects of objects.
The landscape induces the recognition of the valley hidden in temporality, illuminating the value of life with the same semantic structure as the structure of nature.
The selection of a brush that encompasses the range of light does not deviate from the structure of the form, but the range contains the beginning and the end, forming a composition that divides the entire picture. It does not contain an area that deviates from the range and is bounded by the margin of an empty space.
Lee Ji-A's choice only shows that the object and light are continuous, but the structure of the shadow cannot be read within the range of the choice, and represents the structure of the shadow by the color of the boundary.
Through the semantic structure that reveals the summer valley, tree forests and rocks attract attention on the surface of the water so that you can feel realistic.
The realistic form is seen as a monochromatic color of the shade, so the object only attracts the gaze with the reflective color of the shade hidden in the form rather than the surface quality.
The hidden shadow structure continues to draw attention, hiding the connection to the summer valley in the shadow.
This is because it is a shadow that cannot outline an object in the shade with the light from above.
Therefore, the gaze of the shadow structure hides the relationship with the summer valley in the shadow.
Hidden shadow images are contrasting lights illuminated by places in the shade of colors, and when they approach objects according to their images and concepts, the images become abstract.
The conceptual abstract image that can distinguish the place of the shape envisions a dual-meaning structural image that structures the shape of the summer valley. The image is identified with a shaded structure similar to that of summer, so the sky blue rock forms an aesthetic structure as the inner subject of summer.
However, the symbolic structure of the valley hides the real of the object in the shadow of summer.
Therefore, after drawing the shadow selected as the shadow structure of the object without covering the object's structure with shadows, Lee Ji-A can capture the gaze that appears to be a connection to the summer valley when drawing the shadow selected as the object's structure./ Choi Chul-joo (Doctor of Cultural Design), an art critic.
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 27
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 [27] 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: Art Review News- Reading New Works: Modern Art Painting Design/ In contemporary art, the concept of design desire is embodied in Louis Choi Chuljoo's Facebook "morning glory window 2024-2-shadow" with a conceptual semantic structure as a realistic structure: This is an impressive abstraction in which the image of the concept of desire is developed at small intervals in the shadow of reversible light that exists momentarily, just as a dancer reflected in the background of the concept of desire, embodies an unrealistic surface of the sky such as a cloud.
Abstraction is abstracted into a structure of desire in a realistic structure as a fragment of an abstract conceptual image of a city in modern visual culture.
Louis Chul-joo Choi, morning glory window 2024-2-Shadow, 357X225cm, acrylic and composite materials on cloth, 2024
Choi Chul-joo's comic abstraction as a treacherous conceptual art means the abstraction of the conceptual image of desire as a realistic structure in art. Since the conceptual meaning of desire that exists in place of a realistic form can be divided into a cartoon criticism image, abstraction is drawn through reversible contrast that interprets the image of events and performances as an image of others' abstract desires.
Choi Chul joo cartoon review, which uses contemporary art abstraction as a treacherous conceptual art, reinterprets the image of desire as a concept of cartoon.
morning glory window 2024-2-Shadow
<morning glory window 2024-2-Shadow> 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 2024-2-Shadow> that symbolizes the exhibition poster image of the abstract painting as a desire semantic structure.
The object <morning glory window 2024-2-Shadow>, 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".
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.
In the mechanical diagram of a perspective visual system that reproduces abstract image as an object <morning glory window 2024-2-Shadow> 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 2024-2-Shadow> 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 2024-2-Shadow>, 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 2024-2-Shadow, 357X225cm, acrylic and composite materials on cloth, 2024
Choi Chul-joo's comic abstraction as a treacherous conceptual art means the abstraction of the conceptual image of desire as a realistic structure in art. Since the conceptual meaning of desire that exists in place of a realistic form can be divided into a cartoon criticism image, abstraction is drawn through reversible contrast that interprets the image of events and performances as an image of others' abstract desires.
Choi Chul joo cartoon review, which uses contemporary art abstraction as a treacherous conceptual art, reinterprets the image of desire as a concept of cartoon.
"morning glory window 2024-2-Shadow, 357X225cm, acrylic and composite materials on cloth, 2024" creates an abstract effect in which a dancer who represents the conceptual image of desire hidden in the phenomenal image in the 2023 morning glory poster image overlaps "morning glory" with different backgrounds to give reversible time sensitivity.
Louis Chul-joo Choi, morning glory window 2024-2-Shadow (Part), 357X225cm, acrylic and composite materials on cloth, 2024
<morning glory window 2024-2-Shadow> 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 2024-2-Shadow> that symbolizes the exhibition poster image of the abstract painting as a desire semantic structure.
The object <morning glory window 2024-2-Shadow>, 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".
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.
In the mechanical diagram of a perspective visual system that reproduces abstract image as an object <morning glory window 2024-2-Shadow> 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 2024-2-Shadow> 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 2024-2-Shadow>, 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 2024-2-Shadow (Part), 357X225cm, acrylic and composite materials on cloth, 2024
Louis Choi Chul-joo's <morning glory window 2024-2-Shadow> 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.
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 non-real painting into a realistic image.
This is an impressive abstraction in which the image of the concept of desire is developed at small intervals in the shadow of reversible light that exists momentarily, just as a dancer reflected in the background of the concept of desire, embodies an unrealistic surface of the sky such as a cloud.
Abstraction is abstracted into a structure of desire in a realistic structure as a fragment of an abstract conceptual image of a city in modern visual culture. / Writing. Art critic Choi Chul-joo (Image Installation artist & Doctor of Cultural Design)
Choi Chul-joo (Doctor of Cultural Design) an art critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 28
Contemporary Art Critic Louis Choi Chul-joo Criticism [28] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art: 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: Conceptual design Lee Kun-yong's <Body Thought>: An image as a process of its course is interpreted as a conceptual thinking by projecting an image of a human body with the inevitability and similarity of the course without thinking abstractly about the object.
Therefore, when we escape the inevitable concreteness of hand action, we can approach the meaning of abstract colors without misunderstanding similar structures.
Photograph: Courtesy of Date Gallery
<Thinking of body: Rational ability of the body's mind>
The body is the image of the mind that looks like a human being.
A representative symbol of the body is to establish the standard of images by forming human figures in a certain form. The image is the way in which the body produces a collection of light reflected on the shape.
Thus, Lee Kun-yong’s <Thinking of body> embodies the actual way in which the body is dressed in light.
In that way, he paints aesthetic thoughts in the drawing process of the body, not the real shape derived from the effects of light.
Unlike the movement of the body's arms, he first found body drawing in a highly unstable chain of light that forms one physical form. This creates a thinkung pattern in which the body is combined with light and transformed into an image, changing from the state of light.
The thinking for the unvisible body follows the meaning of the visible shape.
A simultaneous function performed by a thinking here means that the image of the body appears to be the structure of physical behavior due to the retroactive effects of light.
He imitates the body with pictures and schematizes the proper function of consciousness over and over again.
The picture of his body is a linear sign that overlaps the movement of his arm in an empty space. This is seen as a sign of the body that exists in an empty space.
The more timely the body’s markings are repeated, the more reasonable the action is.
The more it is performed repeatedly by the body's performance, the more you think about the thinking.
However, one marked physical shape fixes and leaves other mental meanings than the area of the signature.
In other words, just like Descartes' two world theories when separating a body into an object and a mind, one body is an aporia, which is forced to give shape and desire reasons as the mind is equated with a cause.
For thought, he tries to communicate by drawing a sign of the social space where the body meets.
Thus, as the visible body is transformed into a thought, and the structured objective space is drawn as a picture of the body, Lee Kun-yong's painting has realistic modeling value.
This is a monochrome painting of a mind that equates the actual shape and mind of the body.
His monochromatic painting, which selects the thinking for the mind as a body, depicts a drawing repeatedly as a performance.
His drawing through the center is the standard by which things are carried out on the living path of the body.
His repeated drawings create a standard for non-material reality and portray the potential of a phenomenal body.
The body's thinking behavior uses his drawing to create and interact with his own image.
He symbolizes the framework of analysis in which he can experience the meaning of a limited phenomenon by repeating the body's drawings as the structure of the object.
This makes the body, which appears to be the last stage of drawing that can be drawn, a spirit that experiences a limited phenomenon into the interior.
That is, the spirit of experiencing the body of drawing in the last stage of drawing as a limited phenomenon makes it a self-contained entity inside.
In this way, he gives the body the meditative meaning of describing himself to the existing human spirit of the thinking environment.
And it gives the body an intermediate meaning that describes the shape that belongs to the existing human mind of the thinking environment.
Therefore, Lee Kun-yong's drawing takes into account the image of the body that is not separated from the thinking.
His ideas about the body capture the current meaning by portraying images of various forms of universal human behavior and unrealistic beings unrelated to what appears to be.
Draw a monochromatic surface of light that intersects with the same brightness as the body's appearance to create an thinking structure that expresses the lost prototype of the body.
It is the presence of monochromatic light that surrounds the body in a single color intertwined with a short time of light that makes it aware of changes in the body's relationship structure and appearance. Thus, short-time light, which causes the body to recognize changes in appearance, forms the structure of the relationship of presence with the appearance surrounding the body.
Lee Kun-yong draws an external structure of the body that does not exist on the surface of the light present in an empty space.
He paints by dividing meaning into the light of the body's picture to replace the body as an visible light that reveals the thoughts he has on his body.
The structure of drawing in the space is a phenomenon that appears to be the unconscious thinking of the body.
As a medium to the outside world, which is the margin in which one action is drawn, he thought of common behavior without separating the empty space one by one and responding to certain rules felt by the body.
His paintings, therefore, refer to the meaning of drawing drawn on the body by determining the restrictive behavior of the physical body.
However, he visits Drawing's place where physical behavior and thoughts are scheduled at the same time, as the body painted cannot be considered in the shape of the image being exposed.
Like Eco, he tries to find a valid point of view of aesthetic value in drawing.
Thus, by dividing meaning into drawing as a sign that directs one body, it forms the symbolic system of drawing as an original arrangement of drawing to achieve the open meaning and represent the phenomenal aesthetic value.
And by making the difference in repeated drawing stand out, the body drawing is shown combining the meanings divided by the drawing into one thinking.
He paints the structure of abstraction according to the inevitability of action.
The hand's behavior that appears in the shadow of the human body is a non-image structure, and even if the object is drawn as an abstract intentional activity, it is precipitated in a figure structure that remains in the hand's behavior and becomes a figure that is a realistic action.
This is because the composition of the picture is similar to an image as a combination of the state of light reflected on the object and the direction of the artist's gaze.
The act of hand movement is a sign of action
An image as a process of its course is interpreted as a conceptual thinking by projecting an image of a human body with the inevitability and similarity of the course without thinking abstractly about the object.
Therefore, when we escape the inevitable concreteness of hand action, we can approach the meaning of abstract colors without misunderstanding similar structures./ Writing. Chul-joo Choi, an art critic (Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 29
Contemporary Art Critic Louis Choi Chul-joo Criticism [29] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art: 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 Louis Choi Chul-joo's realistic abstract work of contemporary art as a conceptual art of treachery based on the concept of desire of others <morning glory p26-2> : Conceptual art of realistic abstraction The realistic structure of art reflects the shape by being distorted by light. What reveals its shape are the outlines and shadows determined by the shadow of light. Realistic abstraction as treacherous conceptual art pays attention to this and embodies realistic concepts. (Choi Chul-joo conceptual art theory on realistic abstraction)
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.
Louis Choi Chul-joo's treacherous conceptual art abstraction ■ It is treacherous to conceptual art that fits the conceptual form to lines and colors. ■ In Choi Chul-joo's abstraction design process/abstract painting "morning glory", desire concept's art theory is formalized to convert the news cartoon image into the signified image by linking Choi Chul-joo's desire art theory to the abstraction.
This has the meaning of expressing the other's desires in painting by repeatedly applying the imaginary world and Choi Chul-joo's desire formula,
The image generated here is the shape of the desire concept image in which the entire subject appears as light in a certain direction at the intersection with a distorted gaze except for the drawing that is fixed to the subject's face.
As a result of applying the abstract art theory of the concept of Choi Chul-joo's desire to the shape, the desires of the other approach the formative beauty. This is because the other's desire is in the light hidden in the sky, but the subject's place is on the ground. Therefore, if the sky and the ground without a shape are real, the structure of realistic desire is an existential abstract that realistically depicts the scene of an event that existed in the past time.
"morning glory", created as a reversible shade of light as a representative of the abstraction, is a form of a background image determined as a structure of desire as an event scene and a art performance image in the time. It acquires aesthetic value as an abstract image of realistic non-realism that makes the image recognize the existence of the concept of desire.
■Choi Chul-joo "morning glory window" is not the subject of the object, but the spatial background of the desires of the other. It creates a non-real cloud and hides the shadow of reality through white without a color tone that matches the reality of reversible light and hides the reality of that light.
As a frame for the shadow, the window illuminates the hue of reality through a reversible shadow so that you can see the hidden pattern in the shadow and recognizes the shape of the reality as a being.
Looking at the form as a being is the same as looking at a consistent space of life like the sky. It connects with the cartoon review of the news that represents the space of life, but does not criticize and judge, but structures the reality of the object symbolizing reality through the picture of the event into a treacherous conceptual art, and abstracts the concept realistically like historical painting.
(The treacherous conceptual art theory of Choi Chul-joo's art abstraction / ACN · December 24, 2022, 17:11)
Modern art painting design: Modern art design works that symbolize shape images in semantic structure = Louis, morning glory p26-2-1, a hand-painted picture on a computer, 2022
Treacherous Conceptual Art Green Louis Choi Chul-joo <morning glory> Art Criticism
To reveal the subject of desire is to reveal the object of the concept of the image of desire as a deficient subject. This is a of structure of the visible object deficiency realistically reconstructed in the form of the other's desires in the abstraction "morning glory"
<morning glory window> constitutes a frame that reveals the image of the subject representing the lack of desire cencept in the subject, and creates an object in the shade of reversible light in the frame to choose reality as a subject away from non-existence.
This is the physical structure of desire that results in a realistic existence. The structure has each cross section in a three-dimensional form in several frames, and abstracts the pictorial image as a conceptual art of desire into a multi-faceted image of a semantic structure as an object in a single concept. (ACN, June 22, 2023, 23:13 <morning glory window> Subject Image: Choi Chul-joo's Abstract Conceptual Art Theory)
<morning glory p26-2-1> is an object of desire concept images drawn on the form of overlapping cloth with threads reflected on the back by manually creating images created as an anamorphosis image, which means the reality of morning glory.
In 2022 New York (Flushing Town Hall & Yeomyeong Hall), Korean painter & pop art abstract artist Louis's <morning glory> is a modern art abstraction that produces a poster with a contemporary art design concept as a desire cencept structure and symbolizes the design of the desire shape, that is, the exhibition poster image of the painting.
The object (26-2-1 Louis Choi Chul-joo 2022 New York Exhibition morning glory poster), which depicts the meaning of the shape seen in the semantic space created by reversible light, structures the meaning of the image that hides the desires of the other in time as a shade of reversible light, meaning an abstract space that can be reversible into a real shape, and the meaning of conceptual abstraction, that is, the image in the mirror, is a hypothetical non-real image and shows an abstract image that reveals the place of the other's unconscious desire.
The object (morning glory poster 26-2-1), which depicts the meaning of the shape seen in the meaning space created by reversible light, means the existence of the same abstract space that can reversibly form an object into a real shape by structuring the meaning of a certain desire shape in the shadow of reversible light, and shows an existential image of the concept of desire, that is, an abstract space obscured by the actual changed movement of the exhibition poster shape.
Louis, morning glory p26-2-4, a hand-painted picture on a computer, 2022
"morning glory p26-2-4", which is a desire conceptual art, is an abstract area of painting in which a specific effect occurs that reveals the conceptual image of desire as an exhibition poster. That area is an image that can momentarily see the desires of others who function gazely like a background in the landscape.
This is a crooked planarity that seems to have a consistent meaning of morning glory in painting. The morning glory is the same as the reality in the mirror (le Réel), but the shape of the background is not the same. This is because although it is an real form, the realistic form of the non-real with the structure of the same meaning as the conceptual semantic structure is abstract, but abstraction with different shapes as the same meaning is non-realistic as an ideological atypical entity with different colors and sizes.
Its existence defines an abstract space as a shape that is actually reversible and refers to the abstraction meaning of the exhibition poster of desire concept art, in which the shape is obscured by the movement that has actually changed into the shade of reversible light.
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 rib images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon rib image as an image. (*Cartoon rib image , that is, an image that emphasizes the hidden meaning of the cartoon)
Choi Chul-joo, <MONSTA X's "Let me be your fantasy" 5>, a hand-painted picture on a computer
Desire conceptual art abstraction, which replaced the phenomenal place of the meaning of abstraction with an exhibition poster, can distinguish the place of the shape, thus conceiving the meaning of another structural image that interprets the shape.
The shape is abstract in color and size similar to the meaning of the ideological structure to speak of a different meaning, but in the imagination, the abstract meaning of conceptual art is identified with reality, and the image of the object and the abstract meaning are identified externally as the same subject, and the subject forms a transformed abstract meaning internally
This refers to the abstract meaning of a shape, which defines an abstract space that can be actually reversible and refers to the design meaning of an abstract shape in which the shape changed by the actual changed movement of the shape is obscured in shades.
The meaning is designed as "morning glory", which is abstracted as a symbolic language symbolizing a desire flower that imitates the other's desire "MONSTA X's "Let me be your fantasy-5".
In the abstract conceptual image "morning glory", a shape representing the desires of the other is designed and reproduced as an abstract object as an object of desire (Louis Choi Chul-joo 2022 New York Exhibition morning glory Abstract Poster 26-2-4). The concept of desire image, which is invisible in the mechanical scheme of the perspective visual system, creates a place of shade while being hidden in reversible light, and abstracts the object of the concept of desire image as a momentary gaze different from the other's desire abstract perspective revealed in the unconscious.
In order to obtain artistry beyond generality, objects abstracted as desire conceptual art form a distorted image expressed through desire revealed in the suppressed unconsciousness of others into a design, create an object of desire conceptual image as a shade of exhibition poster formability with the desire of others as existence, and exist as meaning.
As a meaningful being, the object contains a formative value as an autonomous choice of the other's desire by revealing the object as another being by transforming the object's image into a structure of meaning into a crooked image from the other's desire perspective.
In addition, a small piece as the other's desire hidden in the background of a chicken shows a real abstract space that is reversed through a thought movement that creates an image that actually changes the shape. This is where the other's desire is abstracted and placed in a space where the object can be actually reversible in the meaning of the existence of an abstract object.
Conceptual art of realistic abstraction The realistic structure of art reflects the shape by being distorted by light. What reveals its shape are the outlines and shadows determined by the shadow of light. Realistic abstraction as treacherous conceptual art pays attention to this and embodies realistic concepts. (Choi Chul-joo conceptual art theory on realistic abstraction)
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)
Modern art painting design: Modern art design works that symbolize shape images in semantic structure = Louis Choi Chul-joo Choi, a morning glory outside the window, 151X178cm, acrylic and composite materials on cloth, 2022~2023
The realistic form of the desire concept cartoon "MONSTA X's "Let me be your fantasy" 5" shows a non-realistic form representing the meaning of an abstract landscape form that is hidden by the desires of others who are abstracted. The shape is the intersection with the actual structure selected by the desires of the other, created by abstract shades.
This is a non-realistic realistic structure, a shape that is momentarily abstracted at the intersection where the desire of the other is seen as a gaze, designed as a real figure of the whole and a shade of reversible light.
The image of desire is cut in order to accept the new subject as the gaze. The subject of this cut desire structure is fixed in the shape of representation. The space reflected in the mirror in the painting is another space in the physical space revealed in the shadow of one painting with reversible light, a reality that appears as an 'observation' that cannot be seen from the point of view of the entire scene of the painting. In order to reproduce the reality seen through such a gaze, the artist uses a mirror as a material in the painting.
Only the concept cartoon of desire that cannot be expressed on the same plane Structures the virtuality of abstract exhibition posters into conceptual desire, similar to the gaze image that virtually reproduces the crooked image of "MONSTA X's "Let me be your fantasy" 5", or as if representing the place of reality with cubism as a connection to the image.
Cartoon objects, the concept of desire created by the desire of the other, are concealed without being exposed as objects reflected in the mirror, and the reality of the viewer is absent by looking at another object exposed in the mirror. However, the person who drew the picture replaces the other.
The position revealed by staring at the image of the concept of desire in place of the other is atopia, which is the position of the subject that appeared at the vanishing point in the entire virtual image.
Therefore, it is the object, or reality, that the subject of the subject reveals as a gaze from the other's desire point of view.
Therefore, the abstraction of contemporary art pop art <morning glory p26-2-4> abstracts the concept of real and non-real images in the same space. In cubism that conceptualizes the subject, trying to reveal physical reality as a pop-art space makes the object 'look at' as a realistic reality. And realistic reality appears in a clear physical structure. Its structural physicality has several cross-sections in a three-dimensional form and captures the multifaceted conceptuality of a morphological structure with one cross-section and two sides in a conceptual painting as an object in one concept. / Writing. Modern Art Critic Choi Chul-joo (Modern Art Designer & Ph.D. in Cultural Design)
Choi Chul-joo, a contemporary art critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 30
Contemporary Art Critic Louis Choi Chul-joo Criticism [30] 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: Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today Choi Chul-joo's Contemporary artwork criticism and Modern Art Criticism [10] 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: Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Contemporary art review & artist artwork criticism :
A cat painting in a spring garden, The story is an object tailored to the Japanese garden, resulting in a picture of a cat on a yellow background as a spring.
By transferring the image of spring to a yellow semantic structure, the cat in the Japanese garden hides the misunderstanding of the abstract non-structure of spring as an infinitesimal of invisible pictorial aesthetic emotions hidden in yellow with the literary nature of cats and Japanese gardens as artistic headings.
Tomiko Kikuzawa, A cat painting in a spring garden, Image Source: Facebook
A compositional abstraction that hides the misunderstanding of the abstract non-structure by metaphorizing the concrete image of the concept and the abstract non-structure into the structure of the abstract that has been transferred to the symbolism of the object: Japanese painting that conceals abstraction, "A cat painting in a spring garden.“
Compositional abstraction in which the structure of the external image does not exist is a compositional shape with a background area limited to the environment of the object. The shape seems to have a compositional meaning in the place of the object in one color to hide abstract perception.
In Japan, cats wash their face like a family facing customers and face people like a family.
The brown, black and white tricolor cat says it blocks the waves, giving the ship good luck to sail safely.
The tricolored cat that hides its luck sees flowers in the garden without waiting for a customer.
Tomiko Kikuzawa learns the realization of the landscape from repeated encounters with cats in a guestless garden. She leaves his cat in the garden and blooms. This is a combination of flowers and trees that are related to the object, forming the shape of a Japanese garden.
The landscape fills the margins left by cats, rocks, and trees with ocher-colored margins. And the margins are ocher-colored, which makes up the relationship between gardens and objects that do not distinguish between the sky and the ground.
However, there is no structure in the form of external images. Therefore, she tries to space the semantic structure of the garden by breaking the boundaries of the shape with the same color as the object.
She recognizes objects set in the background of the sky and the ground, which are spaces in the garden that became the subject of the object.
It targets bamboo, camellia, ferns, etc., symbolizing the Japanese garden, and structures the object as an aesthetic object of a Japanese garden. In other words, the phenomenon of forests is universally approved for the aesthetic structure that is actually standardized behind Japanese flowers and trees in garden forms different from the image format.
The sky and the ground, which are the background structures, were recognized as the same ocher color, so that the objects symbolizing the Japanese garden did not response each other's shape, and they were recognized as actual shapes so that each shape could be distinguished.
The imaginary "Picture of a Cat in a Spring Garden" in a shape modeled after the object hides the abstraction that pulls the concept of the object in the garden.
She limits the shadow of the object to its area in the garden, creating a realistic abstraction of the sky and the ground missing in the background like a collage.
As for the form, the garden and the viewer face a limited area, and the meaningful form is identified with the garden, and the <Spring Garden Cat Painting> is captured in eyes.
She makes up the place of the garden where the object shade is visible in the garden of a non-substantial space separated from the light.
The symbolic color of red clay is displayed on the back, and the cat is located in front of the bamboo, so the yellow camellia flowers are displaced between several leaves and ferns create harmony.
In addition, the margins of the sky and land that do not receive sunlight are drawn in ocher color, and the object separated from the cat becomes a garden as one unity.
The cat in front of the garden is a medium that connects objects separated from the garden with another visual sign.
A rock receives the same light as an awkward object that erases the sky and the ground, so that it stays in the garden in the same light, just like awkward objects that erases the sky and the ground.
In this way, "The Cat Picture in the Spring Garden" is made into a visual garden symbol tailored to the spatiality one by one in the separate time of the objects of the garden.
The <Picture of Cat in Spring Garden> limits the garden landscape to a reduced shape and form, and a cat with a rock on the back like a small shaded piece contrasts with flowers and vegetation.
This is a metaphorical garden with the same color tone as the meaning between limited objects so that the imaginary perception of the Japanese garden cannot be misunderstood.
In this way, she leads an abstract story with the perspective of the garden so that the entire non-structural form can be distinguished with one symbolic color.+
As a concrete image of the concept of a garden and abstract non-structure, a cat who plays spring realistically appears as a metaphorical element, showing the image of the garden and the narrative structure of spring times.
The color of the space is yellow, which exudes a Confucian atmosphere tailored to the sky and earth of black and yellow. The color abstracts the unstructured spring, and in the space, the cat looks at the spring flowers while giving off the warmth of the garden.
In order to distinguish the overall atypical form into a single symbolic color, it leads to an abstract story along with an image of the garden.
The story is an object tailored to the Japanese garden, resulting in a picture of a cat on a yellow background as a spring.
By transferring the image of spring to a yellow semantic structure, the cat in the Japanese garden hides the misunderstanding of the abstract non-structure of spring as an infinitesimal of invisible pictorial aesthetic emotions hidden in yellow with the literary nature of cats and Japanese gardens as artistic headings. /Writing. Choi Chul-joo (Doctor of Cultural Design), an art critic
Choi Chul-joo, an art critic