Art Critic Louis C [5]: 31~35

Contemporary Art Review by Louis Choi 5

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 [5] 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. Contemporary artworks review: Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism [19] Example of contemporary artwork: Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art Review : Pop Art Cartoon Abstract Painting & Contemporary art examples : Contemporary Abstract Art Artist Louis Choi Chul-joo's "morning glory" Art Review:Review of Koren Contemporary Artist Louis Choi Chul-joo's Art Works = Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction exhibition Thread 'Morning Glory' Aaction painting & Thread Painting Exhibition, 20.-22. Dec. 2021 Gwangan Gallery in Busan.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Louis Choi Chuljoo, morning glory at night before the storm

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.

As a background of culture, shape abstracts the concept of a realistic structure and determines its shape by reversible shading of light, but the background where the shape disappeared as the whole was covered according to the shape time is summarized as contemporary light.

Therefore, Louis Choi Chul-joo's <morning glory>, which replaces the current painting space in a certain culture, is set in the background, and the structure of realistic desire is summarized as abstraction with the same reversible light shadow as the others desired shape time.

Thread 'Morning Glory' Aaction painting, 20.-22. Dec. 2021, Gwangan Gallery in Busan.

Thread 'Morning Glory B-00-2-1'

Descriptionless threads of the atmosphere materialize in painting. In the process of producing the image of the concept of desire reproduced by painting, the form drawn by the other's gaze is thread painting "morning glory B-00-2-1".

<morning glory B-00-2> is an image as a result of art activities that repeatedly draw images of desire manually in the shape of a cloth with a reversible shade of light that reflects this thread painting <morning glory B-00-2> as a painting process. In other words, Choi Chul-joo's Thread Painting <morning glory> performance, which depicts a shape shaded in a threaded cloth and a small hole in the cloth as reflective light, in several montage images according to the image and timeliness of the concept of desire, performed Aaction painting at Gwangan Gallery on December 22, 2021, during the exhibition of <morning glory>.

Thread 'Morning Glory B-00-2-2 = a picture of Morning Glory B-00-2-1 with thread processing and coloring

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

This goes beyond the literary nature of conceptual art, which is based on desire's art theory, and forms the structure of thread painting as a new form by transferring formality as a painting to an image of the color of light and drawing the color.

It is a picture that repeatedly reconstructs the shape of the color as a shape structure of a line so that the structure of the color can be put in a thread to cover the color and match each other with a specific color.

Therefore, it is a painting painted on the structure of fabric and thread that pursues a single morphological aesthetics as the artistry of conceptual art of "thread painting" with added structure of thread.

Thread painting <morning glory B-00-2-2> is an image of an object of desire created by a custom learned by a toddler who appears as a concept of desire transferred to a chick, drawn on cloth-like materials.

Louis Choi Chuljoo, morning glory 2022-c (Morning Glory B-00-2-2-back), 135X156cm, acrylic and composite materials on cloth

The <morning glory B-00-2-2> is drawn by constructing a shape that looks like an object like a desire image in a fabric-like material to create an image that is reversed front and back. So his painting is a two-sided painting that doesn't distinguish the front from the back. Here, a new picture emerges when the image on the back is converted to the front. This is a thread painting showing shades of desire objects with reversible light that omits the volume of the chicken and rejects the image shape of the desire, which replaces the reality that rejects perspective description.

<morning glory 2022-c>, the back of <morning glory B-00-2-2>, is a painting that has actually been converted as a system of signs in semantic representation. The painting reduces the planar two-dimensionality of <morning glory B-00-2-2> to the essence of meaning. This is a dual object that shows everyday livestock and a family in a symbolic sense at the same time through chickens and chicks. The shape of the picture emerges from the thread painting in which the image is installed, the aesthetic meaning of the concept in the visual system.

This is a painterly act, and perspective defines the object as a limited area, drawing the original space on a distorted canvas to produce the actual meaning of thread painting.

Louis Chul-joo Choi, morning glory-2020-l-0, 148X175cm, acrylic and composite materials on cloth, 2021

<morning glory 2021-l> is a picture drawn by creating a shaded image with reversible light on top of thread painting <morning glory 2020-l>.

Louis Choi Chuljoo, morning glory-2021-l, 148X175cm, acrylic and composite materials on cloth, 2021

It represents an image of a superficial surface that matches the actual shape and the imaginary gaze with the theme of Choi Chul-joo's desire art theory of the concept of desire. Here, drawing a chicken as an object of change in customs is another image that appears to be an object, revealing the infant existence of a chick.

This is an object drawn as a small piece invisible in space, concealing the desire of the other as a chicken and disappearing in the shadow of the background.

Louis Choi Chuljoo, morning glory-2021-l-back, 148X175cm, acrylic and composite materials on cloth, 2021

The small piece as the other's desire hidden in the background of the chicken shows real space as a reversible shade of light in Thread Painting <morning glory-2021-l> which is the back of <morning glory-2021-l> through the thought movement of the image that actually changes the shape <morning glory-2021-l>.

This refers to the meaning of a shape, and the small object defines a space that can be actually reversible and refers to the meaning of a shape that is obscured by the actual changed movement of the shape.

It positions the image in materials such as cloth and determines the position of the object as the inevitability of the impressive space where chickens and chicks exist, as the color of the exposed shape and light.

Thread 'Morning Glory' Aaction painting & Thread Painting Exhibition, 20.-22. Dec. 2021 Gwangan Gallery in Busan.

Louis Choi Chuljoo’s thread painting: morning glory 2022-c-back, 135X156cm, acrylic and composite materials on cloth, 2022

Like Cezanne's landscape painting, the color of light reflected in a concise form in which the background, sky light, and color coincide is an imitation of the form of pictorial sky light with the entire space as a space and the color of sky light.

<morning glory 2022-c-back> is different from Cezanne's painting. It is a picture that harmoniously expresses the imitative shape of the non-real material by dividing the color of the light staring at the sky and the color reflected on the object into the shade of reversible light.

The <morning glory 2022-c-back> is drawn by creating an inverted image of the left and right by constructing a shape with an object visible like a lacan style image on a material such as a cloth. So painting is a two-sided painting that doesn't distinguish the front from the back.

Here, when the image on the back is converted to the front, a new picture appears. This is a thread painting that shows the shading of the object ɑ with reversible light that rejects the center of Simulacre(幻影)'s image, which omits the volume of the chicken and replaces the reality that rejects the perspective description.

<morning glory 2022-c-back>, the back of <morning glory 2022-c>, is a painting that has actually been converted into a system of signs on a semantic representation. The painting reduces the planar two-dimensional nature of <morning glory 2022-c> to the essence of meaning. This is a dual object that simultaneously shows livestock in everyday life and a family in a symbolic sense through chickens and chicks. The shape of the picture emerges as an aesthetic meaning that depicts the concept in the visual system in thread painting in which the image is installed.

This is a pictorial act, and perspectively defines the object as a limited area, distorts the actual space with reversible light shades, and draws it on the canvas to produce a meaning that actualizes the back of thread painting.

Louis Chul-joo Choi, morning glory-2021-l-back, 148X175cm, acrylic and composite materials on cloth, 2021

The object to which Lacan's art theory is applied is Louis Chul-joo Choi's morning glory. The object's real is hidden in the margins of the non-real space, depending on the time.

In this way, the reality of the morning glory as a lacan's object becomes the blank space of the non-real space according to the change in time. The trumpet flowers painted there match the image of the light of the space as the target, and the target is set according to the inevitability of the symmetrical unreal space reflected in the mirror, equating the symmetrical real space with the non-real place. This is the space of the image tailored to the object. It is a space of fabric that repeatedly connects one gap and blank, and one picture structure overlaps the color drawn on the fabric with several blanks, square threads.

The image depends on the color and shape determined by the place of the object.

Therefore, the meaning of the image as an object in <morning glory-2021-l-back> made of thread painting is the color of its meaning, and the reality of the customs universality facing the object is decorated with the color of light.

The dark space in contrast to this decorated light is a shadow created by staying in one place. The object that exists here has a cross-sectional shape that has changed its shape due to the appearance of a staring color and familiarity with customs.

The meaning of <morning glory-2021-l-back> is an aesthetic structure in which the shape of a realized object stopped in a daily place is shaped into the color of light, and the color of the margin created by reflection of light that is difficult to distinguish is repeatedly drawn on a fabric-like material.

Here, when enlightened by custom or in a place, painting unravels the value of reality as a reversible shade of light and the desire of the others in the shape of color.

However, since the material hidden in the margins of the objects in the painting cannot reproduce its timeliness, it is tailored to the color suitable for the objects of the period.

And <morning glory-2021-l-back> which sets the outline of the form on a cloth-like thread as lighting color with the desire of the other in contrast to his own color, captures the inevitability of the past space and the familiarity of the custom.

Louis Chul-joo Choi, morning glory 2021-i-back, 113X168cm, acrylic and composite materials on cloth, 2021

"morning glory 2021-i-back" is thread painting in the form of a teaching fabric in which the back is illuminated by manually drawing an image of a misarranged image made from an anamorphosis image of a morning glory.

In other words, it is a shape in which the position of non-realistic painting with reflected light is expanded to the anamorphosis image in a shape of a cloth shaded in a thread and a small hole in the fabric.

The meaning of the shape is decorated with the color of the spatial light of the fabric entangled in a grid of the real of the customary universality facing the morning glory.

The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place.

Here, as a real object, color is a visual image familiar with the custom of sight.

The meaning is a symbolic language that symbolizes the imitated flower.

Here, the morning glory is a sculpture of Lacan's object ɑ, the meaning of hidden aesthetic structure, as a symbol of space rather than reality by the meaning of Lacan.

Realization triggered by naturalism is a computer-made virtual image that is easy to create, duplicate, and convert, creating an unrealistic image without an original.

This is a computer technology that is not related to works of art, so it is different from works of art using the other's desire perspective as a medium.

However, computer-mediated media art makes other virtual images into real images, but also has artistry as a replica of the original virtual image.

Therefore, the way to effectively promote works of art is to use media art, and the technical expression of media art is also artistic.

This is an example of expressing the medium of art as a media art with contemporary media technology.

The difference between art and non-art is distinguished according to the existence of object ɑ as a real formed from the perspective of the desire of the other in a hypothetical shape as a real thing and a virtual shape as a non-existence.

Therefore, it is difficult to reveal the object ɑ in a virtual shape as a non-existence without the original. The condition of a work of art is that the meaning of the hidden aesthetic structure that exists as the original is an object ɑ.

A realistic picture forms a formative structure, but when it is the same form that does not distinguish between the original and the reproduction, it is not a meaningful composition.

This is because its formability can form an image or reform it into the same form through a realistic structure.

Therefore, the anamorphosis image of the desire of the other person who is difficult to replicate is the meaning object ɑ of the concealed aesthetic structure as an existence.

Here, the anamorphosis image is an objectɑ as another real image separated from the real image, although it is not real as an image of the whole.

An image formed as a virtual object by reproducing an object in a painting is a virtual image that conceals reality.

The virtual image is viewed as a virtual image by being recognized as a plane.

Here, by revealing the object ɑ as a being through the Lacan art theory system, the virtual image becomes real.

Lacan's Object ɑ is hidden in the geometric schematic of perspective that reproduces objects and is momentarily revealed by the desires revealed in the unconscious.

The object ɑ form an anamorphosis image expressed through the desire revealed in the repressed unconsciousness of others with a design to obtain artistry beyond generality, and create the real of the object ɑ to reveal artistry.

The artistry here reveals the object ɑ as another being of the object by transforming the image of the object into an anamorphosis image from the perspective of the other's desire.

And the meaning object ɑ, which has become a concealed aesthetic structure as an existence, acquires artistic meaning with creativity and autonomy.

<morning glory 2021-i-back> depicts an image created by a metamorphic image of a morning glory, and the form of a cloth-shaped painting consisting of a grid pattern with a back image reflected is an image that depicts the desire of the others as a reversible shade of light.

In other words, it is a shape in which the position of non-real painting with reflected light is expanded to an anamorphosis image of a grid hole in which the back is illuminated is thread painting. The meaning of the form is another person's desire decorated with the color of spatial light with thread painting of the real of universality in the customs facing the morning glory. The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place. Here, as a real object being, the color is an image on one side familiar with the custom seen as a gaze. The meaning is a symbolic language that symbolizes the imitated flower. The flower image is a sculpture of the hidden aesthetic structure meaning object ɑ a symbolized being in non-real space as a result of the lacan's meaning.

Object ɑ is an object revealed in Lacan's art theory as a 'gazing' from the perspective of desire and rational thinking from a perspective.

Therefore, the object ɑ as a gaze was revealed as a dot of light in the eyes of the other as the subject.

This is an image that overlaps with the perspective visual system but is momentarily revealed from a desire perspective in an oppressed unconsciousness.

The eyes on the picture see an object drawn on the canvas, but the eyes is like a subject staring at it.

The gaze determines what is seen and what is not seen in a small hole on the screen, such as a cloth, in space, the reflected light determines the image that is shifted according to the coincidence or inconsistency with the gaze.

Therefore, Object ɑ means a concealed aesthetic structure as an entity revealed in the lustful gaze system, not a non-real image in the perspective visual system.

Louis Chul-joo Choi, morning glory 2021-e-back, 114X169cm, acrylic and composite materials on cloth, 2021

The emergence of linguistic meanings unconsciously in reversible temporality creates an image of the other's inconsistent desire as the place of <morning glory 2021-e-back> and develops it in a consistent sense.

This shows the meaning of Lacan's unconscious language, which repeatedly indicates that there is no unstable element, and draws an inconsistent image of a "morning glory" representing an incomplete phenomenon representing the unconscious language, like the desire shown by the other's conscious movement.

The structuring of "morning glory" as thread painting is an object that implicitly relies on the existence of a structure, that is, the temporality of a momentary coincidence, at a predetermined object.

The image of the object is structured as a shape of the thread, and the image drawn on the connected fabric is expanded into the shade of light to expand the planar shape of the morning glory in the fabric.

Therefore, the structuring of thread painting is the place of morning glory that depend on the existence of an implicit structure in the designated place of the morning glory, that is, the coincidence of momentary temporality.

The position creates an image of a morning glory in the sky and overlaps the image of the overlapping fabric to expand into a reversible shade of light. And the image describes the atmosphere that has changed to flat morning glory and temporality.

By illuminating the position in several directions, the existing shape of the past time is returned to the unconscious shape, and the images reversible to the real shape cannot be overlapped according to one time, but are overlapped in an integrated meaning.

However, the shape does not appear to be meaningful, and the image background is settled in several shades that are momentarily reversible.

This is a different image in which the position of temporality, that is, the image of the sky, appears to be a stimulus of light set in time at one moment of time, just as clouds, rain, and eyes appear.

The image is the place of infinite and continuous existence that light has achieved over time.

The momentary shape in which abstract phenomena coexist as images with form and meaning is a reversible visual structure. When an painter draws, it is the temporal logic of the image that obtains semantic recognition of the image.

Therefore, the structure of the visual reversible reaction is a momentary image according to the visual reversible reaction in the shape of a morning glory, and a misaligned image in which the morning glory is temporarily obscured by shadow or light or coexists in its original position is the meaning of a momentary image.

The image is a view of another person's desire on a cloth at the moment when the shadowy shape of everyday life intersects the morning glory of the past time.

The structure of the branches and leaves of the trumpet flower shows the meaning in harmony with the trumpet flower that matches the appropriate shade corresponding to the light. It's meaning shows the positional structure of the morning glory exposed to bright light in a symbolic shape according to the shadow light.

Therefore, a morning glory painting is an image method that reveals the morning glory that unconsciously exists in the place of the morning glory. The more you repeat the shading image of the reversible light, the more abstract the morning glory image becomes.

In other words, the more reversible light is repeated over time, the less the area of light is expressed by overlapping the shade of the staring morning glory.

The meaning of the morning glory, which repeatedly combines pieces of distorted morning glory image, represents a symbolic shadow in which the other person's desire is specified.

Here, meaning is a language that symbolizes the conceptual image of a morning glory and a flower that mimics an object that always exists.

Therefore, the morphological language created by the shading of reversible light called 'morning glory' adorns the reality of the customary universality that objects face with the color of reversible light.

In contrast to the structure decorated with reversible light, the dark space is the desire shadow of the others person created while staying in one place.

Louis Chul-joo_Choi, morning glory 2021-h-back, 131X167cm, acrylic and composite materials on cloth, 2021

In "morning glory 2021-h-back" actual morning glory, cats, fish colors, and shadows coincide with conventional images. The "morning glory 2021-h-back" is a word that symbolizes the other person's desire by imitating the other person's desire hidden on the back of "morning glory 2021-h" where the cat's movement has stopped.

As that "morning glory 2021-h-back", the cats image is a sculpture of meaning symbolized in non-real space as a lacan's word of meaning generated by visual reversible reaction in its place.

This is because the color of the shade caused by reversible light on the overlapping fabric determines the position of the cat and morning glory, and over time, the distorted desires of the other overlap and develop into an image of fabric.

This is a visible phenomenon, and the morning glory produced by the others desire appears in reality that does not match reversible light, and the shape of the morning glory separated from the desire overlaps with the intersecting thread to form a space in front of the reality.

/ Writing. Art critic Louis Chul-joo Choi (Modern Painter & Doctor of Cultural Design)

Contemporary Art Critic Louis Choi Chul-joo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 31

Art Critic Louis Choi Chul-joo Criticism [31] 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 Art Criticism, Contemporary Abstract Art Painter Criticism [14] Abstract contemporary art that designed modern art abstract painting & Abstract painter Louis Choi Chuljoo Abstract art work: 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 window 2024-3-cave painting>: "morning glory" materializes the desire of the charater as a reversible shade of light in media art and painting without description of the atmosphere. Here, according to the identity of the theory(機械論的唯物論), abstraction that identifies with a substantive image is modified by conceptualizing the desire of others.

The abstraction mode, like a computer game, abstracts the desires of others into reversible shades of light by overlapping the events and performance images of news cartoons with <morning glory>, the background of abstraction.

"morning glory" materializes the desire of the charater as a reversible shade of light in media art and painting without description of the atmosphere. Here, according to the identity of the theory(機械論的唯物論), abstraction that identifies with a substantive image is modified by conceptualizing the desire of others.

The abstraction mode, like a computer game, abstracts the desires of others into reversible shades of light by overlapping the events and performance images of news cartoons with <morning glory>, the background of abstraction.

The shading effect of reversible light forms a shading structure in the form of reflected light from a small hole in the drilled fabric where the back side is illuminated. The structure is drawn by thread painting.

Louis Chul-joo Choi, morning glory window 2024-3-cave painting, 180X318cm, acrylic and composite materials on cloth, 2024

Louis Choi Chul-joo's "morning glory window 2024-3-cave painting" 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 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 2024-3-cave painting, 180X318cm, acrylic and composite materials on cloth, 2024

<morning glory window 2024-3-cave painting> 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 2024-3-cave painting> that symbolizes the exhibition poster image of the abstract painting as a desire semantic structure.

The object <morning glory window 2024-3-cave painting>, 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 2024-3-cave painting> 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 2024-3-cave painting> 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 2024-3-cave painting>, 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.

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 like a mural in an abstract cave where the image of the concept of desire develops at small intervals in the shadow of reversible light that exists momentarily, just as a chicken in the past, which became a fossil reflected in the background of the concept of desire, becomes the desire of others and embodies the surface of an unrealistic sky such as clouds.

In this way, <morning glory window 2024-3-cave painting>, which is fragmented into the desires of others in modern visual culture, is abstracted into a structure of desire in a realistic structure, and the fragmented cave painting image of the concept of desire overlaps with <morning glory window 2024-3-cave painting> as an impressive cross-section of the city.

And the small piece as the desire of the other hidden in the background of the cave painting shows a real abstract space that is reversible through the movement of the concept of symbolic desire in a shape that actually changes it.

This refers to the meaning of an abstract object, and in a cave painting, the object is designed as an abstract space that can actually be reversible, so the substance of the shape is abstracted into the desire of the other / Writing. Art critic Choi Chul-joo (Contemporary artist & Doctor of Cultural Design)

Art Critic Louis Choi Chul-joo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 32

Art Critic Louis Choi Chul-joo Criticism [32] 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 Art Criticism, Contemporary Abstract Art Painter Criticism & Abstract contemporary art that designed modern art abstract painting: 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 window 2024-5-MonaLisa>:

Unlike the conceptual art of Dadaism, which transforms the image of the object as meaning, this materializes the object of desire and realizes the subject's desire structure in the shadow of reversible light.

As a reality, the desire structure is the subject, and the Mona Lisa becomes the object of the cause of creating the desire structure as an image symbolized in the morning glory through the relationship of symbolic expression made by the Mona Lisa as a morning glory.

The simultaneous function of the desire structure and the real image reveals the underlying image in which the meaning of the concept is integrated into the desire image as a retroactive effect, and the Mona Lisa, who metaphorized the image, hides in the desire concept.

As a fundamental image, the Mona Lisa is disclosed as the first concept of desire and reaches a symbolic image as a deliberate abstraction.

Louis Chul-joo Choi, morning glory window 2024-5-MonaLisa, 17.5X24cm, acrylic and composite materials on cloth, 2024

Desire Concept Abstraction / In Choi Chul-joo's concept of desire Abstraction ■ Design Process/ Abstraction Choi Chul-joo's <morning glory>, Choi Chul-joo's abstract art theory is formalized, and the object image of desire is repeatedly converted into meaning in desire. This means expressing the desires of others through pictures by repeatedly applying the desire formula of the imaginary world and Choi Chul-joo, and as a result of applying the desire art theory to the painting, the value of approaching the formal beauty of the desires of others is obtained.

■ Choi Chul-joo's "morning glory" is not the object of the subject, but the spatial background of the other's desire. It is the same as a space of life that is consistent like the sky. It connects with cartoon review and pop art that represent the space of life, but does not criticize and judge, but reproduces reality as cartoon review with photographic images of events and performances. The effect of conceptualizing the reality of the symbol object as the desire of the other is structured in the shade of reversible light to form the concept as a realistic conceptual art.

Desire for others is an abstraction that hides the discrepancy of the chick's imagination in the shadow of reversible light with <morning glory> as the background of desire as the 'Choi Chul-joo's morning glory' through the chick's imagination as a desire.

Concept of Desire Facts Abstract Work: Louis Choi Chul-joo, Morning Window 2024-5-Mona Lisa has expanded the expectation area of desire. By repeatedly applying the concept of imaginary world and desire and Choi's desire formula <D(I'm...I'm)d='(D'I)i> to the image of the object of desire, it realizes formability in the shadow of reversible light to acquire aesthetic value and reveal its meaning. / The meaning of the desired shape hidden by the instantaneous movement of the actual changed shape results in a literal abstraction. In other words, in the instantaneous event and performance image, the realistic shape of the other person's desire is a literal abstraction of the same meaning. Choi Chul-joo's concept of desire, with morning glory, bamboo, and pond as the background of desire, is an abstraction of the meaning of language as letters. After language is fostered, the abstraction creates a conceptual structure based on real letters and hides the desires of others in a reversible shade of light. Choi Chul-joo's concept of desire Abstract Art theory * Choi Chul-joo's Concept of Desire Abstract Art Theory

Louis Chul-joo Choi, morning glory window 2024-5-MonaLisa, 17.5X24cm, acrylic and composite materials on cloth, 2024

morning glory window 2024-5-Mona Lisa

In Renaissance art, which opened up the image of contemporary art, "Mona Lisa" refers to the aesthetic desire that spread from aristocrats to merchants. This is where the desire of the other to monopolize the artistic value of contemporary art is established.

The concept of desire is humanism, which deviates from religious creativity.

"Morning glory Window Mona Lisa" abstracts the mysterious image saved by Da Vinci's sfumato technique as the outline of reality as an image beyond the mysterious atmospheric effect of the color of the morning glory, which is the background of desire.

Abstraction is established as an aesthetic effect of safe desire with two morning glory on the face of the Mona Lisa and two morning glory on the left.

From the letters, the image of desire mediated by morning glory and Mona Lisa is repeated, showing an abstract reverberation effect in the shadow of reversible light.

As a reverberation effect, blue and black tree trunks were properly placed behind the morning glory so that the gaze could lead from the morning glory to the Mona Lisa, the background of desire, and the gaze was focused on the morning glory and connected to the face of the Mona Lisa as the subject of desire.

And by creating a position facing the Mona Lisa in the morning glory, the gaze is directed to the Mona Lisa, the subject of desire.

The metaphor for the concept of desire The Mona Lisa is replaced with a desire image in the morning glory, and the morning glory is demarcated into the background of desire. Here, the gaze of desire focuses on the Mona Lisa with a red window structured into a frame.

As a Renaissance thinking, it has a desired meaning with the object of desire, <morning glory> as an allegory. The "morning glory" is an abstraction that shows the real world of desire as a subject by linking the image of desire with a sensus allegoricus that explains other meanings beyond the literal meaning, and the morning glory window interprets the demarcation problem between objects and desires as a symbolic metaphor in the meaning of the text.

Unlike the conceptual art of Dadaism, which transforms the image of the object as meaning, this materializes the object of desire and realizes the subject's desire structure in the shadow of reversible light.

As a reality, the desire structure is the subject, and the Mona Lisa becomes the object of the cause of creating the desire structure as an image symbolized in the morning glory through the relationship of symbolic expression made by the Mona Lisa as a morning glory.

The simultaneous function of the desire structure and the real image reveals the underlying image in which the meaning of the concept is integrated into the desire image as a retroactive effect, and the Mona Lisa, who metaphorized the image, hides in the desire concept.

As a fundamental image, the Mona Lisa is disclosed as the first concept of desire and reaches a symbolic image as a deliberate abstraction. / 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 33

Art Critic Louis Choi Chul-joo Criticism [33] 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 Art Criticism, Contemporary Abstract Art Painter Criticism & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others <morning glory window 2024-6-the gaze>; the shape hovers in the background of the image with several shades that are instantly reversible without being seen as meaningful. This is an image in which the position of temporality, that is, the image of the sky, appears as a fixed stimulus of light at one moment in time, just as clouds, rain, and snow appear. This is the existential position of the object that the light is viewed through an infinite and continuous gaze made up of the passage of temporality.

Louis Chul-joo Choi, morning glory window 2024-7-the gaze, 222X218cm, acrylic and composite materials on cloth, 2024

Morning glory window 2024- 6-the gaze

From an abstract point of view, the perspective of painting looks at the abstract concept of space as a partial representation in the phenomenal image.

Here, the gaze of the "Morning glory window" attempts to induce a real image by juxtaposing a conceptual object as a phenomenal image in an abstract space beyond reality.

Here, the gaze of the 'morning glory window' attempts to induce reality by juxtaposing it as a phenomenal image as a subject in an abstract space beyond reality.

Abstraction integrates reality and abstraction into images of desire, limiting the abstraction of desire as a realistic object to the same range of gaze as reality.

This is a perspective that connects reality and abstraction to the object of the same image.

The gaze identifies the object that is actually immobile as the subject by drawing it as abstract mobility and staring. In other words, the object of reality is transferred to the object of perspective abstraction in the same form as the object as the abstract mobility of the gaze.

The object here refers to the existence of an object representing the subject, but it is not an object of a different concept like Dada's Readymade. This is an image of reality that is abstracted as a concept of desire.

The image is similar to the concept of surrealism that synthesizes from the linguistic unconscious into an image, but it is real as the same image as the object of "morning glory".

In <morning glory window 2024-6-the gaze>, morning glory is an object that acquires the status of desire.

It consists of the concept of reality and desire, and the concept of desire with the viewer as a picture image follows linguistic dependence. In other words, as the relationship between reality and the concept of desire, the image is determined by the dependence of the concept of linguistic desire.

This is a realistic object with a linguistic concept as involuntary abstraction, imaging the desires of others.

The gaze, perceived as an abstract desire perspective, makes us stare at the abstraction of a flat structure that sees light as a desire structure and the abstraction of a desire perspective that uses reality as a partial plane. An image is an abstraction of the concept of desire as an abstracted entity from the concept of verbal desire, and an abstraction that makes the partial image of reality, "morning glory window 2024-6-the gaze," meaning a real image in a flat part. This is the process of abstracting the concept of desire art applied in Choi Chul-joo's desire formula.

The imaginary desire structure creates an abstract space with the gaze of desire and equates the abstraction of non-real with a flat structure, so the reality expands the linear structure and converts the reality into an image.

The idea of staring at the concept of desire that occurs momentarily in reality as a real image is limited to a state of abstraction.

Therefore, <morning glory window 2024-6-the gaze> is a concept of desire and is accepted as the same image without the consent of reality and abstraction.

In this way, the concept of desire is expressed as a real image, and the concept is embodied as an antinomical aesthetic structure that identifies with abstraction. In other words, Choi Chul-joo's abstraction of the concept of desire, which abstracts the concept of desire into a real image, is conceptualized as an antinomical abstraction by identifying a concept in which reality and abstract are incompatible with each other as a real image.

This is seen as an image as a gaze that juxtaposes the concept of linguistic desire with an antinomical concept and reality.

Here, Choi Chul-joo's antinomical concept of desire, which abstracts an object that refers to a concept into a real image of the concept, refers to the abstraction of a real image that is desire.

As a contradictory abstraction, abstraction, which is a linguistic concept of desire with desire as the subject, is a new abstraction <morning glory window 2024-6-the gaze> of contemporary art that develops abstract objects into real images with Choi Chul-joo's concept of desire abstract art movement.

The position fixed by abstraction repeats the morning glory design, juxtaposing the reality from unconscious desire as the subject of divided abstraction.

The morning glory does not compare abstractions because reality is divided, but as one reality is replaced by the concept of desire, the original reality is abstracted and seems to be juxtaposed with the abstract concept to the viewer.

Here, "morning glory", created by a reversible shade of light, shares its space as an image. Another installation image overlapping with chairs is an object. Assuming that the pictorial installation image of desire is a non-reproducive image, reality exists as a real image in the entire virtual Yeomyeong Hall Gym image that abstractly reproduces reality.

The object of desire clearly reveals the physical structure, especially by eliminating volume and shadow from the morphological structure. This is an analysis of an object as an invisible 'gaze', and the form of visual representation is viewed as the form of cognitive representation from different points of view.

The object as an anamorphosis image in Picasso's painting is a crooked image that looks like an object of Choi Chul-joo's concept of desire. This is an object of desire and goes beyond the dimension of the non-realistic visual image of painting.

The image is an image created in the shadow of light on a multi-faceted object in a form revealed from the line. It has temporality and existence as composed at the instantaneous point of time. This is because it is an image created by the desire of others in a system of composition of desires in a gaze area regardless of whether it is flat or stereoscopic.

There is no perspective density and sense formed at a single light source point of view by choosing a shaded image of light in which the desires of the other are integrated by light lines. Here, the object refers to that partial images, such as abstract collage, exist in space in the form of being revealed by gaze at the same time.

However, the shape hovers in the background of the image with several shades that are instantly reversible without being seen as meaningful. This is an image in which the position of temporality, that is, the image of the sky, appears as a fixed stimulus of light at one moment in time, just as clouds, rain, and snow appear. This is the existential position of the object that the light is viewed through an infinite and continuous gaze made up of the passage of temporality.

It is a reversible visual structure in which abstract phenomena in which spheres coexist exist. It is a structure of temporal desire for the image that obtains semantic desire recognition of the image when the artist paints.

The object viewed through the gaze of desire is a reversible visual structure that exists as an abstract real image in which spheres coexist. It is a structure of temporal desire for an image that acquires a semantic desire perception for an image when the artist draws a picture.

Therefore, the visual reversible reaction is an image structure in which the visual reversible reaction of morning glory and the actual structure of the moment according to its place are overlapped with various colors by an artist with the gaze of desire, turning black or obscuring light.

The image of the structure is a landscape of desire created by the image of the desire of others, and it is seen as a gaze when the shadowy shape of everyday life is located at the moment of intersection with the 'morning glory' of the past time.

The dark blank space contrasting with the light of this decorated shape is a shadow created in the landscape where the gaze of desire stays. Here, as a real object being, color is a single-phase image of a refined custom stared at with the gaze.

The visible image of the gaze is a symbolic language that means an imitated flower, and the image installation art ' morning glory' is a hidden aesthetic structure that conceals the gaze of others symbolized in an unrealistic space as a result of the meaning of desire. And it is stared at as a piece of an object as the meaning of the concept of desire.

Desire As a visual culture viewed from the conceptual point of view, the gaze area in which a concrete effect occurs is an image that can momentarily see the desires of others who function to capture the attention in the landscape. As that image, "morning glory" is a visual idea that recognizes and applies what is not in reality in Choi Cheol-joo's formula of desire. The idea is a real image that depicts the unconscious and language in the same form.

The "morning glory" shown here is a structure that sees an object flattened in one color through the gaze of desire. This is the flatness of the sculptural structure transmitted by reversible light, and the image of morning glory seems to be abstractly consistent. And morning glory is the same as the reflected reality, but the shape of the background is not the same as the reality.

As an attempt at desire painting, <morning glory> refers to a bizarre gaze pattern in which the existence of an object in the painting returns the meaning of the painting to one of the repressed aesthetic spaces in which the desire of others is generated as a concrete gaze effect of the meaning of desire by erasing one morning glory stem with light.

This is the artistic meaning of reality and non-realism according to the image of staring at the realm of desire through painting. The visible image that reproduces the object, that is, the pictorial image that expresses the object as a real object, was grasped as an image as a non-realistic. Therefore, the method of staring for finding reality in an object is to reveal the desires of others with a crooked image similar to the object of desire. In other words, it shows the visual meaning of abstraction by waking up from the verbal unconscious and drawing the desires of contemporary others as a gaze image.

The meaning of visual abstraction is a symbolic visible linguistic image symbolizing an imitated flower. Here, the image of the morning glory is symbolized as being in an unrealistic space as a result of the linguistic meaning of desire, and it is a fragment of the abstract language structure as the meaning of the concealed aesthetic structure.

Therefore, "morning glory" is a real painting drawn in linguistic abstraction, and the position of a non-realistic painting extends to an image of desire with light reflected in a small hole in the fabric. The formal meaning of the image abstracts the desire to decorate the reality of traditional universality faced by morning glory into a space of real paintings with reversible light colors.

And in the unconscious desire in which the meaning of the desire is fixed in abstraction, reality divides, and the subject of the desire represents the abstract concept, so abstraction as reality forms a conflict with the realistic image. / Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)

contemporary abstract artist Choi Chul-joo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 34

Art Critic Louis Choi Chul-joo Criticism [34] 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 Art Criticism, Contemporary Abstract Art Painter Criticism & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others <morning glory 2022-c-back>; The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.

And by simplifying the form of confrontation in the painting into a desire landscape, the object is divided into a plane, and the desire to shade a reversible light at the intersection of light and shade is adjusted with color.

Louis’s thread painting: morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth, 2022

<morning glory> painted on a cloth composed of thread

thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.

The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.

The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze.

A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place.

However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space.

Louis, morning glory 2022-c-back, 135X156cm, acrylic and composite materials on cloth, 2022

The meaning of a desire object generates meaning as a thought movement that combines and replaces the effects that emerged from the chain of desire languages.

In other words, after creating an image of a desired object <thread painting: morning glory 2022-c-back>, the design is repeated to create a connection structure between the image and the image drawn with another shade of light, revealing the deficiency structure of the desired object, and allowing desire to appear through semantic action instead of not acting as a lack of meaning, that is, resistance to semantic action.

The image formed by the deficiency is the same as what the infant saw in front of the mirror, and the image of the object and the image of the object identified in the imaginary world are identified internally as the same subject, and the subject forms a transformed image of itself. This <morning glory 2022-c-back> is a phenomenal image, and the shadow of the real object and the desire object brightens or disappears in a reversible shade of light in an empty space.

It is an image that is lacking as an object as an image that is satisfied as a child in the image of an object of reality.

By confirming the structure of the phenomenal reality that does not exist in empty space on the back of the object, the reality of the object is an image of reality reflected in the mirror. In other words, the image of the phenomenal reality may be an image of the image of the reality as a metaphor reflected in the mirror or an image that appears as a virtual shade as another image.

Therefore, in the concept of desire that Choi Chul-joo refers to, the metaphor does not compare an object, but as one image is replaced with another, the original image becomes the meaning of reality. Like Cézanne, a similar form can be seen after revealing a public form rather than an imitative painting attributes an object to a form.

The place where its meaning is fixed becomes a fixed point where desire and reality intersect as a divided subject by repeating the image of desire from unconscious desire to the divided subject.

The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.

And by simplifying the form of confrontation in the painting into a desire landscape, the object is divided into a plane, and the desire to shade a reversible light at the intersection of light and shade is adjusted with color. / Writing. Choi Chul-joo, art critic (abstract painter & doctor of cultural design)

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 35

Art Critic Louis Choi Chul-joo Criticism [35] 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 Art Criticism, Contemporary Abstract Art Painter Criticism & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: <Do you remember me> ; portraits are valuable in the aesthetic structure of a person who sees a person as a philosophical ideal that has stopped in the place of everyday life and a series of semantic figures into paintings.

The portrait must reveal the value of the portrait in the form of meaning revealed by the artist beyond philosophy by the status of the contemporary object.

Work posted on Facebook: Luis Szyfres, <Do you remember me?>

Szyfres' "Do you remember me?"

The portrait of Marilyn Monroe is impressive in Warhol's "Double Marilyn."

It is designed as a screenshot image of a picture, and the paint is poked out on the silk screen, showing a pop-art impression with a commercial painting that is different from the actual one.

Do you remember me? by Luis Szyfres is a painting that highlights Marilyn Monroe's classical style.

The reason why Monroe's paintings(Do you remember me?) are compared to Warhol's works is that Monroe, which he painted, is a neoclassical concept before pop art.

Szyfres' "Do you remember me?" is a portrait of Monroe's neoclassical concept that takes advantage of the effect of light and the balance of form.

However, in "Do you remember me?" there is an impression that reveals the effects of color and color, but it stays in a formative portrait from the artist's point of view and does not objectify the phenomenal image known to Monroe's world. In other words, there is no solitary feeling of Monroe and the immoral impression of a famous movie star painted by Warhol.

Nevertheless, Szyfres virtualized Monroe's paintings in an elegant aesthetic composition in a classical style,

He identifies Monroe's appearance as an object with a part of his face in the color of light and the background, so that the aesthetically virtualized Monroe's substance expresses elegance in an imitated red.

The red color creates multiple overlapping sides, which does not result in the nature of spirituality due to rational deficiency, but becomes a welcoming Monroe shape for empty space.

Therefore, in order to experience the formality that represents the actor's nature in rational portraits, the background of the portrait is eliminated in red and separated from the representational concept.

Here, he identifies Monroe's face and upper body as red with the background color. Red is then overlapped with the image's tailored shaded tone and the background that is monochromated with a thought margin for the reason of the tone.

However, Monroe's lips and background are shared in the same color, so the space-defined background is non-realistic, but he expresses the subtle difference of spatial objects in the imitation of painting in white achromatic colors, making the background virtualized in another non-realistic way.

A portrait whose reality is obscured by white achromatic colors is brightly abstracted in a red depth as a gap in color. This is an elegant constructivism that focuses the attention of Monroe's portrait in an elegant aesthetic sense.

This consists of Monroe's elegant passion as an actor by contrasting the space with the same color as her face so that the space of the object becomes an elegant actor's expression without using symbolic props.

It appears elegant in the virtual reality that forms Monroe and the background as empty space. However, as Monroe's face approaches the photographic appearance, the image moves away from the representation.

When the portrait image is in a space that cannot be clearly determined, that is, an empty space, the image is transferred to the viewer's thought space.

His paintings focus on the subject as the background moves away from the photographic image.

In this way, Szyfres gains the aesthetic value of non-realistic paintings by revealing the difference between the background and the subject in an imitative space in neoclassical painting method, separating the background of a red monotone with only one portrait and screen into a white achromatic elegant light and changing the figurative background of another space that does not exist into abstract colors.

And rather than thinking by borrowing the red of a similar portrait of reality, Monroe's portrait internally forms an abstract meaning by equating the external portrait image and abstract meaning as the same subject when the abstract depicted in the red of the portrait is arranged as an abstract space.

Therefore, the meaning as a portrait becomes a semantic representation of the image away from the photographic appearance when decorating the color of Monroe's actual meaning as an actor with a light that shines on the portrait.

The image decorated in this way is presided over by the representation of Monroe's portrait in contrast to the light of the representation.

This is the space of the background, and the space can be separated from the background only when the color is not the same as Monroe's portrait.

Luis Szyfres' "Do you remember me?" is an actor who is more of a cross-sectional shape of the exterior than the philosophical ideal of Monroe's portrait.

Therefore, portraits are valuable in the aesthetic structure of a person who sees a person as a philosophical ideal that has stopped in the place of everyday life and a series of semantic figures into paintings.

The portrait must reveal the value of the portrait in the form of meaning revealed by the artist beyond philosophy by the status of the contemporary object.

Portraits, which represent philosophical ideals, enjoy semantic phenomena and are formed as existential abstractions. This creates a semantic gap between the same image as the portrait and projects that gap as phenomenal light. And it forms the shape of a being perceived in the contemporary era with a shade of reversible light.

The portrait formed in this way seems to be a universal portrait that conveys a semantic entity to a specific shape in the shadow of existence and reversible light, and matches the aesthetic conditions and traces of meaning required for portrait from a conceptual point of view. / Writing. Art critic Louis Choi Chul-joo (Doctor of Cultural Design)

Art critic Choi Chul-joo