Art Critic Louis C [6]: 36~40
Contemporary Art Review by Louis Choi 6
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 [6/ 36~40] 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. Art Review: Abstract Painting Design Methodology is a new art movement in abstract painting that approaches modern images of an event and performance as desire concept art as realistic abstract painting. & Contemporary Art Movement Now: A New Abstract Methodology for Drawing Abstracts from Uninterpretable Modern Abstracts to Images of Modern Events into Desire Concept [13] Louis Choi Chul-joo's Thread Painting = Desire Designing Modern Art Abstraction Concept Abstraction & Abstraction Artist Louis Choi Chul-joo Abstraction Art Work [13] contemporary abstract art movement examples / The Story of Contemporary Art: Contemporary Art movement Review: Modern Art Works Desireful Concepts Art Abstraction: Louis Choi Chuljoo's 2022 New York Exhibition Poster Abstraction 100/ Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' pop art abstraction Poster design
Louis Choi Chul-joo's 2022 New York Exhibition Poster Abstraction 100
Louis Choi Chuljoo, Connect the road in accordance with your words and actions and look at the morning glory together.
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.
On March 1, 2022, at Flushing Town Hall in New York and at Yeomyeong Hall in New York on March 8, 2022, Louis Choi Chul-joo's "morning glory" exhibition in New York completed 100 posters of New York by visualizing the progress and results of depicting the imagination of other people's desires and objects of existence while facing the artistic notion of desire conceptual art in preparation, and the final abstract work "morning glory 2022 p-100" is displayed in the New York exhibition.
Here, by producing painting and poster abstraction of contemporary art works using the same conceptual art, Louis Choi Chul-joo's solo exhibition works were presented as modern art abstract paintings symbolizing the exhibition image of paintings. In other words, it referred to the concept of posters as modern art abstract painting as immaterial visual effects. This is the same conceptual art abstraction as <morning glory> by visualizing another painting and poster in the place after setting a place for one exhibition space.
A review of contemporary art works <morning glory> on the exhibition of contemporary art poster by contemporary art critic and contemporary artist Louis, 20220301~20220308 Flushing Town Hall, New York.
Painting docent as Lacan conceptual art: Lacan conceptual art faces artistic ideas. It visualizes the phenomenon of progressive phenomenon and results as painting objects of Lacan's an imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 라캉적 도슨트/ 루이 최철주)
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 in which the shape disappeared as the whole is covered according to its shape time is summarized as contemporary light.
(Choi Chul-joo's Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)
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)
Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.
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)
Conceptual art poster related to the 2022 New York <morning glory> Exhibition: morning glory poster 100-4-2
Conceptual art poster related to the 2022 New York <morning glory> Exhibition: morning glory poster 100-5-1
Louis Choi Chul-joo, Conceptual art poster related to the 2022 New York <morning glory> Exhibition: abstraction <morning glory poster 100-6-2> : ■ news cartoon of Choi Chul-joo’s cartoon news/ A hand-painted picture by Choi Chul-joo on a computer & webtoon news cartoon design works by cartoon designer Choi Chul-joo ■ In <Choi Chul-joo's Morning glory>, Lacan's art theory is formalized by connecting images with abstract paintings and converting them into meanings. This means that other people's desires are expressed in paintings by repeatedly applying Lacan's imagination and formula, and as a result of applying Lacan art theory to paintings, other people's desires for abstract formative beauty gain the value to approach. ■ <Choi Chul-joo's Morning glory> is the spatial background of the desires of others, not the subject. It is the same as a space of life as consistent as the sky. It is connected to cartoon review and Pop Art, which represent the space of life but do not criticize and judge, and reproduces reality as news with pictures of events. In addition, the effect of conceptualizing the reality of the symbolized object as the desire of others is structured in the shade of reversible light and exemplified as a realistic abstraction of treacherous conceptual art. ■ Louis Choi Chul-joo's Process, Definition & Shape Meaning of Thread Painting: The process of creating a thread is to design a set presence in a place where paint spreads from a set object, an object that relies on instantaneous agreement, to embroider the image into a thread, to enlarge the place of the cloth by drawing a picture of a combined image or flat shape. The morning glory is the location where the flower blooms, where leaves and stems are formed according to their shape, and where the stem is aligned with the flower as a composition of the flower.
This is realized without an explanation of the atmosphere in media art and painting, where a real picture is created in the process of producing the mechanically reproduced prototype of media art in response to the needs of others. In addition, he said in thread painting, "The structure of the form is a structure of pictorial thread painting in which the formative meaning is retroactive as a series of threads become a formative structure without explaining the object of the thread that formed the shape." The color of the structure gives a distance of time, so that it is regarded as a formative structure of a faded original structure without marking it, showing the aesthetic value hidden as seen.
Louis Choi Chul-joo, Conceptual art poster related to the <morning glory p100>: morning glory poster 100-9-3
Louis Choi Chul-joo, Conceptual art poster related to the <morning glory p100>: morning glory poster 100-10
Louis Choi Chul-joo, Conceptual art poster related to the <morning glory p100>: morning glory poster 100-11
Louis Choi Chul-joo, Conceptual art poster related to the <morning glory p100>: : abstraction <morning glory poster 100-12>
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting < morning glory p100> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory ' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i)
Contemporary art works Media Art<morning glory> on the exhibition of contemporary art poster by contemporary art and contemporary artist Louis Choi Chuljoo, 20220301~20220308 Flushing Town Hall, New York.
Louis Chul-joo Choi, morning glory 2021-k-1, 136X168cm, acrylic and composite materials on cloth, 2021
Modern Art Critic and Conceptual Artist Choi Chul-joo's Modern Conceptual Art is the concept of early conceptual art and is the return of painting. In other words, because it is a conceptual art created by a painting work, his contemporary conceptual art criticizes phenomenal images such as current events and mentions the meaningful value of painting.
This combines the life value of critical perspective and cartoonization with scene photography of events, which goes beyond mathematical and philosophically meaningful linguistic interpretations, and combines the life value of critical perspective and desire with satirical photo image of events. Here, desire abstraction means a conversational personality that can immediately recognize the rational perception of the other person's desire rather than an arbitrary philosophy.
Louis Choi Chul-joo <morning glory> Conceptual Art Abstract Painting in 2022 New York Exhibition: abstraction <morning glory poster 100>
Louis Choi Chul-joo, morning glory-2022 p100, a hand-painted picture on a computer
= Concept of Desire's Art work: abstraction of modern art posters reinterpreting the concept of desire as the background
Shape image as a conceptual semantic structure: An object of desire designed with an image as an object, <morning glory poster 100>, is a real conceptual art image of "morning glory" as a being repeated in the color of reversible light on a non-real conceptual art image.
This means "morning glory" transferred by overlapping as <> in reversible shades on <morning glory 2022-p100>, and it is a desire object drawn as a distorted image of a non-realistic realistic image as reversible light.
* <>: Unknown reversible light shape structure
Contemporary Conceptual Art Abstract Works: Louis Choi Chul-joo 2022 New York Exhibition <morning glory> Poster 100
The shape of the object is abstracted into "morning glory 2022 p100" by overlapping "morning glory 2022 p100" with "morning glory 2021 k-1" as the design concept of the object, which is a semantic structure that applies Choi Chul-joo's abstract art theory. It is abstracted into "morning glory 2022 p100" by overlapping unknown reversible light on "morning glory 2021 k-1" reflected through a mirror that transfers to abstraction as an exhibition poster image of painting.
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 real image.
Like clouds reflected in a building, the image realizes the realistic sky in the same way it actually does with a screen image.
This is the impression of a city in which the image of the concept of desire creates a small gap that exists momentarily in the shadow of reversible light and is developed in that span.
In this way, the image of the concept of desire contains desire in the realistic structure as a fragment of the contemporary visual culture.
Therefore, the concept of desire art abstraction is concealed in the diagram of the perspective visual system, and is momentarily revealed as a gaze from a desire perspective revealed in the unconscious.
This is because it distinguished and abstracted images in which the object of the desire stopped so that it could momentarily stare at the distorted image expressed through the other's suppressed unconscious desire to escape reality and acquire abstraction. / Writing. Art critic Choi Chul-joo (abstract painter & Doctor of Cultural Design)
Louis Choi Chul joo's morning glory 2022 New York exhibition poster: morning glory p99
Louis Choi Chul-joo morning glory New York exhibition poster abstract painting100
Poster Abstraction 100: Korean Painter & Abstract Artist Louis Choi Chul-joo's <morning glory> 2022 New York Exhibition Poster Abstraction 100 Media Art, which visualizes the progress and results of depicting the imagination of desire and the object of existence while facing the artistic notion of desire conceptual art.
----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 36
Art Critic Louis Choi Chul-joo Criticism [36] 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: <Young Voters Want To Watch Blackpink 'The Show' Rather Than Election Broadcasts On YouTube> ; in reproducing the image of reality and non-real in the same space, the image of non-real, which does not look like Picasso, is superimposed on one screen like an image reflected in a mirror.
This is an object as a desire image, an aesthetic result of desire as a skeletal image of desire to reveal reality.
Choi Chul-joo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas·The Maids 8>, a hand-painted picture on a computer
Young Voters Want To Watch Blackpink 'The Show' Rather Than Election Broadcasts On YouTube
Choi Chul-joo's cartoon review, published as a current affairs review, [12] "Young Voters Want To Watch Blackpink 'The Show' Rather Than Election Broadcasts On YouTube," is the image of Velazquez's "The Las Meninas," which was viewed with a desire.
As an ideological and stereotypical image of absolute monarchy in the Baroque era in the 17th century, Diego Rodriguez de Silvay Velázquez painted Las Meninas 1656.
He visualizes the characters appearing as a screen composition of a gaze perspective to exclude symbolism from space and emphasize the realistic presence of the object as a substance, but it is against the temporality.
In other words, the king and queen in the space from a different point of view are identified so that they can be viewed on the screen.
In Choi Chul-joo's cartoon review No. 12, the king and queen transformed into candidates for the mayor of Seoul in 2021, forming a temporality converted from different perspectives in one space.
Choi Chul-joo, one's gaze in 'The Las Meninas'
It shows the contemporary phenomenon and human presence in the same way as the maidens in <The Las Meninas>. It emphasizes the presence as a subject of reality that young voters gaze at by visualizing the location of the Seoul mayoral candidates in place of the king and queen,
In "The Las Meninas", the object reflected in the mirror is a fantasy, but in the 12th issue of cartoon review, the fantasy object in the mirror shows real candidates for the mayor of Seoul.
The production of this fantasy is that the subject of the object reflected in the mirror is the object of the fantasy, and it is the cutting of the subject by the relationship between image and meaning.
The reality as an illusion forms an image reflected in a cyclical structure through the mirror with the candidates inserted in the non-real world reflected in the mirror and the fantasy object in black pink. Here, the meaning action takes on a neutral symbolism by accepting the virtual image as a new subject according to the relationship between the image and the meaning.
In this way, the relationship between image and meaning is cut to receive a new subject, and the mirror space in the cartoon is another space in the physical space revealed in the scene of "The Las Meninas", which is the upper body of candidates that cannot be seen at the time of viewing the entire scene of the cartoon as an image of a picture frame.
In order to insert the reality seen through this gaze, the artist's brush is put in and the subject reflected in the mirror is made to stare.
Like "The Las Meninas", cartoon review No. 12 actually reproduces the time and space of Blackpink and the candidates of the contemporary space Velazquez saw through the mirror.
The image reflected in the mirror is an invisible space, which is the image of the time Velazquez has seen in "The Las Meninas" It shows the reproducibility and gaze that symbolically reveals the situation of Black Pink and the candidates, as if the gaze of the other and the gaze of the other are identified and again reflected in the mirror as a king, queen, and princess.
In "The Las Meninas", Velazquez painted himself as an object reflected in a mirror. Another mirror in the painting is seen by Felipe IV and his wife, Maria Anna. This mirror reflects Velazquez and the king and queen outside the painting, but only the king and queen are reflected in the mirror in the painting. What cannot be interpreted with a perspective visual system is what the maids that exist in between are invisible.
An abstract painting drawn by the concept of desire formed by the relationship between image and meaning in cartoon criticism, Louis Choi Chul-joo, morning glory p34-4-1, a hand-painted picture on a computer, 2023
Choi Chul-joo's fantastic cartoon image <morning glory p34-4-1>, which is revealed as the unconscious desire of others by drawing the candidates' appearances and the faces of the two candidates on the image that does not exist in "The Las Meninas", is represented by an image abstracted as a concept of desire in cartoon criticism
This is because it is a gaze that is not revealed in "The Las Meninas", and it is an image that is shown as non-real in a perspective visual system.
This reveals the reality of Velazquez by contrasting the subject, Princess Margarita, as the other, and the subject, the king and queen, as the absence. And the figure reflected in the mirror is not the image of the king and queen as an invisible 'grief' that deviates from the whole point of view, but rather a metaphorical image as an inner entity looking at Princess Margarita.
Therefore, the rest of the characters are virtual images as non-real. Revealing the meaningful image through this gaze is a real situation of the conceptual image, which refers to the erasure of the spatial domain and manneristic society of "The Show" and the Seoul mayoral candidate election. In other words, "Young voters try to watch Black Pink's "The Show" rather than election broadcasts on YouTube."
In "The Las Meninas", Velazquez represents himself as an object as an artist and reproduces the images of reality and non-real in the same space. Picasso interprets the skewed image that cannot be expressed on the same plane in his Cubist way. This sought to find a connection with the gaze image virtually reproduced by Velazquez, but Picasso combined the images seen from multiple eyes into the same image.
Therefore, in "The Las Meninas", the place revealed by the other's desired gaze is the position of the man standing at the door appearing at the vanishing point in the entire hypothetical image. Therefore, the man is an object, or reality, that Velazquez revealed by staring from the other's desire point of view. Velazquez reveals himself as an object in "The Las Meninas" as an artist, and says that the object as a subject cannot be a cognitive subject. However, in reproducing the image of reality and non-real in the same space, the image of non-real, which does not look like Picasso, is superimposed on one screen like an image reflected in a mirror.
This is an object as a desire image, an aesthetic result of desire as a skeletal image of desire to reveal reality. / Writing. Art critic Choi Chul-joo (Image Installation artist & Doctor of Cultural Design)
----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 37
Art Critic Louis Choi Chul-joo Criticism [37] 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: <Beautiful Mountains & Rivers of Gapyeong>: By showing the impression of light through the shape of the wind in the past through the phenomenon of clouds, the impressive correlation structure of the chair is reversely abstracted as the correlation of the desire cloud and is raised as the same reality as the cloud.
And as a blank space where chairs and spaces maintain the overall impression, the cloud shape can be abstracted as another correlation of desire with the shadow of light that reveals the desires of the world outside.
Kim Sung-keun, <out of the world Story>, Size: No. 30, acrylic on canvas / Exhibition <Beautiful Mountains & Rivers of Gapyeong> 20200709-20200908, Choi Chul-joo's Art Review: Kim Sung-keun <out of the world Story>
out of the world Story
The blue monochromatic sky and rivers show natural beauty as a chroma approaching the texture.
It is difficult to gauge the depth of the sky and the river that has stopped because the chair nearby blocks the sound and sits in the same landscape of light.
Kim Sung-keun's "Out of the World Story" evokes a visible look that optimizes the textures of each object with the defined brightness of light in the reflector. The blue color that matches the riverside of Jarasum stays the same.
Under the peak of a mountain like the neck of a turtle, he paints the sound of the river with a brush.
The energy of the mountain wind that stops at the bottom of the mountain stops the movement of rivers and trees, and the shadow of stopped light alone adorn the shape of clouds.
The landscape of simple touch of color goes beyond naturalistic description.
By minimizing the effect of light, he shows static scenes by separating the shadow areas of clouds from the surface of water above and below the surface of deep texture.
Therefore, his paintings are a formative effect that allows objects to be transferred to colors so that the landscape can recognize what they are talking about.
In that color of his choice here, the target creates the meaning of the image and sets its place with the object within the realm of the aggregated landscape.
The area contains stationary melodies that form clouds, creating a scene of shadowy clouds and timeliness.
So his paintings are the effects found in a chain of very unstable elements forming the unconscious language of the chair as an image.
It sets the meaning of the chair through the idea of an image formed by combining the language of unconsciousness.
This very unstable image of forming a landscape reveals the meaning of another chair in an unconscious chain of clouds, rivers and mountains. It combines multiple images from unconsciousness, giving the metaphorical meaning of the selected chair.
Here, his chair makes the space of the sky divided by the nearby river and the water surface the same color to bring the viewer's mind closer.
Accordingly, he divides the space into the shapes of mountains and trees and chooses the space in blue to suit the landscape. And it reveals the value of structuralist paintings so that it can identify the landscape of riverside where images are combined by revealing the temporal relationship between mountains and trees in the meaning of clouds.
Kim Sung-keun's unique scenery is displayed by removing the fine harmony and balance of colors and replacing the spatial relationship between mountains and rivers with the appearance and color of suitable objects by putting them in the shade of cloud light in the space.
As a distinguishable color, mountains and rivers inevitably functioned in spatiality, forming a space called Jarasum. This is a landscape in which each object is actually placed in accordance with the inevitability of Jarasum as a space he has chosen.
He shapes the impression of space by defining in color the shape of objects that can recognize objects in space reproduced by the shadow of light. a figurative
The phenomenon of clouds is a trace of shade that has turned away from the impression of light without the shape of the wind, but he puts in a figurative chair to block the wind and return the impression.
Clouds are the desire of the other to sustain the impression of replacing the sky.
The figure is seen as a shadow of light, even though it is shaped by clouds rather than the subject divided from the sky with light.
Therefore, he does not define the shape of an object that can recognize objects in a space reproduced by the shadow of light as monotones, but can give a correlative impression when embodying the impression of the space with the shadow of reversible light.
By showing the impression of light through the shape of the wind in the past through the phenomenon of clouds, the impressive correlation structure of the chair is reversely abstracted as the correlation of the desire cloud and is raised as the same reality as the cloud.
And as a blank space where chairs and spaces maintain the overall impression, the cloud shape can be abstracted as another correlation of desire with the shadow of light that reveals the desires of the world outside. / Writing. Art critic Choi Chul-joo (Image Installation artist & Doctor of Cultural Design)
----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 38
Art Critic Louis Choi Chul-joo Criticism [38] 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: <Installing an image of a firm desire>: Image is a concept of desire without abstract meaning and spatial constraints and grasps the desires of others as subjects related to reality.
In the aesthetic structure concealed by the subject, the sky divided by clouds is the shaded light of the object and stops the abstract concept in real life. And the size of the image of a correlated reality as a shade is omitted and it is positioned as a range that appears to be light. This is a place where reality has an aesthetic value adapted to the place as an image, and decorates the place with the colors of universal reality that fit the custom. This is Choi Chul-joo's concept of installing an image of desire.
Louis Chul-joo Choi, morning glory window 2024-8-Installing an image of a firm desire, 150X112cm, acrylic and composite materials on cloth, 2024
Installing an image of a firm desire
The installation of the desire image is to reveal a significant painting image in the mind through an error in the subjective abstract image of an object that does not exist by realizing the representation of a linguistic object.
It simulates (模寫) the concept of linguistic desire as a painting and displays the representation perceived as desire as a real image. In other words, displaying linguistic desire as a painting image embodies desire as an actual painting image with an objective correlation, like T. S Eliot. In other words, it abstracts the linguistic image as a concept of desire, but metaphorically as a real image of the concept.
The real image manages and abstractly defines the object as the meaning of existence.
Therefore, in linguistic abstraction, the meaning of existence is taken as a real image. By showing existence as an image rather than an object as reality, it becomes a reality in abstraction that transcends the subject of the object. In this way, existence generalizes the object as a firm subject with a phenomenal gaze.
The installation of an image of firm desire is the installation of an image as a subject of firm existence, which is viewed through the gaze of the desire for existence.
Even if the actual object's light is bright, it does not reach the light in the sky, and the cloud divides the space according to the installation of the image of existence. Therefore, by rejecting metaphysics that do not affect the object of desire with reversible light, the existence of an object is recognized as an image through the shadow of light.
Here, imaginary desire is a linguistic impression concept, and the image of meaning is repeatedly designed to reconstruct the abstract formative color into a real image, and the outer surface of reality is developed as an objective correlation.
Louis Chul-joo Choi, morning glory window 2024-8-Installing an image of a firm desire, 150X112cm, acrylic and composite materials on cloth, 2024
The design process of Choi Chul-joo's concept of desire abstract art is to install such a firm gaze image as the outer surface of reality and abstract the outer surface of reality as a correlation of reality as a concept of desire.
Since this is reversely abstracted as a correlation of a phenomenal real image, the image design of the concept of desire is repeated to show the correlated real image of the concept of interpreting desire as a cartoon cartoon only as an event or performance image, and the real image as an event and performance image is drawn as a phenomenal perception and installed as a correlated image in the thought intended by the action of the image.
It acts as a coincidence to reduce the non-visual image derived from this to a linguistic abstraction cartoon review. Image correlation, which replaces the symbolic phenomenon of an image with a reality that symbolizes the meaning of the image, does not presuppose a causal relationship with a single meaning, but results in an image that is connected to the concept of desire as a correlation between an abstract concept that deviates from the structure of non-realism and reality.
Image is a concept of desire without abstract meaning and spatial constraints and grasps the desires of others as subjects related to reality.
In the aesthetic structure concealed by the subject, the sky divided by clouds is the shaded light of the object and stops the abstract concept in real life. And the size of the image of a correlated reality as a shade is omitted and it is positioned as a range that appears to be light. This is a place where reality has an aesthetic value adapted to the place as an image, and decorates the place with the colors of universal reality that fit the custom. This is Choi Chul-joo's concept of installing an image of desire.
The object of reality is a shape that has remained as a color in the linguistic sense that existed conventionally, and is composed of a single image of the desire of the other in contrast to the light of the past. The image shows the image of reality that existed in the original place of the image with a shape stopped by desire.
When an image is a desire image, it is not affected by the subject of the shape and is visually abstracted as a subject according to the desires of others. Therefore, the abstract effect reproduced by the desire gaze is reduced to abstraction from the actual image in which the desire image is superimposed as the gaze image of a firm desire is installed. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 39
Art Critic Louis Choi Chul-joo Criticism [39] 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 Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: <Kim Kulim, Work posted on Instagram>: He intervenes in the shadow with the need for light in the object, fixing the shape changed by the interference of light to its original color and changing the representation of the object at that location.
And representation becomes an avant-garde image abstracted behind reality that does not appear to be objectified colors and light that affect the meaning of the place of thinking.
Kim Kulim, Work posted on Instagram
The avant-garde abstraction of inevitability
The avant-garde abstraction of inevitability in which what is to be acted is omitted occurs unexpectedly without any causal relationship.
It lacks the indistinguishable light of movement and is only a coincidence, and the potential that occurs arbitrarily without a lack of coincidence is contained in the image as a symbol like heavy rain.
Kim Kulim's painting is an abstraction in a avant-garde sense that equates the shape of the light seen with the shape of the staring.
In this way, he experimentally creates the results of conscious movement that appears to be avant-garde light by interpreting the meaning of the object as a phenomenal image in order to fit the shape of light that does not actually match the object.
This is a lack of meaning in reality, which is the appearance of an accidental object hidden by the non-realistic view of the color of light, translocated by the exposed light.
He planarizes the accidental installation through an abstraction that lacks inevitability, which mimics real light that lacks a real form within an avant-garde action.
Then, by eliminating the color viewed by actual light and putting the shade of light as a color, a shape that is transformed into a potential from an object that is not actually recognized is decorated. This is the reality of the shaded color that exists in the lighting effect applied to the shape on the premise of seeing the shape.
Therefore, when he tries to escape the brightness difference in time, he equates the boundary of light reflected in the shape of the moment with the outer surface of the background, suggesting its existence with color in the non-lighting space.
The shape implied by Kim ku-lim is a compositional structure in which the actual cross-section and several aspects of light are visible at one glance as the color and object in which the shade of light has been transferred overlap.
This is the correlation between the image of a woman's face reflected in the structure and color, which is the trace of light as an objectified being.
In this way, he draws the image of the object as a correlation and the shadow of the object and the meaning of the translocated trace.
Starting with a personal image of a woman's face viewed from the front, an object without substance is repeatedly shown in the color of light.
He removes the reflection of color instead of drawing other objects in order not to stimulate light in the non-subjective space revealed by contrasting colors.
Accordingly, abstract colors of light are placed as a woman who looks at the subject of the space decorates the space and the non-subject in a bright place at the same time.
He intervenes in the shadow with the need for light in the object, fixing the shape changed by the interference of light to its original color and changing the representation of the object at that location.
And representation becomes an avant-garde image abstracted behind reality that does not appear to be objectified colors and light that affect the meaning of the place of thinking. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 40
Art Critic Louis Choi Chul-joo Criticism [40] 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 Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: <Na Hye-sok's feminist painting "Suwon Hwaseongmun">: Because pictures are metaphorical like language structures, the form and image of images are not the same, so reality is a practical semantic structure with different forms and images. By revealing the reality of "Suwon Hwaseong Gate", it represents a space of practical meaning as a non-representation on the back of society and objects, and in the sense of form and reality revealed in society, it reproduces the manneristic social image of a contemporary female bridle, showing the reality of "a woman holding a laundry in her head with a hand and holding a child with a different hand."
Na Hye-sok, Suwon Hwaseong-mun, canvases on canvas 60.5x72.7 cm, 1929. [Source: Korea Data Promotion Agency]
Literature Review/ Literature Critic Choi Chul-joo Art Literature review: Penimist Painting from an Ideological Perspective/ Choi Chul-joo Literary Art Criticism - Na Hye-seok's <Suwon Hwaseong Gate, Hwahong Gate> - Na Hye-seok Academic Conference, 23rd Na Hye-seok's Get to know right away Symposium (Online, April 25, 2020)
visionary feminism
Suwon Hwaseong Gate emphasizes the geometric dimensions by putting objects on the canvas, but the more they focus on ideological gaze, the more they approach the contemporary social structure system.
<Suwon Hwaseongmun> is a perspective visual system that focuses on the flatness of <Suwon Hwaseongmun> by drawing vertical trees on the left and right sides of the painting and exposing the boundaries of the canvas. This imprints flatness as another reality in the illusionary picture of perspective. And it actually reveals the "woman's bondage" as a meaning that has shifted ideologically and actually away from the contemporary mannerist image, which is a symbol as an invisible reality. It is a contemporary laundry site, which is the actual meaning of Honghwa Gate as a geometric image in "Suwon Hwaseong Gate", which means that the social status of men in a patriarchal institutional society is inappropriate. Here, a woman and a child express the duality of "Suwon Hwaseongmun" as the cause of her feminist desire by recalling a woman's bond.
The duality of "Suwon Hwaseong Gate" features a woman going to wash clothes in the geometric "Suwon Hwaseong Gate" to express the duality of a concealed object that reveals the real situation of the woman and the dualism of the woman's bridle. The object's expression method omits the three-dimensional effect of women, children, and Hwahongmun, leading them to approach the actual meaning separated from the image contained on the canvas. She transforms "Suwon Hwaseong Gate" into a system of signs on symbolic representations, breaking away from the perspective perspective visual system and recognizing that the bond of contemporary women is just a picture. This shows an absurd practical representation of social mannerism by depicting the meaning of "Suwon Hwaseong Gate" as a reality on a flattened canvas. In addition, "Suwon Hwaseong Gate" is not a real geometric image, but a non-real system reproduced in a symbolic sense containing the bonds of contemporary women. In this way, Na Hye-seok approaches with the spirit of geometric reality and reveals feminism.
As another reality of Suwon Hwaseong Gate, she demonstrates feminism by recreating the manneristic social image of women's relationships along with the dual representation of the geometric reality revealed in society.
Abstractionism in <Suwon Hwaseongmun> is a symbolic image concealed by the desires of others and is the subject of the object. The subject of the object concealed by the distorted image constitutes the shape of the concept of desire in terms of desire. This is an existential symbolic image that expresses the existential meaning of feminism in the cognitive system. In other words, another reality separated from the reality of Suwon Hwaseong Gate is not to reproduce the object of expression in the meaning of the image, but to express the concept of feminism existing in the image as a new subject in the actual object.
In <Suwon Hwaseong Moon>, the actual image is used as an example of revealing the existence of the image as the subject of an object that reveals the hidden desires of others. This is because the subject of a hidden object existing in virtual reality is recognized as the meaning of an existential image formed by the desire of others. This is a cognitive system that connects the perspective image of <Suwon Hwaseong Moon> and the discussion of feminism in virtual reality. Na Hye-seok's feminism is the subject of objects concealed in the <Suwon Hwaseong Gate>, which exists as a symbol image hidden in the desires of others in the cognitive system.
This is a visionary feminist like George Sand.
Na Hye-seok is a woman who developed visionary feminism in Korea at a time when women's political participation was central in 19th-century France, a romantic era in Korea in the 20th century during the Japanese occupation.
The Euclidean formulation structure, consisting of the Euclidean formulation principle in which parallel lines do not intersect, is a picture that applies a perspective view of the virtual reality space from a visual point of view and expresses a different shape from the phenomenon (現象) of modern paintings.
Na Hye-seok's feministization is a conceptualization that does not accept non-real aspects like the parallel line of Euclidean. Feminism and practicality are inconsistent through concealment in the form of invisible reality that leads from reality to non-realism. When women in non-realization become a reality, there are no Japanese colonial era women reflected in the phenomenon, and the reality of women and children in the picture disappears. The reality that her feminism reflected at the same time seems to be a woman who has transferred from symbol to reality is a dual semantic structure in which symbolism is realized. At this time, the woman in the painting loses the symbolism of the contemporary space that existed, and the woman realized in symbolism as a meaning becomes a figure in which the feminism of women has disappeared as a meaning of the reality of the space that existed.
Trying to reveal physical reality as a three-dimensional space in a painting is a real reality that allows you to stare at the woman in the painting. Her feminism as a real reality stems from the Japanese occupation as a clear physical structure with a physical aspect of a dual semantic structure in the appearance of the Hwahongmun, a woman and a child.
Picasso painted women from multiple perspectives on one side and two sides at the same time, but her "Hwaseong Gate" doesn't show objects trying to feel realistic, it shows the submissive structure behind the actual structure of women's bonds during the Japanese colonial era. In particular, by removing ambivalence from the physical structure and clarifying the semantic structure to show an interpretation of feminism, we paradoxically suggest whether it is appropriate for women of the time to obey at the same time.
In order to structure the image of Suwon Hwaseong Gate flatly and express the bond of women in the Japanese occupation without the air of life, the woman in the laundry put realistic sounds like modern women into the virtual three-dimensional structure of Suwon Hwaseong Gate and the air of feminism. As such, Na Hye-seok aggregates what is perceived as reality into a three-dimensional semantic structure rather than a representation of women. This is to analyze objects with non-realistic semantic structures and see the form of visual representation that expresses objects and objects as representations of cognitive semantic structures in different meanings. In <Suwon Hwaseongmun>, the woman in the painting is another unrealistic image that reveals the meaning of reality as Na Hye-seok's realistic image as a semantic structure separate from the actual image.
In an unrealistic sense, the female image of Suwon Hwaseongmun hides the image of women's bond from the overall perspective of Suwon Hwaseongmun, transforms feminists into feminist desires, and holds hands with contemporary female images, but the reality has a conceptual meaning of suppressing oneself from an unrealistic and feminist perspective.
This is the image of Suwon Hwaseong Gate, where her feminism has transferred from a real phenomenon to a concept, and because the image is phenomenal, it is recognized that it is different from the real image through comparison with the real image At this time, the image makes us realize the reality that appears to be real, that is, the meaning of desire feminism separated from the bondage of women.
Starting from pictorial representation, Na Hye-seok's feminism forms another unrealistic meaning separated from the real image through the introduction of a new feminist concept that deviates from the real image.
In <Suwon Hwaseongmun>, women and Hwahongmun are visual structures that can be recognized in the Euclidean visual system, while the tree arrangement on the left and right contrasts with the non-realistic frame. Here, the perspective is that Hwahongmun is the social status of men in a patriarchal institutional society, and women and children are reminiscent of the bonds of contemporary women, which is the cause of her feminist desire and expresses the duality of objects.
In "Suwon Hwaseongmun", the woman in the work expresses the duality of contemporary reality phenomena and objects with women's bonds in a duality.
Like the dualism of Baudelaire literary art that influenced contemporary artists, Na Hye-seok variably expresses the modern situation and the bond between women at Suwon Hwaseong Gate, while a woman doing modern laundry appears at Suwon Hwaseong Gate, revealing the real situation of women and enhancing the bond with double elements.
In "Suwon Hwaseongmun", she shows an absurd and practical representation of social mannerism. It is not a visual image of reality, but an unrealistic picture that reproduces an image as reality in a flat painting space. Here, the female image is a symbolic image of the bondage of contemporary women. In other words, it reveals feminism by approaching it with the will of reality. Seeing this as a symbolic image of reality, Na Hye-seok recreated an unrealistic picture with the intention of revealing feminism and a variable element of art.
The boundary of the canvas is the boundary of the schematic city area, but she said in "Suwon Hwaseongmun" that the planar imagery of characters and trees reveals the boundary of the canvas, expressing the invisible "women's bond" in the painting technique of "Suwon Hwaseongmun" as an invisible reality that deviates from contemporary mannerism, which is actually a symbol, and through this, semantic feminism was drawn from her perspective. This means feminism that gives the impression of a flat canvas as another reality in perspective illusion.
According to the expression method of "Suwon Hwaseongmun", the three-dimensional effect of women, children, and Hwahongmun was omitted and the color was drawn in a simplified color, so the image contained in the canvas was recognized as a practical meaning effect separated from subordinate reality.
The surface is expressed monotonously like type without focusing on perspective description. This removes the relational description of the real and the representation of the real that existed in the perspective space. In other words, it is converted into a system of symbols and symbols. In <Suwon Hwaseongmun>, the image deviates from the perspective visual system, that is, the Quattrocento styles. The margins and objects are also characters and backgrounds that deviate from the real image. In this way, she planarizes the illusionary image of the painting to approach the perception that women's bonds are nothing but paintings.
Suwon Hwaseong Gate has increased the bond between contemporary women as images of women in the painting by arranging women, children, and gates horizontally to reduce visibility and minimize the level of materiality by separating women and children's colors from the shade.
Because pictures are metaphorical like language structures, the form and image of images are not the same, so reality is a practical semantic structure with different forms and images. By revealing the reality of "Suwon Hwaseong Gate", it represents a space of practical meaning as a non-representation on the back of society and objects, and in the sense of form and reality revealed in society, it reproduces the manneristic social image of a contemporary female bridle, showing the reality of "a woman holding a laundry in her head with a hand and holding a child with a different hand." /Writing. Literature critic Choi Chul-joo (Ph.D. in Cultural Design)
Art critic Louis Choi Chuljoo