Art Critic Louis C [8]: 46~50

Contemporary Art Review by Louis Choi 8

Mar 2. 2023

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [8/ 46~50] Contemporary artist criticism criticizes contemporary art, which Louis Choi Chul-joo examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of works through visual art theory. Picture speaking language structure is a gaze reality image in which the image of abstract desire seems to be the meaning structure of the concept of desire. This approaches the aesthetic value, process, and artistry of contemporary art criticism along with contemporary art criticism as the concept of desire abstract design. And the criticism criticizes the reality of the concept of desire as the artistry of photography, cartoons, art, and design approaches the meaning of the work in the language structure.: Art Review: Contemporary Artist & abstract artist Louis, Louis Chul-joo Choi's Chul-joo Choi's "morning glory": Exhibition of Louis Chul-joo Choi's "morning glory" with the image of desire's object ɑ and Picasso's Anamorphosis, 20.-22. Dec.2021 Gwangan Gallery in Busan.

Exhibition of Louis Chul-joo Choi's "morning glory" with the image of Lacan's object ɑ and Picasso's Anamorphosis, 20.-22. Dec.2021 Gwangan Gallery in Busan.

Louis Choi Chuljoo, The fast-shaped disaster of the wind falls like a desire and shows morning glory : Desire with the shadowy structure of reversible light at the boundary between consciousness and unconsciousness shows morning glory

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.

Louis Choi Chuljoo,’s thread painting: morning glory e-002, 55X73cm, acrylic and composite materials on cloth, 2021

Like Cezanne's landscape painting, the color of light reflected in a concise form that matches the background, skylight, and hue is an imitative form of non-realism that distinguishes the color of skylight from the form of pictorial skylight with the entire space as one space.

Like Cezanne, "<morning glory 2021-l-back>" is a picture that harmoniously expresses the imitative form of non-realism as a shade color by distinguishing the color of the lighting staring at the sky from the color illuminated on the object.

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

Louis Choi Chuljoo, morning glory-2021-l, 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> 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" is an aesthetic structure in which the shape of a realized object stopped in a place of everyday life is shaped as the color of light, and the color of the reflective margin that is difficult to distinguish is repeatedly drawn on a fabric-like material.

Here, the colored picture unravels the value of reality in the shape of color when enlightened by customs or when in place.

However, the material hidden in the margins of the object in the picture is tailored to the color suitable for the object of the time because it cannot reproduce its timeliness.

And "morning glory-2021-l" which sets the outline of the shape on a cloth-like thread as a color line contrasting its color, captures the familiarity of customs with the inevitability of the past space.

This indicates the meaning of the symbolic action that characterizes the design that repeatedly combines pieces of distorted morning glory image in the pictorial imitation process.

The meaning is a symbolic language that symbolizes imitated flowers. Here, the morning glory image is a sculpture of meaning symbolized in non-real space as a result of the lacan's meaning.

The place where the meaning of the morning glory is fixed is an image that leads from unconscious desire to a divided subject, and by repeating the design of the morning glory, the divided subject and the intersection form an image close to the two fixed points.

The semantic function of the image close to the fixed point is simultaneity and synchronicity. The simultaneous function here is the meaning of the sentence, and the image completed by designing the actual object by retroactive effect of the design concept is <morning glory-2021-l>.

The synchronic function of the image is <morning glory 2021-i-back>, which is a synchronic structure that can be obtained from the source of the design concept hidden in the linguistic sentence, that is, an image of a contrasting metaphor of the image reflected in the mirror.

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

Chul-joo_Choi,_morning_glory_2021-i-1,_113X168cm,_acrylic_and_composite_mate.jpg?type=w773

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

"morning glory 2021-i" 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> depicts an image generated by an anamorphosis image of a trumpet flower, and the form of a picture drawn in the shape of a cloth consisting of a grid in which the back is illuminated is thread painting.

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 Choi Chuljoo, morning glory 2021-f-back, 133X168cm, acrylic and composite materials on cloth, 2021: Desire with the shadowy structure of reversible light at the boundary between consciousness and unconsciousness shows morning glory

Louis Choi Chuljoo, morning glory 2021-f, 133X168cm, 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-f-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 of 'morning glory" decorates the reality of the customary universality faced by objects with the color of light.

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

Louis Choi Chuljoo, 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" 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-back" 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 made by the movement of the other's desire appear inconsistent, and the images of the cat that's separated from desire and the morning glory, whose desires are fragmented, overlap with intersecting threads to form a space ahead of them. / Writing. Art critic Louis Chul-joo Choi (Modern Painter & Doctor of Cultural Design)

Contemporary Art Critic Louis Choi Chul-joo

"morning glory" Exhibition Extended Through Dec. 25, 2021

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 46

The image of desire reflected in the pond is an abstract concept suitable for the form of desire, and like a mirror of desire designed as a structure of reality, the pond is a form of verbal desire.

The Conceptual Stage of Art Criticism by Louis Choi Chul-joo: Choi Chul-joo's Desire Concept Abstract Art Design Process is rooted in the Lacan Concept as a psychoanalytic theory and the step in his design process is to design the Desire Concept.

1. Expression of Reality Symbols on the Concept of Abstract Desire: It begins with conceptualizing the subject of desire as a conceptual sign from the object of abstract desire as a real image. Here, desire is designed by imagining the concept of abstract desire as a visual form representing the subject's unconscious desire.

2. Realizing Desire Correlation in Reversible Shades of Light: To create a dynamic interaction between reality and abstract desire concepts in reversible shading of light, Choi Chul-joo's Desire Formula is applied to design the correlation between desire concept and correlation.

3.Presenting Desire Background as Abstract Space: Using the Desire Background as a series of "Morning Glory," "Bamboo Forest," and "Pond," design that represents the structure of unconscious desire and the reality reflected in reality between the visible desire correlation and the hidden desire background.

4.Composing the linguistic desire structure into a real image: To express the concept of abstract desire as a linguistic desire structure as a real image, the abstract linguistic concept of desire structure is repeatedly designed as a real image to reflect the symbolic reality of the linguistic desire structure.

5. Visualization of Desire Structures in Cultural Context: To create works of art that acquire aesthetic value from desire structures so that they can empathize with cultural backgrounds, colors, forms, and compositions are put into practice by design.

Louis Choi Chul-joo, morning glory p110-7-window shadow-pond, a hand-painted picture on a computer

an image of the desire projected by thought reflected in a pond

The image of desire projected by thoughts reflected in the pond is like a geometric cross-section of the pond beyond the boundary of desire that gathers like water on the surface of the water.

The missing pond is a structure of light that deviates from the concept of instantaneous desire as a reversible shade of light, and perspective objectivity distorts the range of the sky and the size of the perspective cross-sectional area with reversible light on objects overlaid on the surface of the water.

This notion of distorted desire is abstracted to fit into a pond of realistic morphemes with reversible shades of light.

The abstraction is the same as Choi Cheol-joo's desire design process. It creates a visual expression that explores the concept of desire through abstract forms and abstract conceptual structures,

Here, the conceptual foundation begins with a deep exploration of the concept of abstract desire in the process of designing desire. This not only understands abstract desire as an emotion as a real image, but also interprets the concept of desire of others as a complex interaction of psychological, social, and philosophical elements.

Choi Chul-joo's concept of desire in the disappeared pond does not presuppose causality with the real image, but rather symbolizes the object of desire as a conceptual subject from an abstract concept in which an abstract real image appears as a real correlation by dividing desire alienated by unconsciousness into design.

Therefore, the abstract expression of the concept of desire is characterized by symbolizing the desires of others in various aspects by dividing the cross-sectional form into abstract forms and abstract fluidity into reversible shades of light.

Here, the use of reversible contrast creates the depth of the shadow of desire with light according to temporality and emphasizes the abstract form. This helps viewers access the reality of the concept of desire by visualizing the abstract aspect of desire with a pictorial technique.

From linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence. The image is a morpheme that conveys a connection with the concept of cultural and universal desire.

And the gaze on the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is an abstract real image according to Choi Chul-joo's concept of desire design process 1.

The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.

The symbolic structure represented in this way adds a texture reflected by several cross-sectional layers and reversible shades of light to create the complexity and depth of the concept of desire, projecting the complex nature and real image of the other's desire.

The aesthetic value of the image of desire of the actual structure according to Choi Chul-joo's concept of desire design process 2 is to decorate the object with a universal color of reality so that the reality of the symbol structure projected in this way has an aesthetic value corresponding to the place as a single stage.

The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.

And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.

This is an interactive element of unconscious abstraction, objectifying the desires of others through the design process of the concept of desire.

In addition, as an abstract image, an image that combines lines and colors as an unconscious structure, but is not conscious, is an interactive act with the unconscious, and it is the design of unconscious desire according to the desire concept design process 3 by repeatedly designing desire as an image of reality.

Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-3, a hand-painted picture on a computer

The concept of unconsciously abstracting desire is an image of reality that does not see the object of reality as a shadow of light that can be overturned, and shows another aspect of reality by concealing reality with shadows.

The image of desire is an unconscious mind maintained by the image of reality and the imagination desired by the subject of desire, and it is an idea that cannot be recognized by that image.

This is a storytelling for thinking that enhances the depth of the concept of desire by giving a narrative and context verbally.

Therefore, the spatial composition of desire, a flat monochromatic painting carved into reality, is a desire conceptual design process 4 that combines the image of thought into a reversible structure of light through conscious movement and designs the space of desire by combining the image of thought into a reversible structure of light.

Desire concept The image of desire that has passed the design process is a form of desire reflected in the mirror.

It is an image of existence seen on the surface of a pond that has disappeared according to temporality, reflecting a conceptual image that abstracts the unconscious needs of social morphemes according to the linguistic correlation of desire.

The gaze at the image of its existence is the external surface of reality, and the concept of desire is a reversible light, and the real image is concealed by the object of abstraction as a correlation of reality with the concept of unconscious desire.

Unconscious desire is a correlation between desires concealed in temporality, and Choi Chul-joo's conceptual design of desire is a repetitive design of objects that can be abstracted.

This creates a picture structure in which the object of desire appears as an image, using the subject of design as the other.

In a universal abstract structure suitable for customs, the subject of desire decorates the object with the color of reality so that the reality of the abstract structure represented by the structure of the picture has an aesthetic value corresponding to the place as a single image.

Therefore, the background of desire is the subject of reality in the realm of abstraction, and the existence correlation and the protagonist of the event and performance are determined as an abstract image that satisfies the cause of desire.

As an abstract image, an image that combines lines and colors as an unconscious structure is repeatedly designed as an unconscious act, and the desire is recognized as a thought image.

The thought image is designed so that the other becomes aware by combining the flat monochromatic paintings carved from reality into a reversible structure of light through conscious movement.

This is an existential reality in which desire is reflected in a mirror as an object that fits the temporality in which the subject existed in order to abstractly appear contemporary events and performance images.

The real image is presented as a concept of desire, and the linguistic meaning is represented as a structure of desire.

Desire and the reflection in the mirror are visually sympathized with each other as a structural form of desire as a real image, and are understood as a correlation with desire identified with the real image.

The image of desire reflected in the pond is an abstract concept suitable for the form of desire, and like a mirror of desire designed as a structure of reality, the pond is a form of verbal desire.

/ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)

Conceptual Abstract Painter Choi Chul-joo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 47

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 [47] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary Art Critic Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook: Louis Chul-joo Choi, morning glory window 2024-10-a shapeshifting from a lack of desire, 122X112cm, acrylic and composite materials on cloth, 2024: Its reality goes beyond the concept of unconscious desire to specify desire as an image and reveals the position and shape of the reversible trace through the correlation with the conscious desire required by the time.

This creates an existential desire space by converting the concept of desire from unconscious desire to a real image to create a form of shape movement from a lack of desire, and by converting the concept of desire into a conscious abstract structure with a reversible shade of light.

Louis Chul-joo Choi, morning glory window 2024-10-a shapeshifting from a lack of desire, 122X112cm, acrylic and composite materials on cloth, 2024

a shapeshifting from a lack of desire

The abstract demand for the lack of desire to rule the conceptual image of desire with the same motif as the visual structure is the symbol of the other.

Like the god who created the shape of Shapeshifting, it transforms flowers into a symbol of perpetuity, creating a background of desire and expanding the range of desire to land and sea with chickens and fish.

The range of desire created a form of shape Shapeshifting in which the object was replaced by a structure of desire from one image to a picture effect.

The visual structure in which the object image of desire is transformed into a semantic effect is the encounter with a conceptual image in which unconscious desire is an attribute of an object.

This is a visual structure of desire, and a dancer who transforms to find chickens and fish repeatedly designs the concept of desire.

Here, a woman who appeared as the subject of desire hides the chicken in a reversible shadow to satisfy the existential deficiency and visualizes the shadow of the fish reflected in the pond as a Euclidean vector of real space.

In this visualized image, the abstract concept of linguistic desire is reflected in the pond, and the symbolic image repeats the expressive desire structure of the image and projects it into the reversible shadow of light.

As an outline of reversible light according to language culture, fish that deviate from mythological imagination transform into a geometric real structure with size and direction.

According to the semantic action of the real structure, the linguistic meaning of the image divided into several forms is created as an image consistent with reversible temporality, and the entire image obscured in the shade of reversible light is expressed.

Here, the transformation of the desire structure of the entire image faces theological rationalism and achieves an abstract concept transformation away from doubts about the subject of painting.

And it creates a correlated image of desire as a common form of desire inherent in abstractions drawn as real structures exposed to events and actions.

As desire and the expressive image of that desire are identified, the meaning of desire becomes a correlated image of desire that creates abstract symbolism

The correlation image of desire is generalized in mass production structure and various mass media due to the industrialization of modern art. Known works according to culture form a market structure, but the value of manual work is buried due to the lack of publicity of the works.

This aesthetic value is because images of known works, not painters, are repeatedly created as objects of desire.

The expressive image, defined as the correlation of the concept of desire, plays a role in creating the place and desire image according to temporality in the desire structure.

Cultural symbolism cyclically fixes the concept of desire, generalizing the lack of desire structure to abstract desire as an image of reality.

In this way, Choi Chul-joo's desire formula, which changes the form by turning the image of desire into a real image, abstracts the real image that creates the object of desire.

Language Image Just like the function of functioning the desire structure into the unconscious desire concept by inserting a real image that deviates from the abstract structure, the desire image is structured into an aesthetic image as a function that constitutes a binary relationship of abstract desire so that culture can consciously recognize the subject of desire from desire and escape from other distortions based on the imaginary unconscious. (Choi Chul-joo's theory of abstraction of the concept of desire)

Its reality goes beyond the concept of unconscious desire to specify desire as an image and reveals the position and shape of the reversible trace through the correlation with the conscious desire required by the time.

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 48

Using reversible light, the boundary between reality and unreality is abstracted to create an unconscious abstract space, and abstract elements are designed repeatedly to conceptualize real images as a structure of desire and inductively infer the concept of desire from these abstract images.

conceptual abstract artist Louis Choi Chuljoo "Morning Glory" 2022 New York Personal Exhibition, 20220301~20220308 Flushing Town Hall, New York.

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

* The production process of thread painting designs a predetermined point of an object, that is, a point of an object that depends on a predetermined existence unfolding an instantaneous coincidence in a brush. This is implemented by media art and painting without explaining the empty space. Here, in the process of producing the original media art in which the accidental place is repeatedly reproduced, thread painting is a form drawn by the gaze of the other.

* Thread Painting (Definition): An image created by the media art "morning glory" is drawn in the form of a cloth whose rear surface is reflected by hand (which can additionally embroider the shape). In other words, it is a picture that expands the space of a non-realistic painting with a shaded shape on a cloth made of crossed thread and a reflective light from a small hole in the fabric.

* The figurative meaning of the media art "morning glory" through thread painting is that the color of the meaning decorates the reality of the customs universality faced with the object with the color of light. In contrast to the light of the decorated shape, the dark blank space is a shadow that has created a place as an being. Here, as a real object, color is a single image of a cultured custom that seems to be a gaze. This is a symbolic language that symbolizes an imitated flower. Here, the morning glory image is a piece of meaning symbolized in the non-existent space as a result of desire meaning.

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

* The production process of thread painting designs a predetermined existence in which paint from a brush accidentally spreads at the position of a predetermined object, that is, the position of an object that relies on instantaneous coincidence. By making the image of the shape with embroidery, the image of the taught fabric is expanded with embroidery or the position of the fabric is widened by drawing a flat shape. In other words, thread painting drawn on the fabric forms a multi-faceted structure of the object by expanding the viewpoint of the image as a cross-section of space.

▲ Thread Picture = Embroidery: Hea-sook Jang, Thread Painting: Choi Chul-joo (Plane painting with altered embroidery image)

Modern Concept Abstract Image Installation Artist Choi Cheol-joo designs spots on objects that rely on momentary coincidence and determines the range of paint stained with a brush from the spots on the object. When making spots on a figure with embroidery, the space of the image drawn on the fabric is widened by expanding the image drawn on the fabric with embroidery or by modifying the shape of the embroidery and painting it flat.

As an installation of the image, I implement it as a flat painting without embroidery or embroidery in media art and draw pictures without depicting empty spaces. Here, in the process of creating an image mechanically reproduced with original media art, thread painting is a form drawn with the other person's gaze.

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▲ morning glory thread painting (Definition): an image made by joining morning glory with hand drawn cloth or embroidering additional shapes with cloth reflecting the back. : Embroidery & Painting: Choi Chul-joo

▲ Louis Chul-joo Choi, morning glory 2021-g-back, 135X167cm, acrylic and composite materials on cloth, 2021

* The figurative meaning of "morning glory" in thread painting is that the color of the meaning decorates the reality of the customs universality faced with the object with the color of light. The dark space in contrast to the light of the decorated shape is a shadow created in a designated place. Here, as a real object, color is a single image of a cultured custom that seems to be a gaze. This is a symbolic language that symbolizes an imitated flower. Here, the morning glory image is a piece of meaning symbolized in the non-existent space as a result of the desired meaning.

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.

▲ [First thread drawing = Louis Choi Chul-joo] The process of creating a thread painting involves designing a place where paint accidentally spreads over the location of an object that depends on instantaneous coincidence, and expanding the image of the object by embroidery or by drawing the image of the object in a two-dimensional plane.

▲ A still media art image of Choi Chul-joo's morning glory

Louis Choi Chul-joo's <morning glory B-00-2-1> Thread painting: The <morning glory> is on a piece of cloth with a view of the image on the back. Media art, which has no description of space and is embodied as a picture, is a real picture that looks like the other person's desire in the process of drawing the image of the morning glory of the original media art reproduced by hand.

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

▲ [Second thread painting]

* The production process of thread painting designs the existence of a place that is accidentally determined by the movement of the brush in the place of the determined object, that is, the place of the object that depends on instantaneous coincidence. This is embodied as a picture without describing the atmosphere. Here, in the process of producing original media art reproduced as the concept of desire, the form drawn as the process of the gaze of the other is thread painting.

* Media art through thread painting The figurative meaning of 'morning glory' is that color in meaning decorates the reality of conventional universality facing objects with color of light. The dark space, which contrasts with the light of the decorated figure, is the shadow created in the place of existence.

Here, as the existence of a real object, color is a single image of cultural convention seen through the gaze. It is a symbolic language that symbolizes imitated flowers. And, the morning glory image is a transition of the concept of desire in a real picture symbolized in a space that does not exist due to the meaning of desire.

In the symbolic form, the unreal is a constructive form with a concrete real image. The reality of that form is another reality that is separate from the entire form as a crooked image.

In reality, a symbolic image is a distorted image that ignores reality and connects an incomplete structure to make a meaningless structure different from reality a condition of visual shape. In reality, a symbolic image is a distorted image that ignores reality and repeatedly creates an incomplete structure to form an unconscious desire structure different from reality as a condition of visual shape. Since the unconscious desire structure reproduces reality from a subjective point of view to a real point of view, a structure of desire hidden in the entire image of the unreal world appears.

Therefore, it is difficult to distinguish between the desire structure and the real image obscured by reality, whether the real image should be adjusted to fit the entire picture of the desire concept or the real structure of the viewer.

Therefore, it is unclear whether it is in the picture or is reflected in a mirror outside the picture, and the reality is unclear. In this way, "morning glory" is seen as a sphere reflected in the mirror as another object of reality transferred from symbolism as a non-reality that does not reveal the reality of other objects, not the same object reflected in the mirror in the imagination. The structure of desire is not revealed and concealed, and there is no real image of the structure of unconscious desire of the person who sees the picture by looking at another object revealed in the mirror.

Symbols and reality are inconsistent through hidden concealment from absence to absence. The space in which an object reflected in the mirror has moved from sign to reality is realized as an invisible reality. At this time, the object loses the symbolism of the space that existed and the reality of the space embodied in the symbol is extinguished.

To reveal the concept of desire in the unconscious space is to draw a realistic image, which is the actual structure of the structure of desire in which the object appears to be a crooked image.

Realistic real comes from a clear concrete structure. Structural spheres have several cross-sections in three-dimensional form.

The cross-sections paint objects in multiple viewpoints at the same time, but in "morning glory", one cross-section and two sides are flattened into a structure at one point in time.

However, cubist paintings show the multifaceted complexity of the object's morphological structure without showing realistic perspective or a face that makes it feel voluminous, thus clearly revealing the physical structure by removing the sense of volume and shadow.

In other words, rather than reproducing the shape, what is recognized as a prescribed size as reality is summed up. This is seen as a real image in the form of an object as a crooked image of "Napal Flower" as a media art without a predetermined size at other times in the form of visual representation, and an cognitive representation tailored to the size with thread painting in which the object is stopped.

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

* The production process of the actual desire picture repeatedly designs a predetermined existence, that is, a place of an object that relies on instantaneous coincidence. The image drawn in this way is the actual picture "morning glory 2022-c", which was drawn on the back of the cloth using the images of chickens and chicks in Louis Choi Cheol-joo's "morning glory B-00-2-1".

The meaning of a desire object creates the concept of desire as a thought movement that replaces the image by combining the effects of unconscious language into images.

In other words, after creating the actual image of the desired object, <thread painting: morning glory 2022-c>, the design is repeated in the connection structure between the image and the redesigned image, and the deficiency is revealed, and desire appears as a semantic action instead of the unconscious desire structure as a resistance to the semantic action.

The image formed by the deficiency is the same as what the infant in front of the mirror saw, and the image of the object is identified as the same subject in the imagination, and internally, the subject forms a transformed image of desire.

The reality of the object is an image of reality reflected in the mirror by confirming the structure of a phenomenal reality that does not exist in an empty space on the back of the object.

In other words, the phenomenal real image may be an image in which the image of reality as a metaphor is reflected in a mirror, or another image that appears to be an imaginary shadow.

Therefore, Lacan's metaphor did not compare to an object, but replaced one signifier with another, and Cézanne made it possible to see the meaning of the form after a similar form was revealed rather than an imitative painting's return to the object.

The two fixed points where the symbolic image from unconscious desire to divided subject leads to the structure of desire and the intersection of divided subject and intersection are where the meaning is fixed.

Simultaneous and disclosure are the semantic functions of the fixed point. Here, the meaning of the picture is completed by the retroactive effect of the simultaneous function using embroidery and painting, and the disclosure function is a disclosure structure, or metaphor, that can be obtained from the source because it is hidden in the picture like language. And after simplifying the form into a practical landscape, dividing the object into a plane, and abstracting it by adjusting the reversible light of the other's desire with a subjective color at the point where light and shade intersect.

The simultaneous function of embroidery and painting is completed by the retroactive effect of the meaning of the painting, and the formal function is hidden in the painting like language, so the formal structure that can be obtained from the painting is a metaphor.

It also simplifies the metaphor form in the picture into a practical landscape, divides the object into a plane, and abstracts the others desire by adjusting reversible light to subjective colors at the point where light and shade intersect. (Choi Chul-joo's abstract art theory on thread painting)

Choi Chul-joo's desire design visualizes desire as an abstract image and symbolizes the concept of desire as a real image through a visual vector.

It uses reversible light to abstract the boundary between reality and unreality to create an unconscious abstract space, repeatedly designing abstract elements to conceptualize real images as a structure of desire, and inductively infer the concept of desire from these abstract images.

Therefore, the formative meaning of the actual painting in Louis Choi Cheol-joo's concept of design desire is as follows

The simultaneous function of embroidery and painting is completed by the retroactive effect of the meaning of the painting, and the formal function is hidden in the painting like language, so the structure of desire that can be obtained from the painting is metaphorical.

And in that desire structure, we abstract what others want by simplifying the metaphor form into a practical landscape, dividing the object into a plane, and adjusting reversible light at the intersection of light and shade into a subjective color./ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)

Conceptual Abstract Artist Choi Chul-joo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 49

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 [49] 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: 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: <From a lack of desire to a change of form, young voters want to watch Blackpink's The Show rather than campaign 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. Its reality goes beyond the concept of unconscious desire to specify desire as an image and reveals the position and shape of the reversible trace through the correlation with the conscious desire required by the time.

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 p122-From a lack of desire to a change of form, young voters want to watch Blackpink's The Show rather than campaign broadcasts on YouTube, a hand-painted picture on a computer, 2024

From a lack of desire to a change of form, young voters want to watch Blackpink's The Show rather than campaign 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.

Young Voters Want To Watch Blackpink 'The Show' Rather Than Election Broadcasts On YouTube. 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.

Therefore, the reality as an illusion that young voters want to see Black Pink's The Show rather than an election broadcast on YouTube forms an image reflected in a circular structure through a mirror, and candidates inserted into the unreal world are reflected in the mirror and fantasy objects are expressed in Black Pink. Here, the semantic action takes on a neutral symbolism by accepting the virtual image as a new subject according to the relationship between the image and meaning.

And Language Image Just like the function of functioning the desire structure into the unconscious desire concept by inserting a real image that deviates from the abstract structure, the desire image is structured into an aesthetic image as a function that constitutes a binary relationship of abstract desire so that culture can consciously recognize the subject of desire from desire and escape from other distortions based on the imaginary unconscious. / Writing. Choi Chul-joo, abstract concept artist

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 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

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 p48-9, a hand-painted picture on a computer, 2023

Choi Chul-joo's fantastic cartoon image <morning glory p34-4-1>, which depicts the candidate's face and the faces of the two candidates with images that do not exist in "Las Meninas", and abstract image <morning glory p48-9>, in which the candidate's face disappeared, are expressed as abstract images abstracted from cartoon criticism to the concept of desire.

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.

Louis Chul-joo Choi, morning glory window 2024-10-a shapeshifting from a lack of desire, 122X112cm, acrylic and composite materials on cloth, 2024

a shapeshifting from a lack of desire

The abstract demand for the lack of desire to rule the conceptual image of desire with the same motif as the visual structure is the symbol of the other.

The range of desire created a form of shape Shapeshifting in which the object was replaced by a structure of desire from one image to a picture effect.

The visual structure in which the object image of desire is transformed into a semantic effect is the encounter with a conceptual image in which unconscious desire is an attribute of an object.

This is a visual structure of desire, and a dancer who transforms to find chickens and fish repeatedly designs the concept of desire.

As an outline of reversible light according to language culture, fish that deviate from mythological imagination transform into a geometric real structure with size and direction.

Here, the transformation of the desire structure of the entire image faces theological rationalism and achieves an abstract concept transformation away from doubts about the subject of painting.

And it creates a correlated image of desire as a common form of desire inherent in abstractions drawn as real structures exposed to events and actions.

As desire and the expressive image of that desire are identified, the meaning of desire becomes a correlated image of desire that creates abstract symbolism

This aesthetic value is because images of known works, not painters, are repeatedly created as objects of desire.

The expressive image, defined as the correlation of the concept of desire, plays a role in creating the place and desire image according to temporality in the desire structure.

Cultural symbolism cyclically fixes the concept of desire, generalizing the lack of desire structure to abstract desire as an image of reality.

In this way, Choi Chul-joo's desire formula, which changes the form by turning the image of desire into a real image, abstracts the real image that creates the object of desire.

Choi Chul-joo, abstract concept artist

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 50

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 [50] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: Contemporary artist criticism criticizes contemporary art, which Louis Choi Chul-joo examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of works through visual art theory. Picture speaking language structure is a gaze reality image in which the image of abstract desire seems to be the meaning structure of the concept of desire. This approaches the aesthetic value, process, and artistry of contemporary art criticism along with contemporary art criticism as the concept of desire abstract design. And the criticism criticizes the reality of the concept of desire as the artistry of photography, cartoons, art, and design approaches the meaning of the work in the language structure.: Louis Choi Chul-joo, morning glory p110-7-window shadow-pond, a hand-painted picture on a computer

Louis Choi Chul-joo, morning glory p110-7-window shadow-pond, a hand-painted picture on a computer

an image of the desire projected by thought reflected in a pond

The image of desire projected by thoughts reflected in the pond is like a geometric cross-section of the pond beyond the boundary of desire that gathers like water on the surface of the water.

This notion of distorted desire is abstracted to fit into a pond of realistic morphemes with reversible shades of light.

The abstraction is the same as Choi Cheol-joo's desire design process. It creates a visual expression that explores the concept of desire through abstract forms and abstract conceptual structures,

And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.

This is an interactive element of unconscious abstraction, objectifying the desires of others through the design process of the concept of desire.

Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-4, a hand-painted picture on a computer