Art Critic Louis C [9]: 51~55
Contemporary Art Review by Louis Choi 9
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 [9/ 51~55] Contemporary art critic Louis Choi Chul-joo is a contemporary art critic who examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of a work with the theory of visual art. Picture-speaking language structure is a gaze reality image in which the image of abstract desire seems to be the semantic structure of the concept of desire. Contemporary art critic Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with the concept of desire abstract design along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of a work in the language structure and criticizes the reality of the concept of desire.
Contemporary Artworks Review & contemporary art sculpture [26] Example of contemporary artwork: Contemporary Art Critic Louis Choi Chul-joo's Art Review of installation artist artwork & Modern Art Review : Contemporary installation artist artwork [1] Contemporary Art Sculpture Symbolic Sculpture : Contemporary Artist Louis Choi Chul-joo Installation Art Review & Abstract Artist Louis Choi Chul-joo Design Review of Painting and Sculpture Design: Famous Installation Artist, Contemporary Artist, Abstract Artist, Conceptual Artist Installation Art Painting and Sculpture / Contemporary installation art work : Design of sculpture at Busan Museum of Art by Louis Choi Chul-joo
Louis Choi Chul-joo's concept of sculpture design: The search for artistic sculpture is based on the design environment of the sculpture and aims at human desire.
Busan Metropolitan City Budget Plan and Installation for the Installation of Sculptures at the Busan Museum of Art: Choi Chul-joo (2009)
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.
Choi Chul-joo (design), Haegeum Advertising (installation/construction), "Busan Museum of Art sculptures", 2009. 2
Sculptures of the Busan Museum of Art
The image that was revealed to be in the unconsciousness of others while commuting to and from the Busan Museum of Art was an image that allowed the Busan Museum to be viewed from the side for a moment. This is a modified and reduced image seen in the perspective visual system. In other words, it is a virtual image of the Busan Museum of Art and a real image as a simplified image without seeing the space between the bars in front of the Busan Museum of Art.
This is an image revealed by desire in the process of repeating Lacan's visual theory, and is formed as a symbolic sculpture as an effect of semantic action as it is replaced by other images according to metaphors. In the sculpture as a work of art, the simplified image of the object is recognized as a quantified visual perception form at the perspective level, so there is a limit to the approach of desire. This is an object in a subjective sense that meets through the alienation process of others. It is because it exists momentarily and disappears into the realm of unconsciousness.
The formation of a missing object with a lacanic design is Lacan's formula "f(S...S')S=˜ S (-)s". The connection structure(S...S') of the image and the image according to "f(S...S')S=˜ S (-)s" is a design deficiency(-), that is, the desire that has disappeared unconsciously after repetition, is rendered from the unconsciousness of others by the effect of design semantic action (fS).
According to the Lacan's metaphorical formula "f(S/S')S = ˜S(+s), rendering as an original image is replaced by an object (S/S') as another image, and meaning (s) 'object ɑ' is converted into an image through rendering as an original image.
This is to convert the modified image from 'Work. 5.4' to 'Fig. 5.3' rendering to 'Object ɑ'.
Work. Symbol type desire design: Rendering of drawing images revealed from a desire perspective
As a curator at the Busan Museum of Art at the time, Choi Chul-joo wanted to reveal the reality of the sculpted autographs and sculptures through the desire design process, assuming that the actual perspective of the painting was applied to the design.
Signs and sculptures that are intended to identify with the natural environment are to cause cognitive changes to occur in the natural environment and re-recognize the changed image as a representative image included in the natural environment.
The image of surreal painting out of reality is an image revealed from the unconscious. Language is an image as a subject through a chain of signs and constructed unconsciousness. This form of desire design is the cognitive form revealed in the sign. The symbolic meaning of the linguistic structure system contained in this sign is meaning of image. This is the result of external design and is a symbolic sign and sculpture.
Signs and sculptures as symbolic signs communicate with viewers as design intentions. Designers create a concept of design intentions, and as symbolic signs, signatures and sculptures communicate cognitively at the place where they are installed. Here, signs and sculptures are symbolic designs in image forms and letters as signs.
This is an image language used as a symbol on a business card as a symbol of the Busan Museum of Art.
The Busan Museum of Art's desire design was symbolized as an image of a symbol and a facade. This is a sign and sculpture that reveals the meaningful concept of the Busan Museum of Art as a reality. Although 10 years have passed since the opening of the Busan Museum of Art, there are no autographs or sculptures around the museum from a gaze perspective. In this case, in order to raise the museum's awareness by examining, symbols and logo types that symbolize the art museum's building shape or art museum image that have become familiar to visitors' eyes are used rather than new autographs and sculptures.
Therefore, the designs of the Busan Museum of Art's autographs and sculptures were designed as sculptures that harmonize with the ext
erior shape of the building and the surrounding environment. The façade of the building illustrates the characteristics of the structural form, but it is flat. In order to produce this into autographs and sculptures, it was designed in harmony with the surrounding environment to reveal the shape of the building in three dimensions and attach new symbols and logo types. The location of the autographs and sculptures is suitable for being visible from the entrance where the user's movement begins or from the parking space on the ground. It is a place where the inner outer side of the ground parking lot faces the road at the entrance on the first floor of the Busan Museum of Art, and is suitable for the location of the Busan Museum of Art's autographs and sculptures.
In addition, the design of the Busan Museum of Art's signboards and sculptures simplified the exterior shape of the museum and considered harmony that matches the surrounding environment. As a desire design in the form of symbols, work 5.3 excludes the left and right forms based on four repeating units (M) in front of the Busan Museum of Art. Considering that the area around the museum is a beach, the existing pine trees behind the installation site were maintained. And it is designed so that the pine trees in the back can be seen well and the wind can flow by giving a gap. The symbol and logo type were attached to the second bar (M) from the center to the right access road.
Photographs: View of the Busan Museum of Art
Symbol Type Desire Design: Work 5.3 View of the Busan Museum of Art, Sign Language (Plan), and Symbol Type of the Busan Museum of Art
In Work 5.3, as sign image (signature language=plane plan) is replaced by another sign image (symbol type=S/S'), the original sign image (S-signature language=plane plan) becomes significant (s=symbol). This states that according to the metaphorical formula f(S/S')S = ˜ S(+) s, the effect (fS) of semantic action in which one sign is replaced by another sign is congruent with crossing the stick (+) (=).
As a reality, by constructing an object ɑ with the desire of the other in the sign and sculpture, the object ɑ captures the spirit of the sign and sculpture as a new sign according to the desire of the other in the relationship between the sign and the sign of the visual system. The object ɑ revealed in the desire of the other is another sign that creates the meaning of the Busan Museum of Art's autographs and sculptures, and combines the symbolic typeface to make the meaning of the Busan Museum of Art a desire for the other.
In addition, the perceptual images of signs and sculptures are symbolic spaces of meaning. Signs and sculptures that symbolize the meaning of the Busan Museum of Art are structural systems that convey the meaning of the museum by repeating the front-shaped image of the Busan Museum of Art. This is the intention of the design contained in the signature and sculpture of the Busan Museum of Art, and is revealed in the connection of the organizational system of image and meaning. Here, the signature and sculpture as images convey the meaning of the exhibition to the user as an art museum image.
As the exhibition is installed, the meaning of space is formed, and a new understanding that is revealed in that meaning is created. Therefore, the external shape of the building in the repeated new exhibition, that is, the exterior of the building, is not directly related. However, the exterior of the building is fixed and is always located in the same place. This is an image of space and is a symbolic meaning that reveals the exterior of the building.
Signs and sculptures depict the exhibition meaning of the Busan Museum of Art as a cognitive element to viewers. Here, the concept, sociality, and artistry of the desire design are contained as meaningful contents. This is because the desire design is a linguistic structural system and has similar signatures, sculptures, and building structural systems, such as the relationship between image and meaning. Therefore, the unconscious has given aesthetic value by exploiting Choi Chul-joo's theory of abstracting desire art so that language can reach the subject.
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, it is linguistic abstraction of the same meaning that realistically embodies the other person's desires in a momentary event.
Verbal abstraction is a conceptual art with a sign sculpture as a cultural background. Abstraction creates a conceptual structure based on concepts created by rendering the shape of subsequent reality fostered by language, hiding the desires of others in momentary events and exhibitions.
The concept in rendering is a symbolic language created by a chain of signs in the unconscious. In other words, it captures what is invisible in the repeated reality of images. This is a linguistic concept in the design process that influences cognitive themes and is created as a subject. This is the effect of applying Choi Chul-joo's theory of abstracting desire art to the structure of desire to have a linguistic symbolic system.
The image revealed by unconscious memory due to a chain of notation in language, that is, a concept, as a subject is an object ɑ. The structuralist image of such a symbolic system is revealed through the process of alienation and division. It acts as a process in the design of the desire structure.
Alienation is a choice that is subordinate to the subject along with the entry into the language that belongs to the regulation of life, the other who chose the symbolic image. This is an image of the subject. Therefore, the design choice of the desire structure has the symbolism of design as a subject while replacing the meaning with another image. This is to select the symbolism of the design from the meaning of the image created by the desire structure to be the subject, that is, the image revealed as an existence in the unconsciousness of the other.
The image revealed as a being in the others unconsciousness was the image of the exterior that allowed a momentary view of the Busan Museum of Art from the side.
Fig. Desire Design of Sculptures.1 Forming an object ɑ by designing a desire image (rendering)
The desire sculpture with symbolism exists in reality as an object ɑ due to the desire of others, and the object ɑ is concealed by leaving the meaning of existence as an image of desire. Here, the repetition process of revealing the object ɑ finds a lost existence that was concealed in the unconsciousness of others through the relationship between the subject and the "object ɑ" that is lacking according to the formula (＄◇a) that emerges an illusion. This repetition process derives an image of a sculpture that reveals a desireful subject within existence.
This is the formula < f(S...S')S=˜ S (-)s> that regenerates the image...The connection structure between the image and another image according to < f(S...S')S=˜ S (-)s> Design deficiency (-), that is, the desire that has disappeared into the unconscious during repetition in S'), is the effect of design meaning action (fS), which renders the image of the desire subject in the other's unconscious to create a desire image.
According to the formula <f(S/S')S = ˜ S (+) s> that adds this meaning, the rendering of the desire subject as the original image is replaced by the object ɑ as another image (S/S') and the sculpture is formed as the object ɑ changed from the rendering of the desire image as the meaning (s) of the image.
According to the repeated process of deriving the image of desire and adding the meaning of the image, the application to the exhibition sculpture design reveals the image of desire <f(S...S')S=˜ S (-)s>. The connection structure between the image and another image according to <f(S...S')S=˜ S (-)s> Repeating it in <f(S...S')S=˜ S (-)s>, rendering is replaced by a sculpture as an image in a different sense (S/S'), and the original image (S-rendering) becomes an imaginary meaning (s-sign).
According to the formula <f(S/S')S = ˜ S (+) s> that reveals meaning, the effect (fS) of semantic action in which rendering changes to a sculpture as another image (S/S') is said to be combined with crossing the rod (+) forming the sine sculpture (=).
Work. Sculpture Desire Design. 4. Signed sculpture of Busan Museum of Art formed by Desire Design 2
Work 5.5 is an image revealed as a being in the unconsciousness of the other through the other's desire thinking at a perspective point in which the desire image appears to be a real image. If the material of the sign and sculpture is real, the image of the sign and sculpture is a symbolic image. In other words, the image of desire revealed in the desire of others becomes a symbolic image of the Busan Museum of Art based on the iron of reality revealed as an existence in the unconscious.
The desire to identify with the natural environment image is that cognitive changes occur in the natural environment and the changed image is re-recognized as a symbolic image included in the natural environment. This suggests that the object ɑ of desire existed in the unconscious desire of others as it was momentarily revealed in the desire design sculpture.
Work. Sculpture Desire Design. 5. The moment when the object ɑ is concealed and disappears in the unconsciousness of the other as an image of desire in the sculpture formed by Desire Design 2
Work. Sculpture Desire Design. The object ɑ as an image of desire in 5. is concealed in the unconsciousness of the other. It disappears in the unconscious desire as the exhibition component, or sculpture, is formed in the perceptive image seen in the place (place) of the moving element in the exhibition space. This is because the object ɑ is not visible in the perspective visual system.
Photo. Sculpture Desire Design. 1 Busan Museum of Art Signs and Sculptures
Photo. Sculpture Desire Design 1. The autograph and sculpture of the Busan Museum of Art are photos of three-dimensional sculptures made of real materials. Sculpture always in the same place (located) as installed in Desire Design 1.
As the sculpture disappears, it gets another meaning of the sculpture created by installation.
Since the gaze area of desire is a linguistic structure system, repetition is a language that forms identity by the difference between unconscious habits and repeated images, the signs and sculptures of the Busan Museum of Art were repeatedly installed with empty spaces and vertical bars.
Overall, this has a complex visual effect that appears to be the shape of the Busan Museum of Art facade. Each vertical bar is a part of the entire façade and is a symbolic installation with the continuity and difference of the image.
This is the same shape outwardly, but it makes the shape of the other's desire that is momentarily visible from the gaze point of view be contained in the other's unconsciousness. Therefore, the sculpture through desire design becomes a reality formed by the desire of others. The reality here is the reality as the material of the sculpture. Louis Choi Chul-joo's Desire Design 2 installed the sculpture through rendering expressed from the language of desire images separated from reality.
In the cognitive communication system, object ɑs were formed according to the results of design application to exhibition sculptures through Lacan theory. As an environmental art, the desire design sculpture was formed by a new design. Along with ready-made objects that give new meaning to ready-made products, the representative material of environmental sculptures is steel art.
It is a sculpture suitable for the morphological form of the sculpture revealed in the desire design. Steel, the material of the sculpture, is an opportunity to change the exhibition space into the natural environment, is a ɑ object of the desire to recognize locality while appearing in a three-dimensional form in the space of the natural environment, and is a sculpture of Desire Design, a work of art that newly reveals the visual shape of the place environment and changes the natural environment.
Nevertheless, the Busan Museum of Art has eliminated a representative sculpture that lasted more than a decade, just like a white cube exhibition space that repeats a new form of exhibition. /Writing. a former Curator Choi Chul-joo at the Busan Museum of Art
Contemporary Art Critic Louis Choi Chul-joo----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 51
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 [51] 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: Louis Chul-joo Choi, Rendering of the couple's world set in the 'morning glory' of Desire, 112X162cm, acrylic and composite materials on cloth, 2024; Conflicts concealed by the abstract desires of the married couple's world reveal real images that can experience the meaning of desire, constructing an abstract line space in which the effect of confrontational conflict occurs.
This is an abstract real image that causes misunderstanding in the existential dimension, and it is an abstract painting that sets a clear place by comparing it with the morning glory, which is the background of desire.
Louis Chul-joo Choi, Rendering of the couple's world set in the 'morning glory' of Desire, 112X162cm, acrylic and composite materials on cloth, 2024
Rendering of the couple's world set in the 'morning glory' of Desire
The background of flat desires, such as morning glory, bamboo forests, and ponds, varies over time.
Thus, the reality of the concept of desire as an image of events and performances in the background of desire consists of reversible shades of light
Here, the space is determined by a watch with multiple gears combined, but the gears keep the space.
Choi Chul-joo's concept of abstract desire equates reality with space by creating a space with reversible light, stopping the existence of desire in abstract reality like the gears of a clock, and reducing the change to the shade of light. (Definition of the concept of Choi Chul-joo's desire)
Sketches of the couple's world take place in the morning glory, the background of desire. In that place, the couple sketches with desire as the subject of the image before the desire disappears.
This allows the couple's world to decide the space beforehand to be satisfied.
Therefore, designing the abstract concept of the concept of desire is a suitable plan for the marital world as a space of life.
This is to pave the way for an abstract concept of desire to sketch a real that draws the couple's world into the line space.
According to the news images of events and performances as subjects, morning glory, bamboo forest, and pond, which are the background of desire, are embodied as symbolic places in real images.
Therefore, the abstract structure of contemporary art is realized by the concept of desire as a reversible shade of light that implies the desired desire structure beyond the actual structure of the subject.
This is a metaphor in which the real image represents the concept of abstract desire, and by emphasizing the concept of desire as a phenomenal structure, the concept of desire is appropriately disposed of in the real image. In other words, abstract desire is described as a real image as a linguistic concept
It reads the abstract language of desire as a real image, specifies the concept, and is subordinate to desire.
This replaces the abstract concept of desire with reality, erasing the concept from a reversible shadow of light into a symbolic image.
Here, the rendering of the concept of desire forms a real structure that verifies reality as an image of the concept of abstract desire and abstracts it into an aesthetic structure.
Louis Chul-joo Choi, morning glory-A couple's world set in the 'morning glory' of Desire-sketch 1, 112X162cm, acrylic and composite materials on cloth, 2024
A couple's world set in the 'morning glory' of Desire
When a couple breaks away from the correlation of desire and enjoys desire with another boss, the couple reveals existential meaning in the correlation faced by the subject of inappropriate desire as a structure of confrontation according to sociality.
The behavioral reality in the play is destroyed, and the narrative structure of desire shows the confrontation and conflict of correlations.
This abstracts the confrontation of inner desires in the morning glory, which is the background of desire, as the meaning of unconscious language structure is the real image of the correlation.
Therefore, painting, which abstracts the desires of the couple's world, does not compare desire as a correlation, but replaces desire with confrontational conflict and realizes it. The real image replaces the phenomenon with a conflict image and creates an objective image that is opposed to desire as a correlation between opposing desires.
The objective gaze of desire constitutes a correlation as a being according to unconscious desire and creates a pictorial framework tailored to the linguistic semantic structure that interprets it as a real image of desire with existential significance faced by the desires of others in the phenomenal space.
In this way, the image of desire tailored to the linguistic meaning structure is interpreted as a real image of desire with an existential meaning faced by the other's desire in a phenomenal space, and the background of desire is composed like a distant image using spumato techniques so that traces of temporality overlap and the surface of the object overlaps with reversible traces of light.
Like Da Vinci's Mona Lisa, the color light reflected sloping from the underlying surface of the skin is produced between small holes on the back of the shaded fabric and depicts the real structure of a woman who contains desire.
In this way, the objectivity of the external structure is secured so that the abstract unconscious structure of women expressing conflict in the couple's world can be considered phenomenally.
In "A couple's world set in the 'morning glory' of Desire" the background of social phenomena and desires, the couple aims for a contradictory appearance, but it is intended to camouflage their desire to deny decision-making relationships and justify the phenomenon of desire.
This is identified with the reality of freely finding a desire to stop judging the couple's empirical phenomena, reduce the desires of others to unrealistic phenomena, and form confrontational relationships because the couple's world aims for ideal happiness.
In the marital world, desires and phenomena are combined into an unconscious desire structure to hide conflict in the disclosure structure as a linguistic meaning and recognize the meaning of desire that is out of alignment.
This darkens the morning glory with a reversible shade of light and repeatedly designs the image of desire as a linguistic meaning to reveal the phenomenon of an abstract couple that forms a confrontational relationship as the subject of desire as a structure of reality.
The actual image revealed in this way enables the desire to obtain the desired way from an object that causes conflict, not desire, under the influence of the concept of desire.
Here, the design of the concept of desire as an abstract reality structure transitions the abstract frame of looking at desire into the abstract design process of the concept of desire through Choi Chul-joo's concept of desire, and the abstract structure is transferred to the actual structure so that desire can be viewed as a gaze that makes you stare at reality.
Conflicts concealed by the abstract desires of the married couple's world reveal real images that can experience the meaning of desire, constructing an abstract line space in which the effect of confrontational conflict occurs.
This is an abstract real image that causes misunderstanding in the existential dimension, and it is an abstract painting that sets a clear place by comparing it with the morning glory, which is the background of desire./ Writing. Choi Chul-joo, abstract concept artist
Choi Chul-joo, abstract concept art critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 52
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 [52] 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: Louis Chul-joo Choi, Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire, a hand-painted picture on a computer, 2024; The overall size in the shadow of light is positioned as a range that appears to be a reversible shadow of light. The background of the object is decorated with morning glory, bamboo forest, and pond with universal reality colors that match customs so that reality has an aesthetic value that corresponds to its place as a single stage.
The concept of desire, which illuminates the abstraction of the concept of desire by putting it in a photo as a momentary impression of events and performance images, clearly realizes the linguistic meaning of the image, and inductively illuminates the concept in a reversible shade of light, resulting in a universal reality.
Louis Chul-joo Choi, morning glory p124-2-1-Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire, a hand-painted picture on a computer, 2024
Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire
Conceptual image of desire is a background image of desire, and by juxtaposing the concept of event news cartoons and performance images in abstract spaces such as morning glory, bamboo forests, and ponds, it explores the intersection of conceptual desire and real images with a unique combination of reality and abstraction.
Here, the concept of abstract desire identifies the space created by reversible light, stopping the existence of desire in phenomenal reality, like the gear of a stationary clock, and reducing changes in the shade of light. Unconscious desire repeatedly designs objects that can be abstracted as a correlation between the concept of desire hidden in temporality and the real image.
This is to create a picture structure in which the object of desire appears as an abstract object by using the other's desire as the subject of desire that passed Concept of desire as an image, which is repeatedly designed as a correlation between desire hidden in temporality.
Therefore, in a universal abstract structure suitable for custom, the subject of desire decorates the object with real colors so that the reality of the abstract structure expressed as the concept of desire as a picture structure has an aesthetic value corresponding to the place as a single image.
In this way, Concept of desire does not presuppose causality with the real image, but results in an abstract image as a correlation between the real image in order to escape from the misunderstanding that has shifted from the abstract concept to the real structure.
The actual image is shaded with reversible light and placed on the gaze of desire. In addition, it clearly embodies the linguistic meaning of the concept of desire, which decorates the background of desire with morning glory, bamboo forest, and pond, which are the background of the gaze, and illuminates the concept of instantaneous desire for events and performances with abstract pictures.
In addition, the desire image that illuminates the abstractness of the desire concept is captured instantaneously, embodying the linguistic meaning of the image, and the abstract image of desire that illuminates the concept with inductively reversible shades of light results in universal reality.
The overall size in the shadow of light is positioned as a range that appears to be a reversible shadow of light. The background of the object is decorated with morning glory, bamboo forest, and pond with universal reality colors that match customs so that reality has an aesthetic value that corresponds to its place as a single stage.
The concept of desire, which illuminates the abstraction of the concept of desire by putting it in a photo as a momentary impression of events and performance images, clearly realizes the linguistic meaning of the image, and inductively illuminates the concept in a reversible shade of light, resulting in a universal reality.
Louis Chul-joo Choi, Rendering of the couple's world set in the 'morning glory' of Desire, 112X162cm, acrylic and composite materials on cloth, 2024
Rendering of the couple's world set in the 'morning glory' of Desire
The background of flat desires, such as morning glory, bamboo forests, and ponds, varies over time.
Thus, the reality of the concept of desire as an image of events and performances in the background of desire consists of reversible shades of light
Here, the space is determined by a watch with multiple gears combined, but the gears keep the space.
Choi Chul-joo's concept of abstract desire equates reality with space by creating a space with reversible light, stopping the existence of desire in abstract reality like the gears of a clock, and reducing the change to the shade of light. (Definition of the concept of Choi Chul-joo's desire)
Sketches of the couple's world take place in the morning glory, the background of desire. In that place, the couple sketches with desire as the subject of the image before the desire disappears.
This allows the couple's world to decide the space beforehand to be satisfied.
Therefore, designing the abstract concept of the concept of desire is a suitable plan for the marital world as a space of life.
This is to pave the way for an abstract concept of desire to sketch a real that draws the couple's world into the line space.
According to the news images of events and performances as subjects, morning glory, bamboo forest, and pond, which are the background of desire, are embodied as symbolic places in real images.
Therefore, the abstract structure of contemporary art is realized by the concept of desire as a reversible shade of light that implies the desired desire structure beyond the actual structure of the subject.
This is a metaphor in which the real image represents the concept of abstract desire, and by emphasizing the concept of desire as a phenomenal structure, the concept of desire is appropriately disposed of in the real image. In other words, abstract desire is described as a real image as a linguistic concept
It reads the abstract language of desire as a real image, specifies the concept, and is subordinate to desire.
This replaces the abstract concept of desire with reality, erasing the concept from a reversible shadow of light into a symbolic image.
Here, the rendering of the concept of desire forms a real structure that verifies reality as an image of the concept of abstract desire and abstracts it into an aesthetic structure.
Louis Chul-joo Choi, morning glory-A couple's world set in the 'morning glory' of Desire-sketch 1, 112X162cm, acrylic and composite materials on cloth, 2024
A couple's world set in the 'morning glory' of Desire
When a couple breaks away from the correlation of desire and enjoys desire with another boss, the couple reveals existential meaning in the correlation faced by the subject of inappropriate desire as a structure of confrontation according to sociality.
The behavioral reality in the play is destroyed, and the narrative structure of desire shows the confrontation and conflict of correlations.
This abstracts the confrontation of inner desires in the morning glory, which is the background of desire, as the meaning of unconscious language structure is the real image of the correlation.
Therefore, painting, which abstracts the desires of the couple's world, does not compare desire as a correlation, but replaces desire with confrontational conflict and realizes it. The real image replaces the phenomenon with a conflict image and creates an objective image that is opposed to desire as a correlation between opposing desires.
The objective gaze of desire constitutes a correlation as a being according to unconscious desire and creates a pictorial framework tailored to the linguistic semantic structure that interprets it as a real image of desire with existential significance faced by the desires of others in the phenomenal space.
In this way, the image of desire tailored to the linguistic meaning structure is interpreted as a real image of desire with an existential meaning faced by the other's desire in a phenomenal space, and the background of desire is composed like a distant image using spumato techniques so that traces of temporality overlap and the surface of the object overlaps with reversible traces of light.
Like Da Vinci's Mona Lisa, the color light reflected sloping from the underlying surface of the skin is produced between small holes on the back of the shaded fabric and depicts the real structure of a woman who contains desire.
In this way, the objectivity of the external structure is secured so that the abstract unconscious structure of women expressing conflict in the couple's world can be considered phenomenally.
In "A couple's world set in the 'morning glory' of Desire" the background of social phenomena and desires, the couple aims for a contradictory appearance, but it is intended to camouflage their desire to deny decision-making relationships and justify the phenomenon of desire.
This is identified with the reality of freely finding a desire to stop judging the couple's empirical phenomena, reduce the desires of others to unrealistic phenomena, and form confrontational relationships because the couple's world aims for ideal happiness.
In the marital world, desires and phenomena are combined into an unconscious desire structure to hide conflict in the disclosure structure as a linguistic meaning and recognize the meaning of desire that is out of alignment.
This darkens the morning glory with a reversible shade of light and repeatedly designs the image of desire as a linguistic meaning to reveal the phenomenon of an abstract couple that forms a confrontational relationship as the subject of desire as a structure of reality.
The actual image revealed in this way enables the desire to obtain the desired way from an object that causes conflict, not desire, under the influence of the concept of desire.
Here, the design of the concept of desire as an abstract reality structure transitions the abstract frame of looking at desire into the abstract design process of the concept of desire through Choi Chul-joo's concept of desire, and the abstract structure is transferred to the actual structure so that desire can be viewed as a gaze that makes you stare at reality.
Conflicts concealed by the abstract desires of the married couple's world reveal real images that can experience the meaning of desire, constructing an abstract line space in which the effect of confrontational conflict occurs.
This is an abstract real image that causes misunderstanding in the existential dimension, and it is an abstract painting that sets a clear place by comparing it with the morning glory, which is the background of desire./ Writing. Choi Chul-joo, abstract concept artist
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 53
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 [53] 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: morning glory p100-17-2-an incompetent driver who accidents on a safe railway: The eyes on the picture see a desire 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, desire object means a concealed aesthetic structure as an entity revealed in the desire gaze system, not a non-real image in the perspective visual desire system.
Louis Chul-joo Choi, morning glory p100-17-1-an incompetent driver who accidents on a safe railway, a hand-painted picture on a computer
the Choi Chul-joo desire conceptual abstract art theory system
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 desire object, the meaning of hidden aesthetic structure, as a symbol of space rather than reality by the meaning of desire.
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 desire object 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.
It is difficult to reveal the desire object 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 a desire object.
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.
Louis Chul-joo Choi, morning glory p100-17, a hand-painted picture on a computer, 2024
The anamorphosis image of the desire of the other person who is difficult to replicate is the meaning desire object of the concealed aesthetic structure as an existence.
Here, the anamorphosis image is an object 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 desire object as a being through the Choi Chul-joo desire conceptual abstract art theory system, the virtual image becomes real.
Desire object is hidden in the geometric schematic of perspective that reproduces objects and is momentarily revealed by the desires revealed in the unconscious.
The desire object 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 desire object to reveal artistry.
The artistry here reveals the desire object 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, which has become a concealed aesthetic structure as an existence, acquires artistic meaning with creativity and autonomy.
"morning glory" depicts an image created by the unchanging image of an morning glory, and the form of a thread painting drawn in a cloth shape with a grid illuminated on the back is a real picture. This is a poster of "morning glory" as an abstract painting on a computer, which follows the shape of the thread picture by shading the object of desire and the background.
In other words, the actual picture is a form in which the position of the non-realistic painting with reflected light is extended to the unchanging image of the lattice hole illuminated on the back. The meaning of the form is the desire of others decorated with the color of spatial light that expresses the reality of universality in the wind speed facing the morning glory as a real picture. In contrast to this decorated form of light, the dark space is a shadow created by staying in one place. Here, as a real object being, color is an image of a side familiar with the custom of seeing with the gaze. Meaning is a symbolic language that symbolizes an imitated flower. Therefore, the flower image as the background of desire manually done by the computer models a hidden aesthetic structure that means the object of desire symbolized in the non-real space due to its linguistic meaning.
Desire object is an object revealed in Choi Chul-joo's abstract art desire conceptual theory as a 'gazing' from the perspective of desire and rational thinking from a perspective.
Therefore, the desire object 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 a desire 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, desire object means a concealed aesthetic structure as an entity revealed in the desire gaze system, not a non-real image in the perspective visual desire system./ Writing. Choi Chul-joo, conceptual abstract art critic
Choi Chul-joo, abstract concept art critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 54
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 [54] 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: Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024: The image of actual desire is an abstract desire in which the subject has disappeared instead of a being in which the subject is divided. The desire and the subject of abstract reality combine to stare at reality from the repressed unconsciousness and reveal reality from the subject's inadequacy to satisfy reality.
And in order to reveal reality from the subject's inadequacy, desire and abstract reality images combine.
Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024
A chick Abstracting Desire from Dinosaurs into Reality
The concept of abstract desire according to temporality creates space for dinosaurs created by reversible light, stops the existence of desire in phenomenal reality in the connection of clock gears, and identifies it with the space of the concept of desire that chicks personified by reducing the change to the shade of light were mistaken for chickens.
Human desire goes beyond survival as a subject who began the desire for survival from dinosaur fossils after the earth's crust was created and the geological era passed.
A chick, such as a baby, is mistaken for a chicken and confronts desire as a lack of desire exists.
Dinosaurs are traces of empty spaces where desire does not exist according to temporality, that is, empty spaces where deficiencies do not face.
]As the background of desire, "morning glory" forms a conceptual abstraction that replaces the concept of abstract desire with a real image by overlapping the image of events and performances as the subject of desire, "Bamboo Forest" forms a shade as the temporality of light, and "Pond" as a mirror reflecting reality.
The subject and background of desire chain the concept of extraneous desire, symbolic design, and the subject becomes real as a verbal semantic action, and the background transfers the unconscious image through the verbal semantic action of the subject to reality.
The subject of the symbol, which symbolizes the concept of abstract desire, shows a state concealed by the existence of unconscious desire symbolized by the meaning of the symbol.
Unconscious desire is a correlation of desire hidden in temporality, and repeatedly designs objects of desire that dinosaurs and chickens can abstract.
The unconscious attempts to consciously express an object lacking the subject of existence, which is an instinctive motive tailored to the actual structure, and consciously attempts to represent an object lacking the subject of existence that has replaced the object consciousness lacking self-consciousness with self-consciousness.
In order for self-consciousness to consciously express the object of unconsciousness, the object lacking the object of abstract desire is recognized as a linguistic meaning through conscious movement, and the concept of desire to recognize the essential existence of the object of instinctive desire is specified as abstraction.
It creates an image with a design that determines the linguistic meaning of the concept of desire, and hides the abstract concept of desire in the structure of reality in which symbolic symbols are designed. As an abstract object of desire as the subject of design, chicks appear in a mirror as chicken reflecting abstract objects to create a hidden structure of reality through linguistic meaning, and create a space where the mirror image of reality and the subject of reality are identified.
An image is created by designing the linguistic meaning of the concept of desire, and the abstract concept of desire is concealed by the structure of reality, so that the structure of reality and the concept of desire through linguistic meaning are identified to form an image of reality that causes meaning.
As a result, the subject of desire creates an object with the color of the actual image in a linguistic abstract structure that matches the custom so that another reality of the abstract structure represented by the concept of desire as a linguistic semantic structure has an aesthetic value in accordance with the position as a single image.
In this way, the concept of desire does not presuppose causality with the real image, but embodies the object of desire to escape from the misunderstanding that has shifted from the abstract concept to the structure of reality, and intervenes in the place of existence with 'morning glory' as the background of desire, resulting in an abstract real image of the concept of desire as a correlation between real images. In other words, the existence of desire results in a real image abstracted from the object of the concept of desire without opposition to the concept of desire as the correlation of the real image.
Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024
Desire resulting in a real image can acquire the result of a new reality that does not exist in the perspective visual system space, that is, an abstract real image, by repeatedly passing through the abstract design process as a concept of desire.
However, the absence of an abstract design process consequently achieves an abstract ending and stops with a lack of desire. This is a small piece containing a pictorial abstract structure of the formability of lines, planes, and colors as an interruption stage of desire that is difficult to interpret. Here, Romantic painters destroyed the form in a situation where paintings were lacking compared to photographic images. They reconstructed the shape of the object with optical principles and mechanical configurations to express reality as an abstract structure.
Like monitor pixels, the canvas shows a voluminous pattern of small square dots on a black cloth that are symmetrical to the left and right and symmetrical to the top and bottom.
To increase the size of pixels from the canvas to image elements, increase the size of the image to make it look clear, separate the color light and shade of reversible light to focus on a certain distance from the canvas, illuminate several parts, and superimpose multiple intuitive representations as a conscious action of the concept of desire.
An image that represents desire as a correlation of the concept of desire is an abstraction that expresses a concept by specifying it as an image that is unconsciously and intuitively omitted from the entire form as desire in the shade of reversible light with the same linguistic meaning.
Choi Chul-joo's Desire Concept Abstraction Design is a modern art movement as a new abstract art methodology that realizes the concept of modern abstraction, transformed from romantic painting to abstraction, as a real image.
One conceptual art creates a double place with the concept of the selector's desire, not abstract, and overtakes abstract conceptual art in that double place, and repeatedly designs reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as a subject.
The conceptual aesthetics of shapes that designed the reality of desire are aesthetic experiences as values of life.
The lack of empirical desire acquires value by satisfying the lack of desire as a result of the form of designing objective reality.
This is the concept of the other's desire to achieve semantic correlation through empirical consciousness movements due to the lack of objects of desire.
Therefore, as a result of the concept of desire, the subject of the event and action image contains the concept of occlusion with the desire structure.
And like the image of the subject who moved the lighting and background for shooting, the shape of the actual image is a shade of black background, so the actual image is adjusted to have aesthetic value with the concept of desire consistent with the subject.
Therefore, the actual image is omitted as a shade and placed in the range of light, so that the actual image has an aesthetic value that conforms to the custom, and the structure and background of the actual subject are placed in black like the image of the subject transferred to the film.
The concept of desire, which illuminates the abstraction of the concept of desire by putting it in a photo as a momentary impression of events and performance images, clearly realizes the linguistic meaning of the image, and inductively illuminates the concept in a reversible shade of light, resulting in a universal reality.
This settles into the essence of reality, where the reversible shaded structure of light that existed in the place of reality is tailored to the concept of desire so that the real phenomenon can embody the abstract concept.
Here, the concept of abstract desire momentarily embraces reality, as if printing an image of a shaded subject of reversible light on a slide film against a black background.
In the intermediate stage of representing the reality of the concept of desire as an image, desire is accurately perceived among various concepts of abstract desire, and it is distinguished as an image, replacing it with a lack of desire.
Recognizing sensitized images is because the image that immediately recognizes the desired image in a distorted form and the image of the film capturing the moment are the same.
Objects arising from the absence of desire allow real images of the same dimension as linguistic meaning to exist in imperfect experiences in objects of unsatisfactory desires abstracted from the unconscious.
Desire is a being who does not possess a place where non-existent deficiencies remain.
Therefore, as a subject lacking from dinosaurs to anthropomorphized chicks, beings that symbolize the linguistic meaning of desire are abstracted as the substance of the concept of desire. In other words, as a past or death and existence symbolized by dinosaurs, chicks represent the semantic existence of symbols abstracted by lack of desire as a concept of desire as an existing reality.
The representation classifies the concept of desire into an empirical desire structure by covering the shade of light with black and transforming the concept of desire into an empirical desire structure, and classifies the concept of desire into an abstract design system.
And, in the abstract design system, the concept of desire is classified into an empirical desire structure, classifying the form, and dividing it into reflective color light that changes to the existing reality form to change the form into the existing reality shape.
This is a method of designing the abstract concept of desire in reality as a real image as a conscious movement between the pixels of the image and the structure of desire with events and performances as the subject.
The abstraction of chicks, which personified reality in dinosaurs as the reality of the concept of desire, identifies the real image of existence as a result of inducing desire motives by a being who made the abstract reality of a being concealed from the reality of a desire event.
Here, the design effect of the concept of desire concealing the cause of the event as a realistic being separated from reality is the abstraction of the real image.
The image of actual desire is an abstract desire in which the subject has disappeared instead of a being in which the subject is divided. The desire and the subject of abstract reality combine to stare at reality from the repressed unconsciousness and reveal reality from the subject's inadequacy to satisfy reality.
And in order to reveal reality from the subject's inadequacy, desire and abstract reality images combine./ Writing. Choi Chul-joo, abstract concept art Critic (Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 55
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 [55] 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: Louis Chul-joo Choi, a woman of the Joseon Dynasty reflected in a pond, 112X122cm, acrylic and composite materials on cloth, 2024: Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
Louis Chul-joo Choi, a woman of the Joseon Dynasty reflected in a pond, 112X122cm, acrylic and composite materials on cloth, 2024
A Woman in the Joseon Dynasty Reflected in a Pond
Appropriate plants and fish were artificially cultivated in the ornamental pond. According to modern records, a woman in Joseon records her marriage and birthday with painting, and everyday records capture abstract desires in everyday life-like paintings through novels.
Abstract desire is an image in which the concept of insufficient desire that a woman abstracts as a subject away from the concept of flatness and color art exists as a reality of linguistic meaning.
The vector using the direction of the image desired by reality as the subject is a method of conceptual art that abstracts the concept of desire in the symbolic world. This is to repeatedly reveal the concept of existence image as a subject and desire lacking in the symbolic world as reality at all stages of the symbolic world.
In order to repeatedly reveal the concept of desire as a reality, a vector with the direction of the image desired by the real image as the involuntary subject of desire structures the concept of desire like a picture composed of the vector. In the previous stage of abstracting the concept of desire, the subject of existing desire repeatedly reveals the concept of insufficient desire in which the image of existence is abstracted as reality through conscious movement.
Therefore, abstract desire is not a conceptual art, but a double place with the concept of the selector's desire, overtaking abstract conceptual art in that double place and consciously repeatedly designing reality as a semantic entity for the abstractly deficient desire structure desired by the selector as a subject.
Women in the Joseon Dynasty, like the ornamental pond, used social activities based on the Confucian family system as an exemplary virtue of protecting social order and purity (貞節) by focusing on housework.
In the late Joseon Dynasty, as the monetary economy developed, the status system changed, the status order collapsed, Seoryul was appointed to the government office, and Cheonmin became a Yangban with a blank appointment letter, Gong Myung-cheop (帖), so Joseon women enjoyed culture freely inside the pavilion (樓亭) building as a pond building.
In addition, as the subject of desire, the woman constitutes the self by equating the reflection in the pond and the lack of desire with reality in the linguistic meaning of an abstract concept.
During the Joseon Dynasty, ponds were installed as structures to prevent water flow and erosion in the pond to see the pond and its surroundings, such as Jeongja Building (護岸), an open-ended daecheong-maru, and plants matching the lake.
The real image of the pond was designed by instantaneously capturing the real image as a correlation with the concept of desire by determining the current real place that has temporarily stopped in the shade of reversible light.
In other words, the size of the real image is omitted, and the color and background of the real object matching the custom are designed as the same pond as the image of the subject transferred to the positive film so that the real object has an aesthetic value adjusted to the place as a single image within the range of light.
The image reflected in the pond is designed as a linguistic image of a woman seen from the perspective of another as an infant, and the same self as the woman is created through consciousness movements.
It's an isolated composition from society as if a woman were on an island in the middle of a pond.
The woman in the pond cannot compare the desires of others by seeing her appearance and memories isolated from society. Therefore, in order to escape the existence of desire in an infant's mirror response, a woman who is separated from sociality describes the concept of desire in reality and explains the concept of desire in reality so that she can recognize the absence of desire as a subject by using the actions of others as a mirror.
As a reality, the subject makes the concept of unconscious desire exist as a specific object with an abstract structure of linguistic meaning.
In this way, the reality of a specific object is abstracted by looking at reality as a correlation between the actions of the other reflected in the pond and the lack of desire, and realizing the concept of desire as a subject in order to find an object that a desire that is bound to exist wants
The design of Choi Chul-joo's concept of desire, which has been realized as an abstract, abstracts the actual meaning of the concept of desire by superimposing the news cartoon image published as a news desire image with the background of desire, "Morning glory," "Bamboo Forest," and "Pond."
This is a conscious expression act, and the meaning of the recognition as a subject and the lack of unconscious desire background is a dual desire structure.
In a sense, it is shared with the present in one empty space that is not in contact with the object space, but it satisfies the temporality of the object when it comes into contact with another object in a shared place,
Therefore, when light comes into contact with multiple objects, existing and past objects form a place of light according to various timeliness in the same place, and unconsciousness and consciousness intersect in the current shared place,
Here, the structure of desire where unconsciousness and consciousness intersect is captured by the instantaneous impression of events and action images, the concept of abstractly illuminating the background of everyday desire is clearly embodied, and the abstract image of desire that illuminates the concept in inductively reversible shades of light results in universal reality.
Memory is the light of time, and as the subject of desire, an image with the ego of desire and the place where the image exists as the subject of desire and desire is set up, and the memory of desire creates a place where the ego of the subject of desire and the real image exist in the present. Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, a contemporary conceptual abstract artist