Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 64
Art Critic Louis Choi Chul-joo Criticism [64] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & 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: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.: Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025
Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window-sketch, 113X165cm, acrylic and composite materials on cloth, 2025
a portrait of a mirror reflecting its desire on the window
The mirror applies a red pigment, an oxide of mercury and lead, to the back of the glass plate as a material, blocking light, illuminating the object head-on and reflecting light to make it look the same as the object.
Therefore, when the back of the glass is dark, the left and right are reflected in a changed shape when looking forward like a mirror.
A picture image is an image of a canvas that has been drawn so that you can observe and see the same image as the mirror.
The linguistic meaning of the concept of desire, which consists of a glass-reflected portrait in a reversible shade of light, is an image of the same structure as a photo mosaic image of a small glass.
It shows an event scene or a realistic structure of images composed of reversible shades of light in several directions.
The symbolic structure in the scene of the event is an image in which the subject is divided by lack of desire. This is identified with the linguistic meaning of the concept of desire and the meaning is repeated through the design of the image.
In this way, as the image becomes symbolic according to causality in the symbolic structure, the essential image of the deficient desire is reflected on the window.
Windows focus their eyes on the inside and outside, depending on the brightness of light. When the inside of a window is dark, it reflects the outside image like a mirror.
This allows the structure of desire as a subject to derive a phenomenal image so that the linguistic meaning of the culturally deficient concept of desire coincides with the actual structure.
The cross section of the window repeatedly reflects a fixed subject and specifies a bright area with artificial lighting.
The atmosphere containing air as a medium of light is different from what it looks and what it looks like, and the light in the sky comes from temporal and diverse cultural positions.
It sends reversible light from the sky. The light from the sun illuminates objects that exist for a long time but are now.
This abstracts the desire of others in past event images into the same real structure as the linguistic meaning, and reflects sky light through windows and windows, showing the reality of the essential image of desire that is lacking as a conceptual subject of desire.
In this way, the subject of the absence of desire identifies the portrait of the mirror reflected in the window with oneself, like an imaginary infant.
Portraits reflected in windows form self-identity in the shade of reversible light, and the linguistic meaning of the concept of desire is reproduced as a mosaic photographic mosaic image of a small glass to form the self as the same image.
The portrait of the desire mirror in the window created in this way constitutes a portrait depicting the abstract concept of desire as an event image as the same image as the linguistic meaning, or depicting the person seen through the window as a meaningful action of the concept of desire.
Therefore, a portrait of a particular desire structure reflected in a window reflected in a mirror is like an abstract painting that does not exist in the visual system. This creates a phenomenal structure for an abstract linguistic image that does not exist as a being facing the desired gaze drawn on the canvas.
Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window-sketch, 113X165cm, acrylic and composite materials on cloth, 2025
As an abstract structure that communicates with the desires of others, the existential structure that communicates with the linguistic meaning of the concept of desire to equate the concept of desire with abstract existence looks different in the hue of fixing shape and light depending on artificial lighting.
Thus, abstract design methods of desire structures capture existential structures and repeatedly design real images in reversible shades of light, so that the structure of the gaze and the gaze seen by the gaze become objects of the same meaning.
Image painting the subject of desire structure makes abstract desire concepts into rough sketches of images in the linguistic sense, making the desire background a reversible shade of light.
Unlike visible light, which distinguishes the phenomenal structure, reversible light returns to the position of an object shared with the previous time. It is reflected in the direction illuminated on the dark window surface or bent in shape as the fish in the pond moves.
In this way, the subject of the desire structure is reversible light, and the meaning of unconscious language is structured as an image.
Additionally, it is confirmed that the image of the abstract desire concept cannot match even though the linguistic meaning is the same by deriving the deficient desire of a specific desire structure as a phenomenal image and interpreting it in a linguistic sense. As a result, the image becomes abstract even though the linguistic meaning of the desire concept can be transformed into a real image.
Here, the reality of the linguistic meaning desired by the subject of desire lacking to be abstracted as a real image is specified, and the object is matched to a portrait of a carved mirror as the existence of desire lacking in the window.
In this way, the abstract concept of desire is an image in a linguistic sense, and the object reflected in the window faces the object of reality as the left and right change.
In other words, as an object of desire, the image of the event is identified with the image of meaning according to linguistic sociality, and the mirror image reflected by reversible light on the window is portrayed as the desire of the other.
In the linguistic sense, the desire structure interacts with the poetic perception of the real image in the concept of abstract desire.
In social phenomena, this expresses the subject of desire in reality as the same concept of event image and desire structure.
Morning glory Poster 139 Image
Reversible light abstracts reality as a shadow of light because it becomes phenomenal when viewed in detail as a specific invisible desire structure.
Here, when drawing an event image as an abstract desire object, the progression applying the Choi Chul-joo desire formula is designed as a desired and noticeable characteristic reality of the linguistic meaning of the abstract desire concept specified as a specific phenomenal structure of the other's desire to acquire a realistic image that obscures the abstract desire structure.
In this way, the abstract design method according to the desire formula conceals the linguistic meaning of a specific abstract desire concept with a reversible shade of light and draws abstraction as a realistic image.
Therefore, abstraction as a realistic image is a correlation between the linguistic meaning, or desire concept, interpreted from the other's desire specified in the abstract desire concept, and the linguistic meaning structure inductively interprets the other's desire as an event scene in which the abstract linguistic meaning is related to the inevitable reality based on objective standards.
However, it is challenging to match the grammatical structure with the linguistic significance of the abstract desire concept as a reality. As a result, a formal grammatical structure creates a sentence using the concept of abstract desire that can be seen as a phenomenon, and the meaning of a generated grammatical language is transformed into a formative image as a shaded structure contrasted with reversible light.
Therefore, in the process of realizing the concept of desire, the object is transferred to a real image as the existence of a specific deficient desire as an act of linguistic meaning and expression desired by the subject of desire.
In this way, the concept of desire is repeatedly designed to reveal a portrait of a mirror reflecting desire in the window by equating the image as a conscious reality structure in the process of unconscious linguistic meaning.
This distinguishes between a figure that looks like a mirror portrait of desire in a window, and the object around it, but the perspective size of the object is not applied and emphasizes the subjective effect of the desire structure as a shaded complementary color afterimage of reversible light.
The linguistic semantic structure expresses an abstract image based on the subject of the other's desire according to culturality. This is a representation of the concept of desire that avoids unrealistic abstraction, and by drawing the symbolic symbolic symbolic system as a real image, it becomes an abstraction in which a realistic image that deviates from the perspective system is collaged.
The symbolic subject of the abstraction is a symbolic system that correlates with the desire of others who identify with the linguistic meaning of the concept of desire.
This is a portrait of a mirror reflecting desire on a window that identifies the symbolic subject of the symbolic world and the image of Choi Chul-joo's pond, the background of desire./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, morning glory p134-8-a self-portrait