Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 67
Art Critic Louis Choi Chul-joo Criticism [67] <Choi Chul-joo, Island Gyebangdaedo> 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.: <Choi Chul-joo, Island Gyebangdaedo>, which became a landscape as a meaning of an old story
Louis Chul-joo Choi, 최철주섬계방대도(崔徹柱剡溪訪戴圖), 6X6cm, acrylic and composite materials on vinyl, 2021
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.
A shape abstracts the concept of a realistic structure and determines its shape by a reversible shade of light, but as the entire shape is obscured, the shape is summed up in monotone.
Louis Chul-joo Choi, 최철주섬계방대도(崔徹柱剡溪訪戴圖), 6X6cm, acrylic and composite materials on vinyl, 2021
<Choi Chul-joo, Island Gyebangdaedo>, which became a landscape as a meaning of an old story
Choi Chul-joo's Island Gyebangdaedo is a landscape painting composed of paintings of the ancient Chinese Yuan Dynasty, and is the same as the Island Gyebangdaedo. The realistic structure is abstracted into hues by inserting reversible shades of light into the island's atmosphere.
It is not just a landscape painting, but a conceptual realist image that combines literary old stories and conceptual abstract realism art. This work is a modern reinterpretation of the old story of the ancient Chinese Yuan Dynasty's Hwang Gong-mang, "Island Gyebangdaedo (剡溪訪戴圖)" which visualizes abstract concepts as realism paintings through reversible shades of light according to each other's desires and timeliness.
Therefore, images are abstractions that match shapes and concepts with contrasting light that illuminates the place of the shade with shades.
Choi Chul-joo is a representative example of conceptual abstract realism painting as a treacherous conceptual art that attempts a conceptual return of contemporary painting through this work and replaces the place of reality with the desire of others.
He abstracts abstract concepts like Jasson Pollock's dripping paint as "a landscape that stops temporality in abstract space and is fixed as an object without a subject" and abstracts past the boundary between existence and non-existence as materialistic realism paintings.
Rather than an aesthetic structure that forms the value of an image in a phenomenal concept, it is a literary painting that speaks of life experiences in accordance with abstract concepts and the meaning of death. It looks like a Time landscape from the past time when I saw it as a discipline, not distinguished from images.
This does not simply reproduce images of conceptual abstract structures as landscapes featured in old stories, but abstracts realistic structures into shades through reversible shades of light.
Hwang Gong-mang's Island Gyebangdaedo (剡溪訪戴圖) drawing forms linearly and determines perspective treatment as a joke of ink, but Choi Chul-joo Island Gyebangdaedo darkens the shadow of the object with reversible light with pointillism, overlapping the experience and timeliness of the impression with color points.
It refers to an island by exaggerating the small stream of water in the valley in contact with the landscape with its color tone and the structure of the shade treated with reversible light.
Wang Ja-yu, who visited his friend there by boat, was excited and went there, but after God disappeared, he described mountains and water, saying, "Do I have to meet you?" (何必見戴), but it is the same as Choi Chul-joo's "Island Gyebangdaedo" and "morning glory", which represents desire.
The "morning glory" conceptual abstraction by mirroring the unrealistic desires and unrealistic objects of desire.
As an imaginary world, Choi Chul-joo's "Island Gyebangdaedo" calculates the difference between the mountain and the river's landscape facing the desires of others by the color of the river.
This was adapted to the subject of the concept of artistic desire by representing the romantic historical events with the desires of others.
Like the consultative mise-en-scène of ancient history, desire and valleys are equipped with color dots as visual materials.
From the water surface of the valley to the outline of the mountain, the surface of the mountain, which is overlapped with the maple color according to time, is composed of very short color dots.
Composition conveys the meaning of old stories and combines perspective and color to form an inseparable volume.
By fixing the perspective shape with color dots, the volume is formed with a color tone simply treated with color sensitivity.
This is a formative effect that embodies the meaning of an old story, but it does not reveal reality like a pictorial photograph, but expresses formative reality through literary recognition. In other words, it is a beautifully abstract painting with the meaning of the previous story as an abstract landscape
By stopping repetitive temporality in abstract space, the picture is fixed in abstraction as an image of an object without an object.
This is a physical shading structure in which reversible light is added to the color tone, unlike the picture of the Hwang Gong-mang's painting, which sweeps the contour into a shading structure. The structure abstracts the concept of referring to an object in which realistic outlines and abstracts are non-realistically overlapped, such as the 'Choi Chul-joo morning glory'.
Louis Chul-joo Choi, 최철주섬계방대도(崔徹柱剡溪訪戴圖), 6X6cm, acrylic and composite materials on vinyl, 2021
In "<Choi Chul-joo, Island Gyebangdaedo>", pointillist treatment superimposes the experience of temporal and landscape impression with color dots instead of the traditional Zen tombs of the Yuan Dynasty, expressing the phenomenal structure with paint as a new technique of material realism.
<Choi Chul-joo, Island Gyebangdaedo> is a conceptual abstract reflection of non-realistic objects, that is, a non-realistic image centered on the desires of others, reflecting the concept of desire like a mirror, blurring the boundary between reality and imagination.
The "Island Gyebangdaedo" is an imaginary world, and the difference between streams and arithmetic is calculated in color as a pointill on the mountains of streams faced by the desire of others. Therefore, as the same literary conceptual painting image as "morning glory", it is defined as a conceptual abstract realism painting that unravels the meaning of an old story through life experiences and philosophical thoughts, not a simple aesthetic structure.
It visualized abstract concepts through shadow structures in which light disappears and reappears, unlike classical shades. Through the interaction of light and shadow, the traces of temporality and existence were expressed as the desires of others, and the abstract concepts were visualized through reversible shades of light.
The color point, which expresses the surface of the mountain as very short and small points, is a way to express the overlapping of the passage of time and the sense of color by emphasizing the phenomenal structure instead of the line drawing through point-by-point color processing, and it formed an aesthetic space by connecting it with the blank beauty of oriental ink painting.
This communicates the meaning of the old story, combining perspective and hue to form an inseparable volumetric landscape, repeating the volume of the landscape in hue, and forming a fixedly colored perspective in hue.
In addition, the expression of arithmetic is the same as Choi Chul-joo's Thread Painting, which uses thread and paint together to break the boundaries between embroidery and painting, and expresses the timeliness of sensory desire, combining the physical texture of modern painting with color points.
Abstract landscapes are images composed of the desires of others by applying non-existent concepts to express reality as literary perceptions like realist photographs, reflecting reality like mirrors, but forming a structure that does not exist. The landscape in the picture image of the old story is composed of a subjectless gaze, and the structural boundary between existence and absence is produced by material realist paintings.
And by fixing the painting as an aesthetic object without a subject who has stopped temporality by repeating the design in the abstract space, <Choi Chul-joo, Island Gyebangdaedo> conceptually returned to the Yuan Dynasty's ancient island-Gyebangdaedo as a literary painting structure and composed a conceptual abstract realism painting as an image of life's philosophy and linguistic meaning structure.
By stopping repetitive temporality in abstract space, the picture is fixed in abstraction as an image of an object without an object.
This is a physical shading structure in which reversible light is added to the color tone, unlike the picture of the Hwang Gong-mang's painting, which sweeps the contour into a shading structure. The structure abstracts the concept of referring to an object in which realistic outlines and abstracts are non-realistically overlapped, such as the 'Choi Chul-joo morning glory'.
The conceptual art of "Choi Chul-joo morning glory" is an abstract idea attributed to the art theory of the concept of desire. As a result, the concept is abstracted into traces of practical formality and reversible shades of light as a non-realist with the theme of the desire of others.
This place where abstractions are illuminated forms a stream of abstract concepts where the realistic structure is omitted.
The creek is positioned by irregular dots that extend to the middle of the mountain and its shape structure reflected in the stopped waves. This forms the aesthetic needs of the literary old story where the life seen as a dot has settled, and shows linguistic sensitivity by illuminating the value of life in the stream with the imaginary mountain as a reversible color point of light. And it makes a mountainous landscape appear as a reversible light with a volume of a dot about a life hidden in a stream. This refers to the value of life as the cognitive structure of desire hidden in timeliness time. It is an abstraction of the non-real structure as a conceptual form as a structure of the same meaning.
"Choi Chul-joo Island Gyebangdaedo" is a modern conceptual art that abstracts the meaning of an old story in the process of realizing the concept.
This creates a life pattern according to the symbolic landscape of the story and abstracts it in abstract shades.
The Island Gyebangdaedo, where one meaning that does not distinguish the genre of the image has become a conceptual landscape, faces the gaze from an abstract perspective./ Writing. Art critic Choi Chul-joo (abstract painter & Doctor of Cultural Design)
Choi Chul-joo, a conceptual abstract realism painter