Art Critic Louis Choi Chul-joo

Contemporary Art Review: Millais Ophelia

Art Critic Louis Choi Chul-joo Criticism [69] Millais's Ophelia 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.: Millais's Ophelia Choi Chul-joo Art Criticism

John Everett Millais, Ophelia, 76×112cm, collection: Tate Britain

Conceptual Abstract Realism Painting of the Theater Scene, Millais's Ophelia Choi Chul-joo Art Criticism

John Everett Millais's Ophelia visualizes Ophelia's death in Shakespeare's Hamlet, creating a naturalistic detailed background and tragic romantic image of Ophelia reflecting the desire for love reflected in the pond structure.

The surface of the water, which is placed alongside the structure of a pond that has stopped in the flowing river, transforms into a mirror image when viewed forward like a mirror in the dark. As a result, Ophelia is a realistic image that is drawn so that it can be seen by observing the same appearance as a mirror image.

The Ophelia image, which is a linguistic meaning of a desire death composed of reversible light shades, shows a realistic structure in which images illuminated by reversible light shades in several directions produce a single theatrical scene.

This is an image that divides the contrasting description of nature and death as a desire that lacks a symbolic structure in the theatrical stage scene according to its scientificity. As the subject of desire, the linguistic meaning of death and the image described by observing the pond are identified, making a tragic death that is closer to a fantasy than reality ideal.

The symbolic structure in the theatrical stage scene is an image in which the subject is divided by insufficient desire. This is identified with the linguistic meaning of the concept of desire, and the meaning of death repeats through abstraction as a conceptual image of death set in the image of a pond where the river flowing as a symbol of tragic love and war stopped.

Here, Ophelia's tragic symbol is a theatrical theme, "Wrong love and war end in death," and Ophelia's death becomes a tragedy caused by the conflict of love and power.

It accurately depicts Ophelia as a botanical form in harmony with the plants and plants around the drifting river, contrasting Ophelia's tragic moment of death with the pond structure that stopped the drifting river, giving it a stronger emotional shock.

As such, he reflects the essential image of death as a desire lacking in the pond structure by becoming a symbolic being according to causal relationships in the symbolic structure.

The water surface of the flowing river draws attention in and out depending on the brightness of the light. When the inside is dark, it reflects the external image like a pond. This derives a phenomenal image with the desire structure as the subject so that the linguistic meaning in the culturally deficient theatrical structure is reflected according to the idealistic structure of Pre-Raphaelite and reflects it according to the realism image. It was pure and honest artistic idealism, which contrasted the pre-Renaissance pure and honest artistic idealism with the pond structure in and around Ophelia, stopping the association of death with the head and upper body and giving the lower body a sense of rhythm in the flowing river.

In the early Renaissance, it emphasized elegance by regenerating transparent colors as a pre-Raphaelite art, and captured the complexity of human emotions and the purity of flowing rivers and desire in Ophelia's facial expressions and postures with a realistic image of idealistic structures through detailed natural depictions.

The flowing river repeatedly reflects the stationary subject and specifies the bright part in the solar light.

The atmosphere, which embraces air as a medium of light, sends the light directed at the place where the theater stage is reconstructed according to the temporal and various directions of the sky light. The light starting from the sun shines on Ophelia as an object in the present, even though it is at a long time.

This shows Ophelia's reality as an essential image of desire that is lacking as the subject of the concept of desire for cultural desire. Like the image of a window in which sky light permeates through a window, Ophelia's reality as an essential image of the other's desire in Shakespeare's plays as an essential image of a past theater image shows the reality of Ophelia as an essential image of a desire that is lacking as a subject of the concept of desire as an actual stage structure of a window through which sky light passes through a window with the same linguistic meaning.

As such a lack of desire, the subject of death equates Ophelia reflected in the pond with the character of the play in the imagination, and although Ophelia's death is a tragic and dark event in Shakespeare's original work, Milay aestheticizes death and reconstructs it into a beautiful and peaceful image from a cultural perspective.

By illuminating Ophelia as the main character in a reversible shade of light, the identified self is formed, and the linguistic meaning of the concept of desire is reproduced as a mosaic pond image in a small piece in an Ophelian image to form the Ophelian self with the same image. The stage image of Yeonguk created in this way constitutes a realistic portrait of Ophelia drawn as a meaning action of the concept of desire. In other words, it is an abstract painting that is "a painterly attempt to sublimate death aesthetically" as a conceptual realism painting and provides viewers with a new sensory aesthetic experience of death.

Ophelia's concrete structure of desire reflected in the pond structure that brought the river to a standstill is the same as the abstraction that exists in the visual system. This is a phenomenal structure in which the boundary between nature and humans is dismantled by realizing an image of abstract linguistic meaning that does not exist as a being facing the desired gaze drawn on the canvas.

He said that the moment the boundary between nature and man is blurred in Ophelia, Ophelia's body is floating in the water, but the nature surrounding her is lively and detailed, blurring the boundary between death and life.

He tried to aestheticize death as an abstract structure that communicates with the other's death in order to equate the concept of desire with abstract existence, and the existential structure that communicates with the linguistic death meaning made the concurrent color tone look different depending on the spatial structure.

Accordingly, the abstract design method of the desire structure captures the existential structure and repeats the real image as a shaded color of reversible light so that the gaze and the structure of the gaze subject are the same object of meaning, expressing Ophelia's death as a beautiful and peaceful image rather than painful.

Drawing the subject of the desire structure as an Ophelia image as a theatrical character creates an abstract desire concept with an image in a linguistic sense as a theatrical stage space to match the shape and color of the desire background with a reversible shade of light.

Unlike visible light, which distinguishes the phenomenal structure, reversible light returns to the position of the object that was shared with the previous time. This is either reflected in the direction illuminated by the dark river surface, or when Ophelia lying in the river moves, the light bends and refracts.

Millais explores new possibilities of painting through extremely realistic natural descriptions of Ophelia. This is an experiment that expands the language of painting, and Ophelia's facial expressions and postures as a linguistic meaning of death are a preliminary stage of linguistic meaning, revealing the inner psychological state as a visual image.

As Ophelia moves, it bends in a direction reflected in the direction reflected on the dark surface or bent in shape.

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, it specifies the substance of the linguistic meaning desired by the subject of desire, which does not need to be abstracted into a real image, and matches the object with the pond-structured Ophilia created by the pieces of the river as the existence of the desire lacking in the river.

By visualizing inner conflict and death as objects of desire, the theatrical image is identified with the image of meaning according to linguistic sociality and abstracted into the desire of the other reflected by the light that can return to the pond-structured.

Desire structure in a linguistic sense is an abstract concept of desire and correlated with intermittent perception between real images. It represents the real desire subject as the same concept between Enkuni image and desire structure in social phenomena.

It abstracts certain desire structures that are not seen as reversible light as "betrayal conceptual art" that visualizes concepts as realist images instead of recreating reality.

Here, when drawing a theatrical image as an abstract desire object, the progression applying the Choi Chul-joo desire formula is designed as a desirable and noticeable characteristic reality of the linguistic meaning of the concept of abstract desire 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, that is, the 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 in a specific phenomenon of the actual structure as a linguistic grammar structure in which the abstract linguistic meaning is related to the inevitable reality based on objective standards. .

In other words, Ophelia's inductive interpretation as a linguistic grammatical structure is a victim of love and power in Shakespeare's plays, but emphasizes the natural landscape in the painting as an abstract image of desire that visualizes the landscape of inner desires and emotions.

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 Ophelia reflecting desire in the river by identifying the theatrical image as a conscious reality structure in the process of unconscious linguistic meaning.

This distinguishes between Ophelia and its surrounding objects, but emphasizes the subjective effect of the desire structure as a shaded complementary color afterimage of reversible light without applying the perspective size of the object.

And according to the reversibility of the subjective existence, Ophelia's image reveals how the desire structure, in which the boundaries between life and death, love and hatred, reality and fantasy are reversed and intersected, transcends artistic reality.

Ophelia's death is interpreted as a symbol of pure and oppressed women in Shakespeare's original work, but Millais visually recreates the image of purity and women as the meaning of death. It is also linked to a Victorian female figure at the time, and at the boundary of death, Ophelia's image of death acquires a sacrificial image in a linguistic sense.

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 object that correlates with the other's desire, which is identified with the linguistic meaning of the concept of desire.

It has the meaning of a conceptual abstract realism abstraction based on Ophelia, which reflects the image of desire, which designs the flowing river as a pond, the same as Choi Chul-joo's pond structure, which is the symbolic subject and background of desire.

Ophelia, which reflects desire, is a conceptual abstract realism painting drawn from abstract structure as realism in a linguistic sense, and is an aesthetic image as an abstract being that exists in the real world.

As an aesthetic structure, a picture has a linguistic meaning that literary distorts the reality distinct from the image existing in the real world in an abstract concept.

This is realism, which interprets the concept of abstract desire as an expressive image with linguistic meaning and an actual structural image.

Here, by applying existential semantics using the object of the realist structure as a theatrical image, it is an image depicting the death of Ophelia in Shakespeare's Hamlet, and it is specified as a realism abstraction by equating the abstract structure with conceptual reality.

The actualization of Ophelia as a shaded structure of reversible light by the subject's structure specifies the present object as reversible light so that the illuminated form can be repeatedly visually recognized according to the temporality of the last play. And according to that temporality, Ophelia's death is directed with the present gaze.

Ophelia's desire, which is lacking as a non-verbal meaning in the present time, is alienated and the essence as the subject of desire is lost, and it is disclosed as a symbolic image of existence in the entire stage of linguistic meaning. The image is divided into a realist image, which is regarded as an abstract desire concept according to grammar, and the realist image of death as the subject of the desire structure has meaning verbally and anachronistically in the play.

Thus, as an image lacking the linguistic meaning of love that Ophelia abstracts, the desire structure is re-embodied, and the image in the linguistic sense is repeatedly designed as an ex post effect of another desire structure. According to the chain of design, the direction and viewpoint of reversible light constituting the image are all stages of the perspective visual system according to temporality, and the line space of the visual structure, that is, the space-time in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image are abstracted as images with the same linguistic meaning at the intersection.

This is an abstraction of Ophelia's desire as a conceptual abstract realism, which visualizes the philosophical and psychological structure as a conceptual abstract realism of insufficient and linguistic desires that cannot be recognized at the level of expression consciousness, and abstracts as a linguistic realism that intersects unrealistic and conceptual abstractions to express images of insufficient desires. "Conceptual abstract realism painting is a conceptual abstract realism abstraction that reveals the hues and forms of realism in the reversible shadow of light that obscures the desires of others, and as a map of unconscious desires."

The linguistic meaning in the symbolic world is only a continuous symbolic existence for abstract objects. The rendering of this existence as a conceptual abstract realism image is a Signifiant image. Conceptual abstract realism is abstractly designed and drawn from the image of conceptual abstract realism in reality, an area separated from the realm of the symbolic world that cannot be accepted in the contemporary era. This is typicalized as a new conceptual abstract realism and generalized by forming an event image that appeared in the play as an object for realistic abstraction into an artistic picture using abstraction.

It is the process of equating realistic cognitive structures with theatrical images and abstract concepts of desire of others, and embodying abstract structures as allegorical phenomenal images of reality that express literature.

Louis Choi Chul-joo, 2025-Ophelia 2, a hand-painted picture on a computer

Choi Chul-joo Conceptual abstract realism's definition is a new conceptual abstract theory that combines philosophical concepts, linguistic semantic structures, and visual expressions of reality in modern art, a new realist art trend that goes beyond mere visual abstractions or metaphorical-themed conceptual art wrapped in religious norms without symbolically hiding the desires of others.

Therefore, through the mathematical design of a new literary structure as a result of conceptual abstract realism, the aesthetic structure is grammatically composed by integrating linguistic meaning and realism images, and the desired object is visualized as the death of Ophelia in Shakespeare's Hamlet.

As an object of pictorial structure that reflects current desires, abstract desires are realized when desires with others face linguistic meaning and have aesthetic meaning, and as an object that represents the image in the painting in a desire structure, unconscious desires are divided into unconscious and real images.

Here, the concept of desire is a symbolic metaphor abstracted as an image of reality, and the image is abstracted by the desire of the other, but does not go beyond the scope of an imitative real picture.

Therefore, the concept of desire is applied as a theatrical image to express the object of the real structure as a phenomenal image of the real world and equate the abstract structure with conceptual reality.

Ophelia's death takes a difference from abstract desire concepts to linguistic concepts, embodying abstract images that form desire and relationship structures as real structures created by the linguistic meaning of the conceptual reality of desire structures.

This is the same as the abstraction of Choi Chul-joo's conceptual abstract realism, which hides the formative reality of desire in painting and abstracts the image of reality, away from the social constraints (制約) acceptable in religious customs.

The abstraction is a subjective concept that refers to linguistic meaning, and it is an expressive aesthetic structure that expresses human love as the true value of the concept of necessity and embodies actual affection as an image of linguistic meaning. The abstraction is represented by abstraction, the truth value of the concept of desire, as an expressive aesthetic structure that identifies Ophelia's love.

In abstraction, the abstract reality of desire represents the structure of desire by forming a causal structure of desire, that is, a semantic relationship with desire with contradictory equivalence. In abstraction, which consists of real images as a structure of desire, the formative image of visible metaphor is transferred to abstract language meaning. As a real image, Ophelia's love abstracts the structure of desire by forming a semantic relationship between desire and reality according to temporality.

As a result of exploring the realism according to the temporality, the real is the denaturation fixation realism image as an abstract meaning in which the structure of desire is hidden. In other words, in abstraction, the desire of the other person is transformed into an additional form as an image of social events.

Based on the theatrical image, the realist image induced by social phenomena repeatedly appeared in the real that repeatedly appeared in social phenomena as a desire formula is an area of the real world separated from the area of the symbolic world. The abstraction of the theatrical image is an existential real image as a phenomenal structure with a conceptual abstraction.

He is not satisfied with the illusion in the theatrical image and attempts to escape from the illusion through a shade of reversible light through the desire of a realism picture. Thus, the present conceptual abstract realism is achieved separated from the abstract domain.

Therefore, unlike the perspective visual system system, theatrical realism, which reflects the current abstract concept, illuminates symbolic reality images in which reality and the past overlap with each other with several reversible lights according to the conceptual abstract temporality of the desire structure to create the texture of desire and realize conceptual abstract realism abstraction as the same structure as a single real image.

This is a modern reality image of a conceptual abstract realism painting that is fixed as the desire of the other without showing the abstract meaning and realism image of the object that metaphorically expresses the theatrical image in the theatrical world, that is, the subject and the desire of the other are concealed. The concealment invisible in the play creates meaning as an abstract and an image of a realistic play. However, in the play, by understanding abstract as a reality, the conceptual abstract realism picture as another reality in the abstract is abstracted as an image of a theatrical reality structure that symbolizes modern social desires.

This realist abstraction image composition interprets an abstract object that exists in reality as a subject as a metaphysical structure. This is an object of the concept of desire based on a play as a motif as a social event image in metaphysics for its existence as a real-world structure and is reconstructed as a conceptual abstract realism picture abstracted as a shade of reversible light as an abstraction rather than a theatrical image.

Here, the abstract desire concept, which reconstructs the object of abstract concept into a realistic image, provides a cause that leads to abstraction of a picture represented by a real image as a result by composing images of expressive beings that can be abstracted in the real world.

Thus, the concept of desire interpreted abstractly is produced as a conceptual abstract realism image constructed grammatically by transforming the linguistic meaning into an abstract being within the framework of the literary structure..

The painter of conceptual abstract realism shows another reality that symbolizes religion or political metaphor in painting. In abstract realism, Choi Chul-joo's desire formula is applied to interpret conceptual abstract realism to find symbolic meaning in real expression. Here, the painting equates the linguistic meaning of interpreting the concept of unconscious desire as a category of the symbolic world with the image of conceptual abstract realism.

In this way, abstract realism becomes a typical and abstraction of the actual structure by forming a theatrical image that appeared as an object of realistic abstraction in everyday plays as an artistic picture.

This is a conceptual abstract realism painting, and Ophelia asks the question of the fleetingness and beauty of human existence, and how art can capture it with painting.

In addition, the conceptual abstract realism picture is specified as a conceptual abstract realism image that identifies the realistic cognitive structure as a theatrical image and the concept of the abstract desire of others, which is an allegory phenomenon that literaryizes the abstract structure./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, a conceptual abstract realism painter