Art Critic Louis Choi Chul-joo

Contemporary ArtReview Piet Mondrian Com

Art Critic Louis Choi Chul-joo Criticism [71] Piet Mondrian, ‘Composition with Red, Blue, and Yellow’, 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.: Piet Mondrian, ‘Composition with Red, Blue, and Yellow’

Piet Mondrian, Composition with Red, Blue, and Yellow, 1937, Collection: Museum of Modern Art, New York

Piet Mondrian, ‘Composition with Red, Blue, and Yellow’

In modern times, abstract art is created by Piet Mondrian (1872-1944), who identified the geometric image and temporality of the object as the same subject as the color image of the object by equating the geometric structure and symbolic color. This is not just an abstract painting, but "an extension of the philosophical aesthetics of a compositional concept."

The reality of the philosophical aesthetics of the constituent concept of the color plane is the philosophical aesthetics in the representational idea of color and color composition in the visual system, and the structural color image as a material constitutes the fundamental color theory with sentimental humans.

The composition separated from reality with limited color is realized as a pictorial conceptual abstract realism image as a linguistic meaning of the object by deriving a concealment of reality that is not revealed through the object as the subject of reality in "Composition with Red, Blue, and Yellow".

As a subject of painting revealed in the sentimental realm of color composition, the desire of the other is abstracted into images, and it is a structural image formed by ideological abstraction at the entire stage of linguistic meaning avoided by philosophical aesthetics, which consists of continuous black lines and white margins at the intersection with real colors.

The image formed here is a cross-sectional color of the symbolic structure, and based on the geometric structure that transforms the subject of the erased structure designated by morphological deficiency, the relationship with temporality interrupted by color unity is divided, so the structure of reality has two abstract nature: simplified geometric black lines and abstract colors.

Geometric black lines are real structures by abstract thinking, and through the act of revealing the existence of objects in "Composition with Red, Blue, and Yellow", they form a boundary in the composition of colors, and simultaneously show abstract colors in which the white of the margin and the three primary colors that decorate the visual system are divided.

Mondrian uses "red and blue, composition" as material reality to eliminate the existence of false phenomena in previous stages of linguistic meaning and produce real images of philosophical aesthetics of the compositional concepts of color planes.

Color as an object has a continuous abstract presence at all stages of linguistic meaning in the composition of conceptual philosophical aesthetics. This existence has another symbolic meaning as a monochromatic surface that divides the image of transcendental signifiers from the real world in the visual system.

Painting due to the limitations of flat space is a world of painting that can be enjoyed in the realm of the visual system. On the other hand, Mondrian formed an abstract image through a symbiotic relationship with abstraction as a dual order as an object and being that seems to be a limited composition of red, yellow, blue, and black. This is the aesthetics of a geometric order, and it symbolizes abstract art with the dualism of a being and the order of symbolic images.

By looking at objects reflected in a mirror as a single color structure, he abstracted abstract art as a visible symbolic metaphor through geometric and real object images that satisfy the abstract structure. This abstraction abstracted another geometric image reflected in a mirror, creating another abstraction of a geometric real image that satisfies the real structure and the symbolic color plane.

Beyond expressionist paintings strongly represented by German expressionists in the early 20th century, Mondrian forms abstract art with geometric structures and square planes as color painting.

This is a geometric structure of De stijl. It is an abstract art that forms the framework of abstract boundary and material realism structure with black line through symbolic color as a pure geometric structure that does not distinguish expressionist individuality.

Geometrical structure with an object that looks like a limited image with intense emotional expression, meaning of pure geometry as an abstraction with a color plane as one, and aesthetics as an empty philosophical structure with empty space as the domain of meaning and meaning. And empty space induced the aesthetic composition of empty space in modern media art visual culture, which is connected with digital image structure of modern art.

It presents a structuralist language structure as a digital image, and as a visual communication, it presents an abstracted structure of color in modern media art.

Thus, symbolic color composition as being is metaphorical in the linguistic representation of abstraction, but it exists as an abstract image reproduced as material reality, assuming that it is an abstract image.

Mondrian, as a constructive abstract painter, shows a geometric structure with black lines that symbolically represent the structure, like unconscious language. This is a metaphorical expression that interprets color composition in a symbolic sense. Here, as a symbolic category, the composition of philosophical colors reflected in the mirror of the meaning of unconscious language is identified as an image.

Mondrian identified the art of natural structure as Neo-Plasticism abstract art through the same steps as mirror theory. In mirror theory, the identification stage of structure is the process by which an infant recognizes the difference between his or her image in the mirror and the image of the other and the self. It is a neoclassical abstraction that clearly reveals the composition of Neo-Plasticism aesthetics and balanced colors based on black lines in this process.

This is consistent with the identification of mirror theory expressed in Neo-plasticism of a mechanical order that balances the white margin by designing black lines and color planes as a formative structure lacking in the structure of nature as a metaphor for real objects seen in paintings from the Renaissance to modern times.

Revealing reality through mirror theory begins with the imagination world in which an infant identifies the image reflected in the mirror. Recognizing that the image is not himself as a subject, it transitions to the symbolic world through separation from the symbolic image and reality of the signifier.

In the symbolic world, the color plane arrangement in a geometric structure that excludes neo-plasticism order and emotional expression forms a free formative rhythm, breaking down the boundaries between art and design with the universality of visual language, and achieving abstract visual communication.

The symbolic image and reality of the abstract structure meet with reality through division. As a reality, Mondrian's composition is revealed as an abstract image, but as a non-reality, it has an encounter with abstraction./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, an art critic