Art Critic Louis Choi Chul-joo
Contemporary ArtReview Choi 25-Mona Lisa
Art Critic Louis Choi Chul-joo Criticism [73] Louis Choi Chul-joo 2025-Mona Lisa, 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, 2025-Mona Lisa-a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025 & the 2025-Mona Lisa reflected in the pond
Louis Choi Chul-joo, 2025-Mona Lisa-a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025
In Renaissance art, which opened up the image of contemporary art, "2025-Mona Lisa" In Renaissance art, which opened up the image of contemporary art, "Mona Lisa (La Joconde)" refers to the aesthetic desire that spread from aristocrats to merchants. This is where the desire of the other to monopolize the artistic value of contemporary art is established.
The concept of desire is humanism, which deviates from religious creativity.
Leonardo di ser Piero da Vinci, Mona Lisa, 77×53cm, Collection: Louvre Museum
"Mona Lisa" abstracts the mysterious image saved by Da Vinci(Leonardo di ser Piero da Vinci)'s sfumato technique as the outline of reality as an image beyond the mysterious atmospheric effect of the color of the object, which is the background of desire.
Abstraction is established as an aesthetic effect of safe desire with object on the face of the Mona Lisa and a background on the left.
From the background, the image of desire mediated by object and Mona Lisa is repeated, showing an abstract reverberation effect in the shadow of reversible light.
As a reverberation effect, the background of desire were properly placed behind the object so that the gaze could lead from the object to the Mona Lisa, the background of desire, and the gaze was focused on the object and connected to the face of the Mona Lisa as the subject of desire.
And by creating a position facing the Mona Lisa in the obect, the gaze is directed to the Mona Lisa, the subject of desire.
The metaphor for the concept of desire The Mona Lisa is replaced with a desire image in the object, and the object is demarcated into the background of desire. Here, the gaze of desire focuses on the Mona Lisa with a red window structured into a frame.
As a Renaissance thinking, it has a desired meaning with the object of desire, as an allegory.
The object is an abstraction that shows the real world of desire as a subject by linking the image of desire with a sensus allegoricus that explains other meanings beyond the literal meaning, and the object window interprets the demarcation problem between objects and desires as a symbolic metaphor in the meaning of the text.
Unlike the conceptual art of Dadaism, which transforms the image of the object as meaning, this materializes the object of desire and realizes the subject's desire structure in the shadow of reversible light.
As a reality, the desire structure is the object, and the "2025-Mona Lisa-a portrait of a mirror reflecting its desire on the window" becomes the object of the cause of creating the desire structure as an image symbolized in the object through the relationship of symbolic expression made by the Mona Lisa as a object.
The simultaneous function of the desire structure and the real image reveals the underlying image in which the meaning of the concept is integrated into the desire image as a retroactive effect, and the Mona Lisa, who metaphorized the image, hides in the desire concept.
As a fundamental image, the Mona Lisa is disclosed as the first concept of desire and reaches a symbolic conceptual abstract realism image as a deliberate abstraction.
Louis Choi Chul-joo, the 2025-Mona Lisa reflected in the pond, 113X165cm, acrylic and composite materials on cloth, 2025
the 2025-Mona Lisa reflected in the pond
The Mona Lisa reflected in the pond is a structure of desire that elicited realism according to its artistry, another structure of gaze away from the visual system, and an image as a realism of another abstract object that reveals an image to reality.
As a perspective visual structure, the instantaneous desire in contact with the water surface is a structure of light that deviates from the border of a pond where water is buried on the surface's tangent, and constitutes the same realism image as the image of desire reflected on the water surface.
Perspective objectivity as a structure of light that deviates from the concept of instantaneous desire by the shadow of reversible light in the pond distorts reality as the range of the sky and the size of the perspective, where the realist image is superimposed on the surface as another gaze structure.
In "The Mona Lisa Reflected in the Pond", abstract realism is a desire structure that conveys an abstract image as an effect of the dual structure of reality and the Mona Lisa's realism abstraction, in which the real sense that gave movement to the flow of the water by moving the fish with abstract traces in the pond and the flat abstract view of the lotus flower contrast. The image simplifies the real image, which recognizes the object of the reversible viewpoint in a linguistic sense according to the temporality of the abstract viewpoint, from abstract thinking to a phenomenal pond structure.
It is a German style that abstracts the rhythms of objects into flat, digital forms, but expresses them in reversible light, just like the hand-painted Arnouveau (Jugendstil). So that abstraction and art are distinguished by the existence of matter as reality and the existence of images formed from each other's abstract perspectives as virtual beings.
The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations, and it is a sketch that passes through an allegory that images objects and events into reality. Therefore, it is not an impressionistic image that captures the moment of the Mona Lisa reflected in the pond as an impression, but a realist image that linguistically interprets the abstract meaning of the Mona Lisa reflected in the pond in explicit temporality as a shade of reversible light.
This defines that by repeating sketches, Choi Chul-joo's conceptual abstract realism image, which connects an existential image seen as a structure of gaze to another realistic image separated from reality, can reconstruct the realist image as a concept of abstract desire through cartoon sketches and picture images.
The definition is a abstract realism that evades the unconscious surreal formative structure as an error in abstract perception that brought concepts and abstractions to existential realism, or reversible perspectives, through abstraction of modern conceptual abstract realism such as modern media art images or abstraction.
This abstracts the present image by expressing the present image verbally and the present image as a reversible shadow of light that embodies the concept of desire in the present place. The abstraction is an abstract realism object, and the abstract object revealed as a point of light in the eyes of others is Choi Chul-joo's aesthetic structure revealed in the gaze system of desire, and the abstract realism object gaze, which has different abstract meanings as a philosophical device, is produced according to temporality.
Therefore, the temporality of a verbal image according to reversible light presents reality as an image as a being through existential theoretical interpretation, just like Aristotle's time.
This image coincides with images in realist space and abstract linguistic meaning, so an abstract and invisible object appears in the path of gaze viewed from the conceptual point of view of desire.
Here, Choi Chul-joo's conceptual abstraction of realism shows an image in a linguistic sense that appears as the concept of desire. This simplifies a specific surface of the image and brings abstract realism back to its real image as a correlative structure of time elapsed. In the linguistic meaning of the conceptual abstract realism of the image, it intersects the image as an object that contains the desires of others as a fictional element of human limited by causal relations, and the realist image is structured as a linguistic meaning of unconscious abstract realism.
Thus, by simplifying realist images that specify abstract structures and erasing the contrast in the cross-section into reversible shades of light, the essence of abstraction is flattened into the cross-section. This is a conceptual abstract realist abstraction that erases abstract images of linguistic meaning from abstract objects that are identical to current images that exist according to temporality.
As a result, the conceptual abstract realism abstraction design process is an abstraction that derives realism according to its artistry, and another abstract object that reveals the image to reality as a structure of gaze that deviates from the visual system is the image of realism.
In realism abstraction design, the effective way to convey the dual message of abstraction and reality is to express concepts and abstractions realistically through modern conceptual abstract realism abstractions, such as modern media art and painting images or abstractions. Therefore, the process of designing conceptual abstract realism abstraction design is as follows.
1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.
2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality.
It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.
3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism.
4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning. And to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images.
The background image of abstract realism abstraction refers to a place in realist space formed by reversible shades of light that fit the philosophical logic of returning to temporality, replacing the abstract space that exists in the linguistic sense. The image interprets the desire image (i) design (d) as a realistic image in the linguistic sense, and the condition (i/d) in which the image of the abstract object is realized through the grammatical interpretation of the other's desire in the linguistic sense in order to obtain the abstract object specified in Choi Chul-joo's desire formula. As a subject of abstraction, the subject of desire selects a specific object that asks itself what abstract realism wants and reaches conceptual abstraction <D(I...I')d=I(D...D'i)i> as a reality.
Here, the abstraction as a linguistic meaning is that the image formed in the structure of the text is tailored to art while approaching philosophical logic, forming a realist structure. This is a realist image that stopped from the concept of abstract desire, which was realized by abstracting the abstract structure that divides abstract places that humans cannot experience into linguistic semantic systems as objects of conceptual abstraction.
Like the the theological formation structure of the Renaissance Church, which attributed philosophical logic to religion, Choi Chul-joo's abstract concept of desire has a linguistic meaning that abstracts the concept of abstract desire to see the Mona Lisa as an abstract structural and practical image. Therefore, in order to reproduce the abstract limitations of the nature and perception of human existence as a real image, Choi's conceptual abstraction design abstracts philosophical images and uses abstract perception as a device to convey philosophical and linguistic meanings as symbolic images to reproduce them as realism images.
The Renaissance, which opened the image of conceptual abstract realism, establishes the aesthetic desires that spread from aristocrats to merchants and the desires of others whose artistic value of contemporary art is obscured. Conceptually, the artistic inspiration of early conceptual art of Dadism cannot be ignored, but Choi Chul-joo's conceptual abstraction as a new modern art with existential conceptual abstraction away from religion builds a realist image as a flat installation in line with conceptual abstraction with literal concepts and linguistic meanings, as if sketching Mona Lisa reflected in a pond.
The installation is a linguistic meaning that expresses abstract concepts as real images, and conceptual art is interpreted as an abstract crystal of philosophical thinking by transferring the structure of Idea to the structure of reality and showing the real image as an event and performance image. This is a realist abstraction that deviates from the realist image in the linguistic sense, that is, the religious creationism of abstract concepts, at the peak of abstract images.
In this way, desire as a being in the "2025-Mona Lisa reflected in the pond" is an essential image of linguistic meaning and is abstracted as a realist image tailored to the correlation conditions with the past experiences of the unconscious. This connects the realism object with the concept of gaze and at the same time abstracts the "mirror image reflecting the desire of others" that evokes the sense that the viewer is being stared at.
The abstraction establishes itself as an aesthetic effect of abstract desire between the pond background and the Mona Lisa's face. Here, an overlapping image of meaningful desire hidden in temporality appears in the pond as an image of reality, but Mona Lisa is an abstract composition that deviates from the perspective visual system. By simplifying the abstract image by flattening its shape, it transfers the existence of unconscious desire to the existence of objective reality image to realism abstraction.
Unlike the Sfumato technique, this led to abstraction by tracing the temporality of the Mona Lisa smile. Da Vinci's spumato technique is an ambiguous expression that blurs the contour, but Choi Chul-joo visualizes the feelings of a smile based on temporality as a trace of temporality, revealing the 'trace of the temporality of Mona Lisa's smile' through painting technique.
As the subject of the trace, the desire structure is divided into background and actor, and the image reflected in the pond is expressed as the actor of desire, and the abstract realism image is expressed as the objective correlation of the concept of desire.
It also becomes a realistic abstraction as a correlation in which the Mona Lisa mimics abstraction as the subject of the cause that made the desire structure an abstract image as the subject of the 'Mona Lisa reflected in the pond'. In other words, abstraction as a realistic structure directs the abstract impression that is perceived as a real meaning into a conceptual abstract realism abstraction./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, conceptual abstract realism painter