Concept Abstract Realism Art 3
Concept Abstract Realism Exhibition Art
Choi Chul-joo Conceptual Abstract Realism Abstract Art [3] Conceptual Abstract Realism Design Process of Desire as a semantic structure, Conceptual Abstract Realism Rendering: Conceptual Abstract Realism Art stems from realistic images at the attractive intersection where Louis Choi Chul-joo's theory of desire meets visual art. Based on his theory of desire and the framework of conceptual abstract Realism, it is an art that abstracts concepts with reversible shades based on unrealistic forms of light and the desires of others. Conceptual Abstract Realism The return of conceptualization techniques in early conceptual art breaks away from abstract methods that are difficult to interpret and creates philosophical inspiration based on culturality, which constitutes conceptual abstraction that explains the desires of others in real places. It also simplifies abstract structures by dividing them into real images to avoid stimulating visual effects such as expression abstraction, and derives philosophical thinking based on literaryity from image effects in linguistic meaning as a realist structure:
The definition of conceptual abstract realism is a new conceptual abstract theory that combines philosophical concepts, linguistic semantic structures, and visual expressions of reality in modern art, a realist art trend that goes beyond mere visual abstraction or metaphorical subject conceptual art wrapped in religious norms without symbolically hiding the desires of others.
This is Choi Chul-joo's "Definition of Conceptual Abstract Realism Abstraction" a new term for contemporary art that describes art that expresses social problems and abstract needs of others through verbal abstraction and symbolic images, and "transports symbolic meaning by using the image as a motif through dialogue with the image." And Choi Chul-joo's conceptual abstract realism image is an image that criticizes problems in modern desire structures and ways of consumption of life as an allegory abstraction image. Therefore, conceptual abstract realism abstraction begins with an abstract interpretation of an image in a phenomenal sense in a previous stage of linguistic meaning. In other words, it becomes a conceptual abstract by interpreting it in an abstract subjectivity before meaning a realist image. The abstract transfers conceptual abstraction, interpreted as an allegory with an image of the same linguistic meaning, to realism image and becomes an abstraction of the actual structure.
Contemporary Concept Abstract Realism Artist Louis Choi Chul-joo's Conceptual Abstract Realism Painting and Exhibition Critique: Media Art Display Installation <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do> Exhibition by Modern Abstract artist Louis Chul-joo Choi", 20201126-20201210, Minoo media art museum
Sculpture Design & Planning. Former curator of the Seoul Museum of Art Louis Choi Chul-joo (abstract design artist & contemporary artist)
Contemporary installation art work & contemporary art sculpture image artwork : Media Art Display Installation: <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do = 최철주 신윤복풍주밀회도 (申潤福風晝密會圖)> by Louis Choi Chul-joo, a media art work at the Minoo Media Art Museum
The definition of conceptual abstract realism is a new conceptual abstract theory that combines philosophical concepts, linguistic semantic structures, and visual expressions of reality in modern art, a realist art trend that goes beyond mere visual abstraction or metaphorical subject conceptual art wrapped in religious norms without symbolically hiding the desires of others.
This is Choi Chul-joo's "Definition of Conceptual Abstract Realism Abstraction" a new term for contemporary art that describes art that expresses social problems and abstract needs of others through verbal abstraction and symbolic images, and "transports symbolic meaning by using the image as a motif through dialogue with the image." And Choi Chul-joo's conceptual abstract realism image is an image that criticizes problems in modern desire structures and ways of consumption of life as an allegory abstraction image. Therefore, conceptual abstract realism abstraction begins with an abstract interpretation of an image in a phenomenal sense in a previous stage of linguistic meaning. In other words, it becomes a conceptual abstract by interpreting it in an abstract subjectivity before meaning a realist image. The abstract transfers conceptual abstraction, interpreted as an allegory with an image of the same linguistic meaning, to realism image and becomes an abstraction of the actual structure.
Media art < <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do (申潤福風晝密)> is a cartoon image of Choi Chul-joo, a cartoonist and modern image installation artist, reconstructing Shin Yun-bok's genre painting of Life in the Joseon Dynasty. It covered up the scenes of men and women secretly going to self-help on a windy day and the general appearance of blatant affection.
Here, since cartoon images are objects of affection and characters as subjects are not involved in symbolic images, Shin Yun-bok's primary colors, which showed women's skillful skills in daily life in the Joseon Dynasty, and his scenes of boating and bathing in the Joseon Dynasty, which expressed affection between men and women, are cartoonized.
Louis Choi Chul-joo, morning glory p122-3-From a lack of desire to a change of form, young voters want to watch Blackpink's The Show rather than campaign broadcasts on YouTube, a hand-painted picture on a computer, 2024
Considering that Shin Yoon-bok's satirical genre is similar to comics, the cartoon composition of "Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do" is the same concept as Choi Chul-joo's "morning glory woman," which is the background of the concept of desire, depicting the morning glory landscape as a boating scene of a woman in the Joseon Dynasty, and describing the concept of desire as the sound of summer as a media art.
Partly drawn and matched in close-up scenes, like Roy Lichtenstein, who drew a series of cuts.
It seems to be a cartoon cut that continuously cuts the customs of Shin Yun-bok, who satirizes the phenomena of society in the Joseon Dynasty with cartoon images, as it is a cartoon media art that is conducted in a pop art painting.
You can get a glimpse of the modern world that is positive for customs by using Vivaldi's four seasons as sound in line with the scene of boating and bathing by the river.
In this way, cartoon media art is conducted in a popular art method, not a medium that reveals social problems. In the middle of summer, he made a boat move by the river by drawing several cuts of cartoons, including yangban, gisaeng, a male politician peeking at a woman taking a bath by the river, and a woman on a swing. The surrounding figures harmoniously reconstructed the leisurely light and shadow of the landscape, the woman of the Joseon and the Joseon man.
Choi Kwan-woo, Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", Still image-30, a hand-painted picture on a computer, 2020
As a real image of reflective self-consciousness as a cartoon image, Choi Chul-joo's painting is another symbolic cartoon image separated from the real image.
The consciousness of choosing the impossible realistic meaning of self-consciousness that rejects the dual meaning of the Joseon Dynasty is determined by the cartoon image.
In addition, cartoon images that are identified with the linguistic meaning of cognitive relations have a reflective importance on the meaning of space by expressing emotions.
Shin Yun-bok's painting is seen in the media space as a media with a cartoon image of the actual representation of social mannerism like Manet's "Lunch on the Grass."
This balances the actual wind speed to suit the media art that is reproduced as a cartoon image as a video. Here, the image of a woman in a bath by Shin Yun-bok contains sociality, but the flatness is matched to the gaze in the painting method reproduced by an unrealistic cartoon.
In addition, the cartoon image drawn by the Korean painting technique of Joseon, which emphasizes media art by moving stationary cartoon images, appears to be an image that matches the relationship between the real landscape and the person.
Choi Chul-joo's painting is a media art that reconstructs Shin Yun-bok's genre paintings to express the character of cartoon characters and reproduces images with the theme of Joseon Dynasty's genre paintings in successive sequences.
Choi Kwan-woo, Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", Still image-11, a hand-painted picture on a computer, 2020
Meanwhile, the Media Art Kim Hong-do painting at the Minoo media art museum is a genre painting of playing musical instruments under pine trees, which equates symbolic meaning with cartoon images transformed into Chinese structures to create the meaning of transformed cartoon images.
By showing cartoon effects through videos and cartoon images, the specific meaning of the transformed form can be hidden and symbolism and reality can be selected in the other person's needs and cognitive relationships.
Through the relationship between media art Choi Chul-joo's picture effect and the concept of cognitive desire of symbolic images, the semantic structure of cartoon images in which dual characters are created emerges.
Choi Kwan-woo, Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", Still image-55, a hand-painted picture on a computer, 2020
However, the media art 'Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do' has a meaning as a symbolic image of a real cartoon image. Therefore, the meaning of the story is created by reconstructing several cartoons of Shin Yun Bok's 'Song·Ha·Sun·In·Chui·Saeng·Do', which actually shows the desires of others, into one scene.
Cartoon images are drawn to interpret the theme of "Song·Ha·Sun·In·Chui·Saeng·Do" as a symbolic cartoon image, and the cartoon image is understood as a semantic structure that enters the cognitive system by combining the meaning of the cartoon with reflective consciousness.
The reason why cartoon images do not act on representation as a semantic structure is because of the appearance that is different from the impressive effect of the image. Therefore, the effect of cartoon design is impression.
Cartoons resulting from industrialization do not distinguish between the original image and the reproduction. This means an image in which the original is absent. The completed cartoon is an image language that allows speech balloons and images to be drawn in the same image as the original.
Therefore, designing a cartoon with the desire of the other, which is difficult to replicate, draws the impression of the same cartoon image where the volume of the original image has disappeared.
Like Shin Yun-bok's painting, Choi Chul-joo's painting creates the meaning of cartoon images that have changed into semantic structure and cartoon images that symbolize the desires of others. Here, media art recognizes images that move according to the temporality associated with the impression as cartoon images.
Therefore, designing cartoons with other people's desires that are difficult to replicate shows the impression of the same cartoon image where the volume of the original image has disappeared, and Choi Chul-joo's media art has the impression of a windy summer day in the Joseon Dynasty by showing the concept of desire as a landscape like "morning glory woman" /Writing. Art critic Choi Chul-joo (Korean Painter & Ph.D. of Cultural Design)
Contemporary art abstract artist Louis Choi Chul-joo
Louis Choi Chuljoo Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", 2020
■ Choi Chul-joo’s Conceptual Abstract realism Abstraction Design Process: Another abstraction that reveals the image as a reality as another structure of gaze that deviates from the visual system as an object that led to realism according to artistry is the image of realism.
In realism abstraction design, a way to effectively convey the dual message of abstraction and reality is to realistically represent concepts and abstractions through contemporary conceptual abstract realism abstractions, such as contemporary media art images or abstractions. Thus, the process of designing conceptual abstrac realism abstractions in media art abstract 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. Choi Chul-joo's reversible light is an image shaded at the present time in what is called "a real image obscured by the shadow of reversible light" according to its realistic form and movement of light, that is, the temporality. The image creates reality as a shaded image of reversible light, where the linguistic meaning seen as abstraction is identified. 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. Through this process of transformation, viewers experience linguistic abstraction in which forms follow concepts and forms become entangled with meaning.
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 formula suggests a dynamic interplay: desire (D) is echoed across repeated images (I...I'), ultimately shaping an abstract concept (i). 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.
According to Culturality, Choi Chul-joo Concept Abstraction Realism Abstraction Stag's step 1: Distill the concept of desire in reality into images separated from literal causation to promote abstract thinking. step 2: Overlapping the linguistic meaning of the natural object motif with culturally resonant visual elements such as color palettes creates visually harmonious yet conceptually dense realism abstract image. 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.
■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.
