Art Critic Louis Choi Chul-joo

Contemporary Art Review morning glory -

Art Critic Louis Choi Chul-joo Criticism [78] morning glory - Portrait of the Arnolfini, Modern Contemporary 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.: morning glory - Portrait of the Arnolfini

Chul-joo Choi, morning glory - Portrait of the Arnolfini, 51X70cm,

Portrait of the Arnolfini: a conceptual abstract realism science that abstracts the structure of fact

"Portrait of the Arnolfini" is a realist image that contradicts concept, abstraction, and reality as an abstract image of symbolic concepts and the realism structure of symbolic devices.

The mirror image establishes the relationship between human-centered phenomena and nature as the worldview of the self and the other. This is not a painting of the object as it is from the perspective of modern desire by Jan van Eyck, but a social status and religious justification that the orderer craves, and the colorful clothing, oranges, and elaborate chandeliers in the "Portrait of the Arnolfini Couple" structure the other's desire to be seen by others, beyond just showing off wealth. In other words, Van Ake had to design the abstract concepts of social status and religious legitimacy that the speakers wanted, not as they were, but as symbolic realism images.

The design here is symbolic iconography, which is a red bed that equates birth and death as a couple, and a shoe that transforms space into a place of sacred consciousness. This is a pictorial event that composes conceptual abstraction structured in linguistic meaning into a real image.

Choi Chul-joo's conceptual abstract realism science definition is conceptual abstract realism, which identifies existence as a limited form of image as a linguistic semantic image, realizes it as a formula for mathematical desire, constructs real structures in logical places, and intuitively considers abstract concepts as existential images in modern art's conceptual abstract realism science, abstracting linguistic meaning and unconscious desire through a thorough design process, the depth of the concept of contemporary art and visual reality, or how the world is viewed as an aesthetic value, are simultaneously studied.

"Portrait of the Arnolfini couple" functions as a document as a visual art that proves the couple. This is a portrait of a couple seeking social self-display by aesthetically constructing a ritual image with a symbolic purpose with a specific bourgeois desire.

As an ideal figure in the mirror, the portrait of the couple as a realistic structure allowed the artist to say that it was a portrait of the couple he painted.

The couple's symbolically deficient portrait is disclosed as an image by selecting the subject as an object of the linguistic symbolic structure as a structure of deficient desire.

In order to provide a universal standard of acceptable disclosure as an image, the deficient desire structure divides the existence of an abstract concept of a real structure separated from the universal real image of a linguistic concept and transforms the meaning of an abstract concept into a real image. This is a conceptual abstract realism image that embodies the abstract structure of a universal desire for humans to socially prove their existence.

As a device that records social institutions and desires as portraits, images the desire to prove one's existence as a device that reveals modern sociality, and interprets the portrait of the couple in a linguistic sense. This clearly distinguishes the meaning of the experience as a couple and the causal meaning of the experience. Starting with the relationship between the living space and the couple in "Portrait of the Arnolfini couple", the linguistic meaning of the painting is interpreted in a way that responds to reality. This clearly distinguishes the meaning of the experience as a couple and the causal meaning of the couple's experience.

Starting with the relationship between the living space and the couple seen in "Portrait of the Arnolfini" and effectively revealing the realist image that corresponds to reality. In other words, it creates a sense of weight of faith as a public relationship in the couple's space. It is a form of realism that gives a sense of reality to the interior structure projected by reversible light, and the traces of the symbolic couple can be reflected by designing symbolic images with the couple and the object as a shadow structure.

Accordingly, the conceptual abstractive design process is

1 Concept Abstract Reality Image Sketch sketches an image by abstracting the conceptual abstract realism image as a conceptual object, and the image is a virtual image that hides its existence and sketches it into a real structure. This visualizes Choi Chul-joo's concept of desire as a conceptual abstract real image and sketches it as a philosophical abstract design process.

Here, the sketch has the existential concept of a realism object as a symbolic structure in a linguistic sense that identifies it with the conceptual abstract real image. Therefore, the image sketch of the existential concept of abstract reality with creativity and autonomy in the linguistic sense consists of a sketch of another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desire of the other.

2 Conceptual abstract image rendering (R) is an opportunity to verbally interpret the conditions (i/d) under which the image of the conceptual abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desire of the other by conceptualizing the abstract object specified in Choi Chul-joo's desire formula.

This is an abstract rendering method that automatically converts philosophical abstraction into visual images by grammatically interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades into mathematical and symbolic structures to simultaneously render AI renders that combine conceptual abstract images and conceptual abstract images created in one image.

Conceptual abstract realism images reach abstract rendering as a reality <DR(I...I')d=I(DR...D'i)ir> by the subject of desire asking himself what the abstract structure wants when transferring the abstract image rendering to a realistic image. This is a method of rendering the symbolic action that characterizes the design rendering of the object seat as a realistic image by repeatedly combining the pieces of the distorted morning glory image in the process of rendering the conceptual abstract image into a realistic image with the unconscious flow and symbolic realism image.

3 Concept Abstract The actual image composition is a real object and abstracts the image by defining the concept of an existential image as an abstract concept.

Abstract structure is a semantic structure that cannot be expressed as a real object, and an image in linguistic meaning that cannot be solved by existence is defined as a semantic structure that physically separates material and identical personalities to form a conceptual abstract real image as an existential subject.

4 Concept Abstract Image Design combines desire structure with the existence of reality, and the existence of objects formed from an abstract perspective, combining reversible light structure with reversible shading of light that deviates from the concept of instantaneous desire. The AI design of the conceptual abstract real image autonomously implements the conceptual abstract real image design by algorithmizing Choi Chul-joo's conceptual abstract realist theory into AI. Therefore, the abstraction of conceptual abstract realist images according to conceptual abstract realist theory in the spatial structure abstracts perspective objectivity as another gaze structure on the surface, and the object overlapping a realism image is abstracted from the object's real image as the scope of space limited by reversible light and the size of the perspective.

5 Conceptual abstraction The abstract realist image's abstraction is an aesthetic desire structure in which an abstract realist object, which is an image-structured in a linguistic sense, is revealed as a point of light to the eyes of others, is revealed in the gaze system of desire. By designing an image with an abstract meaning as a philosophical device, aesthetic abstraction is painted with an image of an existential realism object that appears to have the same meaning. Choi Chul-joo's abstraction as a conceptual abstract realist image is a tool that visualizes his desire formula through an art algorithm, and it is a conceptual, language, design, psychology, and philosophical realist abstraction. Therefore, the abstraction of an abstract realist image abstracts the conceptual abstract linguistic meaning of a realist space by equating the perspective of a realist space with the conceptual abstract linguistic meaning of an object.

The portrait of the couple abstracts the subjective aesthetic structure organized by Ann Van Ake as a realist image of the couple's aesthetic value in discovering the shadow structure and existence of light as immaterial reality. This is an arbitrary abstraction through the linguistic meaning of a realist image that is connected to the reality of the couple. Therefore, the abstract is an image of reality that is connected to the structure of life. They experience a direction in which objects in the world are consciously understood by making them believe in immaterial realities that are united with life that connect with the couple. Portraits that depict the transcendent experiences of others are characteristic in that they are viewed as a complex symbolic system in which human life, death, faith, and social relations intersect. In other words, "Portrait of the Arnolfini Couple" is a conceptual abstract realism painting that contains a record of private love, public testimony, factual representation, symbolic text, and multi-layered meanings of engagement, marriage, and memorial at the same time. Therefore, this painting is a realist abstraction of "Record of Private Love and Public Testimony". The couple's private space is a portrait of the couple, and the couple represents their personal experiences and objects as real images, and testifies publicly as the object of non-existence according to the temporality.

This is a painting structure that depicts a subject, and by presenting a symbolic structure invisible to the object as a realist image, it makes us conscious of the concept of symbolic abstraction. Therefore, the relationship image that accompanies sexual activity between a happy couple who publicly uphold each other's trust is concealed in the mirror in the couple's space, and the subjects are used as props by using dogs and oranges that represent their images.

As the image of the couple covered by the mirror and the symbolic structure, the subject as a couple is formed by identifying dogs and oranges. The subject recognizes the couple covered by the symbolic meaning through the meaning of the other through the image reflected in the mirror.

It is a conceptual abstract realism abstraction in which the structure of realism and abstract concepts is superimposed with red beds and candles in the drawing room so that God can allow the couple to combine and die. As a realistic structure, a candle in a chandelier and a candle that provides a certain range of light in a drawing room with unrealistically reversible shades of light are symbolic structures in which the god that exists at the same time shines a portrait of the couple. This symbolic structure symbolizes the life and death of the couple with red beds and religious loyalty, that is, the way they believe in and deserve each other. Jan van Eyck secures the reality of realist objects with this symbolic optical illusion structure. This is an abstract reality abstraction in which objects of the same concept "coexist between reality and reality," revealing abstract reality by recreating light depicted as reversible light and shade in which an optical illusion structure existed. Thus, even if an object shaded by reversible light is not in place, a perceptual structure that does not recognize any abstraction, like reality (實在), forms a real abstraction by equating the object with a real image in a linguistic sense. In this way, the same linguistic concept of walls and windows is abstracted into a welcoming structure and transforms a couple standing in a realistic indoor space under the shadow of light into a realistic space. In other words, the portrait as the subject of the couple is an abstraction of a complex symbolic system where human life, death, faith, and social relations intersect.

The couple's portrait abstracts the subjective aesthetic structure organized by Van Ake as a realist image of the couple who discovers the shadow structure and existence of light as immaterial reality. This is an arbitrary abstraction through the linguistic meaning of a realist image that is connected to the couple's reality. Therefore, the abstract is an image of reality that is connected to the structure of life. Therefore, the couple's portrait is a symbolic gaze structure different from perspective objectivity in the structure of life, and abstracts the real image of a symbolic object that contrasts with reality as a self-defense abstract range and the size of perspective in a space limited by reversible light.

They experience a direction in which objects that exist in the world are consciously understood by making them believe in immaterial realities that are united with the life they connect with the couple. Portraits that depict the transcendent experiences of others are characteristic in that they see it as a complex symbolic system in which human life, death, faith, and social relations intersect. In other words, "Portrait of the Arnolfini Couple" is a conceptual abstract realism painting that contains multiple meanings of private love, public testimony, factual representation, and symbolic text, engagement, marriage, and memorial at the same time. Therefore, this painting is a realist abstraction of "a record of private love and public testimony". The couple's private space represents their personal experiences and objects as a portrait of the couple, and testifies as an image of the object of non-existence according to time. This is a painting structure that depicts a subject, and it is conscious of the symbolic abstract concept by presenting a symbolic structure invisible to the object as a realist image. In this way, the relationship and meaning of a happy couple who keep each other's trust publicly in the couple's space are composed of dogs and oranges as a stage, and the subjects are used as props to reveal that they are a couple.

Jan van Eyck, Portrait of the Arnolfini, Oil on Oak Paint, 82.2 x 60 cm, 1434, National Gallery, London

Therefore, it is a conceptual abstract realism abstraction in which the structure of realism and abstract concepts overlap with each other as a red bed and a candle in the drawing room, allowing the couple's sexual union and death to be allowed by God. As a real structure, the candle of Chandelier's candlestick and the candle, which provides a certain range of light in the drawing room with unrealistically reversible light shades, are symbolic structures in which the god existing at the same time illuminates the portrait of the couple. This symbolic structure symbolizes the couple's life-and-death red bed and religious fidelity, that is, moral integrity, which is, the integrity of their lives, which symbolizes the way they believe in each other and deserve to keep. An van Eyck secures the realism of realist objects with this symbolic illusion structure. This becomes a conceptual abstract realism abstraction in which the object of the same concept reveals abstract realism by recreating light described as a shade of reversible light in which the illusion structure existed.

In the conceptual abstraction of realism, the perceptual structure that does not perceive abstraction at all as if it were real (實在) even though there is no object in the place of the object shaded by reversible light forms a realistic abstraction by equating the object with the real image in the linguistic sense. In this way, as a welcoming structure, the walls, windows, and a couple standing in a realistic indoor space are abstracted with the same linguistic concept and actualized as a realist space.

Here, the conceptual abstract structure is an image of a man holding a woman's right hand with his left hand, and an incomplete abstract marriage is identified with the couple in a linguistic sense. In other words, the couple's portrait is abstracted as a real image of the linguistic meaning of the conscious structure and unconscious desire by abstracting the complex symbolic system in which human life, death, faith, and social relations intersect.

/ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, a art Critic