Contemporary Art Design Method

contemporary art design method example 8

Review of Modern Art Design Methods [8/ 32~34] Examples of Modern Art Design Methods through Abstract Art Works by Contemporary Artist and Cartoonist Louis Choi Chul-joo's Abstract Concept, Modern Art News Sketch & Abstraction : Cartoonist Choi Chul-joo cartoon review: 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. / 한국 뉴스만화 평론 Review of Korean News Cartoon 카툰니스트 최철주 카툰 만평 [68] 왜곡초계·歪曲哨戒: 황당한 초계기 즉 함선을 보려고 저공비행하는 초계기 (2019.1.6.) / 최철주 기자(Reporter Choi Chul-joo’s Cartoon Review)\

- 만화평론가로서 최철주는 현대미술 팝아트 작품과 웹툰 만화 뉴스에서 한국 만화 뉴스를 그리는 만화가이다. As a cartoon critic, Choi Chul-joo is a cartoonist who draws Korean cartoon news in contemporary art works and webtoons.

Shadows that are continuous with light are distinguished by covering the whole or pointing out it in yin and yang like stars. As a result, the object of the concept of desire is identified by a reversible light shade.

To avoid errors by interpreting aesthetic logic to draw specific objects based on art-related philosophical theories, Choi Chul-Joo, a Ph.D. in cultural design, is conducting a contemporary concept abstract art movement with modern art design methodology through abstract paintings created using desire formulas and abstract design processes.

Choi Chul-joo, morning glory p19-4-a patrol plane flying low to see a ship

Choi Chul-joo's Concept of Desire Formul: In the concept of Choi Chul-joo's desire,

mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i).

Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.

- 한국 화가, 개념미술가, 현대미술가, 추상화가, 미디어 아티스트, 팝 아티스트, 만화가 & 만화평론가 최철주 Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.

- 만화디자이너 최철주 현대 만화미술 역사화 & 현대 개념 이미지 설치미술가 작품 Cartoon designer Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work

카툰 만평 아트문화뉴스 / 한국 뉴스 만화평론 Review of Korean News Cartoon [68] 왜곡초계·歪曲哨戒: 황당한 초계기 즉 함선을 보려고 저공비행하는 초계기 (2019.1.6.) / 최철주 기자(Reporter Choi Chul-joo’s Cartoon Review)

카툰니스트 최철주 카툰 만평 [68] 왜곡초계·歪曲哨戒: 황당한 초계기 즉 함선을 보려고 저공비행하는 초계기

. 함선을 보려고 저공비행하는 초계기

. a patrol plane flying low to see a ship.

. un avion de patrouille qui vole bas pour voir un navire.

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[덧붙이는 글 & 그림]

Choi Chul-joo, morning glory p19-4-a patrol plane flying low to see a ship/ 카툰 만평 아트문화뉴스/ 한국 뉴스 만화평론 Review of Korean News Cartoon [68] 왜곡초계·歪曲哨戒: 황당한 초계기 즉 함선을 보려고 저공비행하는 초계기 (2019.1.6.)/ 만화평론가 최철주의 시사만화평론, 팝아트만화뉴스, 만화평론, 개념만화평론 Comics critic Choi Chul-joo, current affairs cartoon review, pop art cartoon news, cartoon review, and conceptual cartoon review. 만화평론가로서 최철주는 현대미술 작품과 웹툰에서 한국 만화 뉴스를 그리는 만화가이다. As a cartoon critic, Choi Chul-joo is a cartoonist who draws Korean cartoon news in contemporary art works and webtoons ▶왜(歪): 비뚤다_ be crooked_ être tordu, ▶곡(曲): 마음이 바르지 않다_ be in the wrong mind_ l’esprit erroné, ▶초(哨): 망보다_ Be on a lookout for_ regarder, ▶계(戒): 경계하다_ take warning_ se méfier, ▶왜곡(歪曲): 사실과 다르게 해석하거나 그릇되게 함_ misinterpretation or misrepresentation of facts_ mauvaise interprétation ou fausse représentation des faits, ▶초계기(哨戒機): 해상을 날며 적의 잠수함 습격에 대비하는 항공기_ a maritime border plane to prevent enemy submarine raids_ un avion frontalier maritime pour empêcher les raids sous-marins ennemis, ▶대한민국 국방부_ Department of National Defence_ ministère de la Défense nationale, ▶한국 함선을 향해 저공비행하는 일본 초계기._ Japan's patrol aircraft flying low on the Korean ship._ Les avions de patrouille japonais qui survolent le navire coréen sont bas, ▶일본은 인도주의적 구조 활동 중이었던 우리 함정을 향해 위협적인 저공비행을 한 것에 대해 사과해야 할 것. [자료제공: 대한민국 국방부]._ Japan should apologize for the low-altitude flight of the South Korean Navy ship, which is engaged in humanitarian rescue activities. [Information from the Department of National Defence]._ Le Japon devrait s’opposer au vol de basse altitude du navire de la marine sud-coréen, qui participe à des activités de sauvetage humanitaire. [Renseignements du ministère de la Défense nationale]. ■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire, mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality. ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. ■ 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.

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Contemporary Art Design Method

contemporary art design method example 32

Review of Contemporary Art Design Methods [32] Examples of Modern Art Design Methods through Abstract Art Works by Contemporary Artist and Cartoonist Louis Choi Chul-joo's Abstract Concept, Modern Art News Sketch & Abstraction: Contemporary Art Work Design [12] Contemporary Art ｜ Contemporary Art Today Contemporary Art Criticism, Contemporary Artist Criticism, Contemporary Art Installation Criticism and Contemporary Conceptual Art Criticism of Contemporary Art Design: 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./ Art Criticism and Culture Criticism by Louis Choi Chul-joo, Contemporary Art Critic: Contemporary painting Artwork & Modern Contemporary Artist Artwork Design criticis: A Cultural Criticism of Korean News Cartoon Criticism Applying Choi Chul-joo's Desire Concept Abstract Art Design Methodology / The artwork posted on Facebook = Treacherous Contemporary Concepts Art Abstract Design Review [19] Art Critique/ Louis Choi Chuljoo Docent Explained: Abstract Painting Art Theory Presentation of the Concept of Desire

Louis, Chul-joo Choi, morning glory window p55-3, a hand-painted picture on a computer

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News

Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design

Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Choi Chul-joo, freaking ! Academy Award : US President Trump says American films like 'Gone With the Wind' should win Academy Awards, a hand-painted picture on a computer

News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news

■ Dr. Chul-joo Choi's editorial cartoon line news Review of Korean News Cartoon [168] People in power regret if they force unreasonable corruption. (2023.12.4.) / Reporter Choi Chul-joo’s Cartoon Review

. People in power regret if they force unreasonable corruption.

Tiger Cartoon Exhibition leaflet, 2010

News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news

■ Dr. Chul-joo Choi's editorial cartoon line news Review of Korean News Cartoon [168] People in power regret if they force unreasonable corruption. (2023.12.4.) / Reporter Choi Chul-joo’s Cartoon Review

. People in power regret if they force unreasonable corruption.

. Les gens au pouvoir regrettent s'ils forcent une corruption déraisonnable.

Louis Choi chuljoo, People in power regret if they force unreasonable corruption [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Dr. Chul-joo Choi's editorial cartoon line news Review of Korean News Cartoon [168] People in power regret if they force unreasonable corruption. (2023.12.4.) / Reporter Choi Chul-joo’s Cartoon Review / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ▶People in power _ Les gens au pouvoir

Louis, Chul-joo Choi, morning glory p113-2-Jeongcho and Mona Lisaa, hand-painted picture on a computer

Desire Concept Abstraction ■ Design Process/ Abstraction In <Choi Chul-joo morning glory>, Choi Chul-joo's theory of abstract art is formalized to convert the object image of desire into meaning by repeating the theory of desire to the abstraction. This has the meaning of expressing the desire of others in painting by repeatedly applying the desire formula of the imagination world and Choi Cheol-joo, and as a result of applying the theory of desire art to painting, the value of approaching the beauty of formality of the desire of others is obtained.

The concept of desire design ■ "Choi Chul-joo morning glory" is not the object of the subject, but the spatial background of the other's desire. It is the same as a space of life that is consistent like the sky. It connects with cartoon review and pop art that represent the space of life, but does not criticize and judge, but reproduces reality as cartoon review with photographic images of events and performances. The effect of conceptualizing the reality of the symbol object as the desire of the other is structured in the shade of reversible light to form the concept as a realistic conceptual art.

The desire for others as chickens that the chick imagines is an abstract painting that hides the inconsistency of the chick's imagination in the shadow of reversible light with the background of the desire for the 'morning glory' as the image of 'Choi Chul-joo's Morning glory'.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p34-7-1-The average lifetime has been extended to extend the work period: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. * Choi Chul-joo's Concept of Desire Abstract Art Theory

Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design

Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, Desire Concept Realistic Abstract Work: Louis Choi chuljoo, When desire arises, you observe through the window and lie as an opportunity to covet.: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p113-2-People in power regret if they force unreasonable corruption: By repeatedly applying the cencept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <morning glory> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.

By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory ' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i)

Cartoon Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest-114-People in power regret if they force unreasonable corruption: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest-114-People in power regret if they force unreasonable corruption: Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <People in power regret if they force unreasonable corruption> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 114, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest b114, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p55, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory window 2024-5-MonaLisa, 17.5X24cm, acrylic and composite materials on cloth, 2024

morning glory window 2024-5-Mona Lisa

In Renaissance art, which opened up the image of contemporary art, "Mona Lisa" 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.

"Morning glory Window Mona Lisa" abstracts the mysterious image saved by Da Vinci's sfumato technique as the outline of reality as an image beyond the mysterious atmospheric effect of the color of the morning glory, which is the background of desire.

Abstraction is established as an aesthetic effect of safe desire with two morning glory on the face of the Mona Lisa and two morning glory on the left.

From the letters, the image of desire mediated by morning glory and Mona Lisa is repeated, showing an abstract reverberation effect in the shadow of reversible light.

As a reverberation effect, blue and black tree trunks were properly placed behind the morning glory so that the gaze could lead from the morning glory to the Mona Lisa, the background of desire, and the gaze was focused on the morning glory 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 morning glory, 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 morning glory, and the morning glory 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, <morning glory> as an allegory. The "morning glory" 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 morning glory 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 subject, and the Mona Lisa becomes the object of the cause of creating the desire structure as an image symbolized in the morning glory through the relationship of symbolic expression made by the Mona Lisa as a morning glory.

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 image as a deliberate abstraction. / Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)

Louis, Chul-joo Choi, morning glory window p113-2-1, a hand-painted picture on a computer

Desire Concept Abstraction ■ Design Process/ Abstraction In <Choi Chul-joo morning glory>, Choi Chul-joo's theory of abstract art is formalized to convert the object image of desire into meaning by repeating the theory of desire to the abstraction. This has the meaning of expressing the desire of others in painting by repeatedly applying the desire formula of the imagination world and Choi Cheol-joo, and as a result of applying the theory of desire art to painting, the value of approaching the beauty of formality of the desire of others is obtained.

The concept of desire

■ "Choi Chul-joo morning glory" is not the object of the subject, but the spatial background of the other's desire. It is the same as a space of life that is consistent like the sky. It connects with cartoon review and pop art that represent the space of life, but does not criticize and judge, but reproduces reality as cartoon review with photographic images of events and performances. The effect of conceptualizing the reality of the symbol object as the desire of the other is structured in the shade of reversible light to form the concept as a realistic conceptual art.

Louis Choi Chul-joo Choi, morning glory p55-3-People in power regret if they force unreasonable corruption, a hand-painted picture on a computer

A Cultural Criticism of Korean News Cartoon Criticism Applying Choi Chul-joo's Desire Concept Abstract Art Design Methodology

The desire abstract design method consists of a revolutionary form of painting that deviates from perspective by drawing images with different meanings at different points in time and gathering them on one screen. This is a new attempt to reject the mannerism of the romantic painters in their paintings. In other words, it pursues a new style of contemporary art by breaking away from modern art with the abstract painting of "morning glory" in the shade of reversible light in which the subject of light projected in romantic paintings is the place of existence. / Contemporary art <morning glory> Abstract painting Choi Chul-joo Analysis

An object (Louis Choi Chul-joo, a morning glory outside a window), which depicts the meaning of a shape seen in a semantic space created by reversible light, is an abstract space that can be reversed into a real shape by structuring an image that hides the desire of others in time in the shade of reversible light, and the meaning of conceptual abstraction hidden by the actual changed movement of the shape, or the image in the mirror, is an image of a virtual non-realistic and shows an abstract image that reveals the place of the other's unconscious desire.

The object depicts the meaning of the shape seen in the meaning space created by reversible light. The object <morning glory window> means an abstract space where a chick can structure the meaning of a certain shape in the shadow of reversible light and reverse the object into a real shape by structuring the meaning of a certain shape hidden in the long time when the desire of the other is fossilized. As a seat, the actual shape is completed in the shadow of reversible light in which the reality of the exhibition poster shape is changed. It is the concept of the abstract painting <morning glory window> that obscures sound from the movement of light that formed the shape. (Abstract painter Louis Choi Chul-joo <morning glory window> Concept: Choi Chul-joo Modern Art Theory)

Concept of Desire <morning glory p55-3-People in power regret if the force unreasonable corruption> as art is an image that can momentarily see the desires of others functioning gazefully in the landscape.

This is a distorted planarity that seems to have a consistent meaning of morning glory in painting. The morning glory is the same as the real(le Réel) reflected in the mirror, but the shape of the background is not the same.

Artistic discourse on reality and non-real continues according to the viewpoint. Real and non-real objects cannot be selected as visible images that reproduce objects, and pictorial images that express real images were identified as non-real images. Therefore, the way to find reality in an object is to reveal it through the abstraction of "morning glory" as a distorted planar image in the shade of reversible light similar to the object of desire.

This is because abstraction in the same meaning as a conceptual form, which is a realistic form of non-realism with the same structure of meaning, is an abstract as a conceptual structure, but abstraction as the same meaning with different shapes is a real non-realistic being as an ideological atypical being with different colors and sizes. The existence defines an abstract space as a real reversible shape and is an image that is hidden by a movement in which the shape is actually changed in a reversible shade of light, and is an image of the exhibition poster image of "morning glory". This abstracts the cultural concept of desire into installation art.

Louis hoi Chul-joo, morning glory poster 55, a hand-painted picture on a compute, 2022

Cartoonist as a conceptual artist Choi Chul-joo, Jeongcho and Inwangsan Tiger, Marker on Paper, 2010

The image is shaded and represented in a surface area suitable for the theme of "Jeongcho and Inwangsan Tiger", a pop art concept, in the actual shape and gaze shape of "Choi Chul-joo's morning glory P55".

Here, drawing a picture as an object of change in custom is another image that seems to be an object. It is hidden and disappeared as a material of the object drawn as a small piece that is not visible in space. A small piece of the object shows a real space that is reversible through image thinking movement that monochromates and actually changes the shape. It shows how the object as another reality is revealed. In the abstraction, it appears to be a desire image, a distorted plane image that reverses perspective, along with an image that appears to be a perspective visual system.

If the place of Choi Chul-joo's morning glory P55 in the abstract space is no longer specified as a poster and applied to Lacan's "Four Directional of Interpretation (Eé=Jacques Marie Émile Lacan, Écrites, Seuil, 1977, 53)", the painting work is interpreted as "Four Directional of Interpretation" by placing the line of 'utre' and the line of the horse (moi) a and the line of interpretation (utre) and painting (Es) S in a diagonal position where they intersect as a symbolic system.

Here, Lacan conceptual art abstraction begins with the imagination world, where the infant reveals reality through mirror theory identifies the representative image reflected in the mirror with the imaginary image. Recognizing that the representative image is not himself as a subject, it transitions to an abstraction interpreted as a symbolic system through the separation of the symbolic image of the sign and reality. The abstract image and reality meet with reality through division. As reality, the representative image is revealed as a dwarf image, but as non-realistic, it is an encounter, that is, abstraction, that is, a contradiction with reality. (ACN. 2022.10.14 Choi Chul-joo's interpretation of the 'Four Directional of Interpretation of Lacan')

Louis hoi Chul-joo, morning glory poster55-Jeongcho and Inwangsan Tiger, a hand-painted picture on a compute, 2022

Desireful conceptual art abstraction, which replaces the phenomenal place of abstract meaning with an exhibition poster, can distinguish the place of the shape and conceives the meaning of the image that interprets the shape. The shape is abstract in color and size similar to the meaning of an ideological structure to speak another meaning, but in the imagination, the abstract meaning of conceptual art is identified with reality, and the image and abstract meaning of the object are identified outwardly as the same subject, and the subject internally forms a transformed abstract meaning. This refers to the abstract meaning of a shape, which defines an abstract space that can be actually reversible and refers to the design meaning of an abstract shape in which the shape changed by the actual changed movement of the shape is covered in shades.

Its meaning is designed as "Choi Chul-joo morning glory poster 55-Jeongcho and Inwangsan Tiger", which is conceptually abstracted as a symbolic language symbolizing flowers that imitate the other's desire.

It is reproduced as an abstract object as an abstract object as an object of desire image by designing a shape that represents the desire of the other in the abstract "Choi Chul-joo's morning glory". In the perspective visual system, the object as a different momentary gaze is abstracted from the other's desire point of view, as the visual system creates a place of one shadow with a hidden reversible light.

In this way, objects abstracted as desire conceptual art form a dwarf image expressed through a desire revealed in the oppressed unconsciousness of others to acquire artistry beyond generality as a design, create objects in the shadow of conceptual formability with the desire of others as beings, and exist as a meaning.

As a semantic entity, the object contains the formative value of the object as an autonomous choice of the other's desire by transforming the object's image into a meaning structure with a plane image that is distorted from the other's desire point of view.

And a small piece as the other's desire hidden in the chicken's background shows a real abstract space that is reversible through a representative movement that actually changes its shape. This is positioned by abstracting the other's desire in a space where the object can be actually reversed as the meaning of the existence of an abstract object.

Beyond mathematical concepts and philosophically meaningful linguistic interpretations, "Choi Chul-joo's morning glory" combines critical perspective with the life value of desire painting with a picture of the scene of the event. Here, desireful abstract painting refers to the painterly nature that can momentarily perceive the desires of others by staring at them rather than arbitrary philosophicality. (ACN · April 20, 2022 / the desire of the other as a toddler <morning glory> New York Exhibition docent 1)

The image is shaded and represented from the actual abstraction "Choi Chul-joo's morning glory p33-4" shape and the gaze shape to the surface area suitable for the theme of the pop art work "morning glory p33-4".

Here, drawing a picture as an object of change in custom is another image that seems to be an object. It is hidden and disappears as a material of an object drawn as a small piece that is invisible in space.

A small piece of the object shows a real space that is reversible through the thought movement of an image that is monochromated and actually transformed into the shape. It shows how an abstract object as another reality is revealed. In the abstract object, it appears as a desire image, that is, a distorted plane image that reverses perspective, along with an image that appears to be a perspective visual system.

In "morning glory poster 55", which is a conceptual art, the abstract area of painting in which a desired specific effect occurs as an exhibition poster meaning transfers the desire of the other who functions visually in the landscape to an image that can be seen momentarily. This is a distorted planarity that seems to have a consistent meaning of morning glory in painting. The morning glory is the same as the reflection image of the mirror (le Réel), but the shape of the background is not the same.

This is because abstraction in the same meaning as a conceptual meaning structure with the same structure of meaning is an abstract form with a realistic form of the same meaning, but abstraction as the same meaning with different shapes is real as an ideological atypical entity with different colors and sizes.

There the existence defines an abstract space as an actual reversible shape and refers to the abstraction meaning of the exhibition poster concept art in which the shape is hidden by the actual changed movement in the shade of reversible light.

In the abstract meaning, a shape that represents the desire of the other is designed in the "morning glory window" and reproduced as an abstract object as an object of desire image. In the perspective visual system, the object as a different momentary gaze from the other's desire point of view revealed in the unconscious mind is abstracted by creating a place of one shade with reversible light in which the visual system is concealed.

In this way, objects abstracted as desire conceptual art form a dwarf image expressed through a desire revealed in the oppressed unconsciousness of others to acquire artistry beyond generality as a design, create objects in the shadow of conceptual formability with the desire of others as beings, and exist as a meaning.

As a semantic entity, the object contains the formative value of the object as an autonomous choice of the other's desire by transforming the object's image into a meaning structure with a plane image that is distorted from the other's desire point of view.

And as a painting image, a small piece as the other's desire hidden in the chicken's background shows a real abstract space that is reversible through the thought movement of the image that actually changes the shape. This is positioned by abstracting the other's desire in a space where the object can be actually reversed as the meaning of the existence of an abstract object.

As a work of abstract Korean painting in contemporary art, the painting <morning glory window p55-3> created with reversible light is overlapped by applying Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to <morning glory window p55-3> as a work of abstraction of modern art. By repeating the linguistic metaphor image, the Choi Chul-joo desire formula is re-applied, and the phenomenal conceptual position reflected by the mirror in another place in one space in the shade of reversible light is determined and abstracted as <morning glory window p55-3>.

Louis Choi Chul-joo 2022 New York Exhibition As the object as a desire image is realized, the poster becomes a non-realistic modern abstraction of reality, not a poster.

Contemporary Art & Cartoon Abstraction artworks: Louis Choi Chul-joo, Choi Chul-joo morning glory p55-3-People in power regret if they force unreasonable corruption, a hand-painted picture on a computer

An object (Louis Choi Chul-joo, a morning glory outside a window), which depicts the meaning of a shape seen in a semantic space created by reversible light in the shape of a non-realistic reality, means an abstract space that can reverse the object into a real shape by structuring the image that hides the desire of the other in time in the shade of reversible light, and the meaning of conceptual abstraction hidden by the actual changed movement of the shape, or the image in the mirror, shows an object image of an abstract image that reveals the place of the other's unconscious desire as an image of a virtual non-realistic.

The object image depicts the meaning of the shape seen in the meaning space created by reversible light. The object <morning glory window> refers to an abstract space where a chick can structure the meaning of a certain shape hidden in the long fossilized time by sharing the desire of the other in the shadow of reversible light to reverse the object into a real shape. As a seat, the image of the reality where the sound has stopped is captured with the shadow of reversible light in which the reality of the exhibition poster shape has changed. The concept of the abstract painting <morning glory window>, which equates the current light that has formed the shape with another sound in the other's desired movement, is the object image (Abstract painter Louis Choi Chul-joo <morning glory window> Concept: Choi Chul-joo Modern Art Theory / ACN · 2023. 6. 19. 23:08)

The return of shape is a distorted plane image <morning glory p55-3-People in power unreasonable corruption> that connects the image and the structure of the image and applies it repeatedly, conceals the visual system with a shaded diagram that reproduces an abstract representation image object, but it is an abstract object that shows the realistic shape revealed in the reversible shade of light from a desire point of view revealed in the unconscious as a momentary gaze.

In rational painting as an abstract object, the frame of the morning glory shape is different from objective reality and representational conceptual art so that the dwarf background according to temporality can be experienced with the desire of the other. This is because the object is a real object separated from reality transferred from the symbolic world.

In symbolic reality, the illusion image reveals the object as another being of the object by transforming the image of the object from the other's desire point of view into a dwarf image, and contains the artistic meaning of the object with momentary creativity and autonomous abstraction.

Therefore, it is a fantastic realistic painting with a desire concept. As a signifier, which is a real form in imagination with abstraction, the substance of the artistic form disappears and is fixed as a non-realistic form with the meaning of an existential symbol as a result.

This is an abstraction that mimics the phenomenal abstraction that appears to be a momentary figure. Assuming that a phenomenal image is metaphorical in that abstraction, but it is a non-realistic image, reality exists in a phenomenal image that reproduces reality in a similar way.

Abstract painter Louis Choi Chul-joo 2022 New York Exhibition Poster 55 metaphorically expresses the meaning of life as reality, an area separated from the realm of the symbolic world. The actual meaning of human beings as a cover-up without showing the object to be expressed is compared to <morning glory poster55> and <Jeongcho and Inwangsan Tiger>. In other words, as a cover-up invisible through a speech bubble, "Is there a tiger who doesn't even know about Inwangsan Mountain?" Jeongcho realistically abstracts the meaning of abstracting the meaning of a tiger in Inwangsan Mountain, who replaces the existence, does not know the value of an object.

This is identified in the imagination world, and outwardly, the image of the object and the other are identified as the same subject, and internally, the subject forms the meaning of the transformed other. The meaning formed here is that the infant's imagination as seen by the infant in front of the mirror is an imaginary world that can be enjoyed in the realm of motherhood. The infant achieves its relationship with the visible object through a symbiotic relationship with the biological mother. The imaginary system as a visible metaphor is an image of an object in reality and an image that is satisfied as an infant by looking at the object in the mirror.

In this imaginary world, the image of reality as a metaphor is reflected in the image of reality reflected in the mirror by the desire that is satisfied with the infant, or the image of reality as a metaphor can be a tiger of Inwangsan Mountain in another sense. It presents the image of a pipe and is not a pipe, as shown in the painting <This is not a pipe> by René Magritte. The fact that the reality of a pipe cannot be reproduced is that it cannot be reproduced. In other words, since reality cannot be reproduced through a picture, the picture of a pipe and the desire image and sentence of 'not a pipe' in the picture are the whole picture.

Therefore, in the symbolic realm, the image of reality <Jeongcho and Inwangsan Tiger>, which is the realm of reality separated by the desire of others, is metaphorically expressed. The actual meaning of the object to be expressed in the shade of reversible light is compared to a tiger proverb easily seen in Inwangsan Mountain, and the concept of the desire, which compares the meaning, is abstracted as a realistic representation.

Here, through the division of the phenomenal image and reality, the concept of the desire image and reality are instantaneously encountered. The image as reality is revealed as a distorted flat image, but it is a contradictory encounter with conceptual abstraction as a non-real thing in the shade of reversible light

This perspective visual system, which reproduces abstract objects, conceals the image of desire, but instantly reveals the object as a gaze from a desire point of view revealed in the unconscious.

As an abstraction, the object image reveals the artistry of the semantic structure by forming a dwarf image expressed through the desire revealed in the suppressed unconscious mind of others to get out of generality and create an object as a being.

The autonomous artistry that emerged from the object erases the area of space and the manneristic form of real painting as it reveals the virtual image as a non-real thing.

The form that started in the imagination stems from imaginary recognition regardless of realistic experiences, just as an infant is satisfied with a reflection in a mirror. By not recognizing each signifier image in different forms, it creates a misconception due to imaginary recognition. This misconception suggests that the metaphor seen in the imagination as a realistic form is possible only through the similarity between the different signs. In the process of identifying each form of the signifier image of the realistic shape according to the difference between the signifiers, the infant begins to control himself in relation to others. In this way, "Napal Flower" abstracts the desire of others by repeatedly drawing the difference between realistic image images within an imitation method.

Additionally, by eliminating the volume and reversible shadow of light as an abstract structure, the physical structure is clarified, the image of desire is reproduced, and the recognized reality is summed up, and the image hidden in the long time when the desire of others is commonly fossilized is structured as an abstract cultural space that can reverse the object into a real form by structuring the meaning of a certain shape in the shadow of reversible light, and the sound "regret when a powerful person forcibly pulls unreasonable corruption like a tiger who does not know Inwangsan Mountain" is abstracted in the movement of light. / Writing. Contemporary Art Critic Choi Chul-joo (a contemporary art designer & Ph.D. in Cultural Design)

Choi Chul-joo, a contemporary art design critic

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Contemporary Art Design Method

contemporary art design method example 33

Review of Contemporary Art Design Methods [33] Examples of Modern Art Design Methods through Abstract Art Works by Contemporary Artist and Cartoonist Louis Choi Chul-joo's Abstract Concept, Modern Art News Sketch & Abstraction: 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. 현대미술｜현대미술평론, 현대미술가평론, 현대미술설치평론, 현대개념미술평론 [3] Contemporary Art; Louis's <morning glory 34-4-1>, 2022 New York Exhibition Abstract painting of contemporary art & A Cultural Review of Korean News Cartoon Criticism Applying Choi Chul-joo's Desire Concept Abstract Art Design Methodology 2

Louis Chul-joo Choi, morning glory p34-2, a hand-painted picture on a computer, 2022

<morning glory p34-2>은 추상의 배경으로서 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 욕망 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 쓰레드 페인팅이다. 이것은 육화된 닭의 욕망 이미지의 오브제를 대리하여서 현대미술 회화 의미 구조로서 형상 이미지를 욕망 개념의 이미지로 한 가역광으로 한 음영으로 <morning glory 2022-g>를 변형한 사실적 추상화 다.

뉴욕(Flushing Town Hall & Yeomyeong Hall)에서 루이 <나팔꽃> 2회 개인전 관련 현대미술 추상화 작품으로서 현대미술 회화 디자인 컨셉으로 한 포스터 100점과 욕망 개념 이미지의 오브제를 추상화로 제작하여서 욕망 개념의 의미 구조로서 형상의 사실적 회화 디자인 즉 욕망 개념의 사실적 회화의 전시 이미지로서 기호화한 현대미술 추상화 다.

상상계의 보이는 욕망 개념을 은유하는 추상 회화에서 모방성의 범주에서 욕망 기표를 캔버스에 담고서 근대까지의 그 회화의 욕망 개념을 종교적 관습에서 수용할 수 있는 사회적 제약(制約)으로 한 이미지다. 따라서 욕망 개념이 사회적 제약으로 한 추상 회화에서 이미지의 형상적 실체를 감추고 추상의 이야기에 근거로한 허상으로 상징화된다. 상상계에서 사회적으로 욕망 개념은 이미지가 상징적 의미를 갖지만 형태적 욕망 기표는 일관된 이미지로 차이를 갖지 못한다. 이것은 최철주의 욕망 공식에 적용함으로써 욕망 개념이 동시대 타자의 욕망으로 전이됨에 따라 그 욕망의 이미지는 가역적 빛으로 생성한 욕망 개념이 말하는 사실적 이미지로 추상된다.

가역적 빛으로 한 음영의 구조로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 뉴욕 전시 추상화 나팔꽃 35-3)은 병아리가 타자의 욕망을 공용이 화석된 긴 시간성에 감추어진 이미지를 가역적 빛의 음영적 이미지(morning glory 2022-g)에 욕망 개념의 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 형상의 실제 변화된 움직임에 의해 가려지는 추상의 의미 즉 욕망 개념 이미지의 오브제로 추상을 대리한다.

여기서의 그 오브제에서 출현한 예술성은 타자의 욕망적 관점에서 왜상적 이미지로 오브제의 이미지를 의미의 회화 구조로 변형함으로써 오브제의 또 다른 존재로서의 개념된 오브제를 드러내고 그 오브제가 창조성과 타자의 욕망의 자율성으로 한 예술적 개념 의미를 보인다.

그리고 회화적으로 육화된 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각은 그 형상의 실제로 바꾸는 욕망 기표적 의중 운동을 통해서 가역된 실제 추상적 공간을 대리한다. 이것은 추상적 오브제의 개념을 가리키며, 그 오브제는 실제 가역할 수 있는 추상을 사실적 공간을 이루고 욕망 이미지 상의 실제가 추상된 타자의 욕망을 가역적 빛의 음영으로 가려진 추상적 풍경속에서 욕망 이미지가 개념미술로 한 사실적 추상 회화의 개념을 가리킨다.

욕망 개념 현대 미술평론가 & 개념미술가 최철주의 현대 개념미술 <나팔꽃>은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 주체로서 <나팔꽃>을 지나가는 순간적 형상을 드러내는 가역적 빛으로 한 음영의 구조가 타자의 욕망을 개념하는 사실적 형상을 추상화 작품으로 생성하는 개념미술이다.

보이지 않는 실재로서의 사실적 상징계는 보이는 은유의 형태적 욕망 기표가 상징적 의미의 기의로 전이된다. 욕망 개념 이미지로 한 회화는 실체적 형상인 욕망 기표로서 형상의 실재는 사라지고 허상적 상징의 기의로서의 욕망 개념의 사실적 추상화다. 즉 회화에서 사회적 제약에서 벗어난 동시대 타자의 욕망 개념을 기의로 한 타자의 욕망으로 실체화된 형상적 욕망 의미를 상징적 형상으로 추상으로 자리바꿈을 한다.

Louis Chul-joo Choi, morning glory p34-4-1, a hand-painted picture on a computer, 2022

욕망 개념적 의미 구조로서 욕망 이미지: 욕망 개념 이미지를 카툰 만평의 사건 이미지와 공연 이미지로 한 오브제로서 디자인한 욕망 개념 이미지<morning glory 34-4-1>는 비실재의 개념미술 이미지 화폭에 어두운 청색으로 연쇄하여서 실재 나팔꽃의 실재 개념미술 이미지다. 이것은 <morning glory 2022-g>에서 전이한 <morning glory p34-2>를 의미하며 비실재의 사실적 이미지를 가역적 빛으로서 왜상(anamorphosis)적 이미지로 그리진 욕망 개념을 추상한 오브제다.

그 오브제 형상은 현대미술 추상화 작품의 디자인 컨셉으로 한 <morning glory p34-2>에 타자의 욕망을 가역적 빛의 음영으로 중첩해 그려서 이것을 기호화하여서 연쇄한 현대 개념미술 사실적 회화로서의 추상화 다.

Louis Chul-joo Choi, morning glory p34, a hand-painted picture on a computer, 2022

욕망 개념의 동시대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 비실재의 사실적 이미지<morning glory p34>의 개념적 가치를 말한다. 그리고 비실재의 사실적 이미지를 개념미술로 한 실재의 비사실적 이미지<morning glory p34-2>로 전이한다.

비사실적 실재의 이미지를 바라보는 유아로서 병아리는 주체성을 인식하면서 자신의 이미지와 동일시하는 것이 욕망 개념의 상징계다. 닭는 복장을 갖추고 이성적 도덕관을 표명한 시대에서부터 19세기까지 계속적인 사회적 규정에 의해 유아가 갖는 상상계의 인식의 구조에서 타자의 욕망으로 한 욕망 기표롤 전이된다. 이성적 도덕관의 상징계에서 벗어난 병아리는 외부에 노출된 개방된 공간에서 타자의 욕망이 자신의 주체와는 다른 것임을 인식하고서 닭의 복장을 벗고서 타자의 욕망과 동일한 다른 정장을 한 욕망 이미지의 주체임을 인식한다.

이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 카툰만평으로한 욕망 개념의 회화의 삶적 가치를 교합시킨다. 여기서 그 회화는 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 회화성을 말한다. (ACN ・ 2022. 4. 20. / 유아로서 병아리가 본 타자의 욕망 <나팔꽃> New York Exhibition 뉴욕 전시 도슨트1)

따라서 사회적 규정에 따른는 이성적 회화성에서 욕망 개념의 사실적 이미지가 시간성에 따른 왜상적 배경을 타자의 욕망으로 경험할 수 있도록 욕망의 배경의 나팔꽃 형상을 틀로서 객관적 실재와 욕망을 억제하는 상징적 개념미술과는 차이를 넘어서 타자의 욕망 개념 이미지의 오브제로 한 실재에서 분리된 사실적 이미지의 욕망 이미지의 오브제를 실재로 추상한다.

욕망 개념적 의미 구조로서 욕망 이미지: 욕망 이미지를 오브제로 디자인한 욕망 개념 이미지<morning glory 34>는 비실재의 개념미술 이미지 화폭에 어두운 청색으로 연쇄하여서 실재 나팔꽃의 실재 욕망 개념으로 한 개념미술 이미지다. 이것은 <morning glory 2022-g>에서 전이한 <morning glory p34-2>를 의미하며 비실재의 사실적 이미지를 가역적 빛으로서 왜상(anamorphosis)적 이미지로 수작업으로 그린 쓰레드 페인팅에 자리잡은 욕망 개념 이미지의 추상적 오브제다.

그 오브제 형상은 현대미술 추상화 작품의p 디자인 컨셉으로 한 <morning glory p34-2>에 타자의 욕망을 가역적 빛의 음영으로 중첩해 그려서 이것을 기호화하여서 디자인을 연쇄한 욕망 개념의 추상화 다.

욕망 개념 현대 개념미술 추상화 작품: 루이 최철주 뉴욕 전시 나팔꽃 p34-2

욕망 개념의 오브제<루이 최철주 2022 뉴욕 전시 나팔꽃 p34-2> 추상화로서 추상적 표상 이미지 오브제를 재현하는 음영적 도식으로 시각체계는 은폐하고 있으나, 무의식에서 드러난 욕망적 관점의 가역적 빛의 음영에서 드러난 비사실적 형상을 순간적인 응시로서 보이는 추상화로서의 오브제다.

그 추상화에 감춰진 욕망 이미지의 오브제는 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 디자인으로 연쇄하여서 타자의 욕망을 존재로서의 오브제를 생성하여서 타자의 무의식적 욕망에서 드러낸 사실적 이미지가 순간적 왜곡된 타자의 욕망적 이미지를 실재의 사실적 추상화의 개념 미술성을 드러낸다.

루이 최철주 2022 뉴욕 전시 <나팔꽃 p34-2> 추상화는 상징계의 영역에서 분리된 영역인 실재로서 삶의 의미를 은유적으로 표현한다. 그 표현하려는 오브제를 보이지 않고 은폐로서의 인간의 실제적 의미를 여러개의 가역적 빛의 음영으로 중첩한다. 즉 두 개의 상에서 주체가 어느 것인지를 구분되지 않는다. 그러나 이 두 개의 상을 보이는 오브제로 동일시한다. 여기서 실재의 상과 다른 이미지의 상을 실재성을 보고 타자의 욕망이 실재와 다른 상에 만족해하기 때문에 가역적 빛의 음영속에 또 다시 중첩된 실재적 의미를 실재 사실적 표상으로 추상화 이미지에 담는다.

그 이미지는 최철주의 욕망 공식에서 현실에 없는 것을 인식하여서 적용시킨 욕망 개념이다. 그 개념은 무의식과 언어를 동일한 형상을 그려낸 하나의 이미지다. 여기서 응시로 보이는 나팔꽃은 하나의 색깔로 평면화된 왜상적 구조다. 이것은 욕망 개념미술 추상화에서 나팔꽃이라는 욕망의 배경으로 일관된 의미로 보이게 있는 왜상적 평면성이다.

그 개념미술 이미지로 추상된 오브제ɑ는 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 디자인으로 형성하고 타자의 욕망을 존재로 한 조형성의 음영으로 오브제를 생성하고 의미적 존재 구조의 예다. 그 의미적 존재의 오브제ɑ에서 출현한 예술성은 타자의 욕망적 관점에서 왜상적 이미지로 오브제의 이미지를 의미의 구조로 변형함으로써 오브제의 또 다른 존재로서의 오브제ɑ를 드러내어서 타자의 욕망의 자율적 선택으로 한 조형적 가치를 담고 있다.

그리고 회화적으로 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각은 그 형상의 실제로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 추상적 공간을 보인다. 이것은 타자의 욕망을 추상적 오브제의 존재 의미로 그 오브제를 실제 가역할 수 있는 이미지로서 추상 공간으로 자리한다.

추상 공간의 자리에서 이미지를 명시하지않고 라캉의 “해석의 네 방위(É=Jacques Marie Émile Lacan, Écrits, Seuil, 1977, 53)”에 적용한다면 상상계로서 이미지ⓐ ('utre)와 말(moi) a의 선과 상징계로서 해석A (utre)와 그림(Es) S의 선을 교차하는 대각선 위치에 둠으로써 회화 작품을 해석하는 해석의 네 방위(The quadruple)이다.

여기서 라캉의 "해석의 네범위"을 적용한 개념미술 추상화는 거울이론을 통해 실재를 드러내는 것은 유아가 거울에 비친 기표적 이미지를 상상계 이미지ⓐ와 동일시하게 상상계에서부터 시작된다. 주체로써 기표적 이미지가 자신이 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 상징계로서 해석A (utre)된 추상화로 전이한다. 그 추상화 이미지와 실재가 분열을 통해 실재와의 만남이 이루어진다. 실재로서 기표적 이미지는 왜상적 이미지로 드러나지만 비실재로서 실재와의 어긋난 만남 즉 추상화 다. (ACN. 2022.10.14 '라캉 해석의 네 방위'에 대한 최철주 해석)

라캉의 "해석의 네범위"을 적용한 타자의 욕망적 형상이 실재와의 어긋난 만남으로 이루어진 형상의 실제가 추상된 타자의 욕망에 가려지는 추상적 풍경 형상의 의미를 대리하는 비실재의 사실적 형상을 보인다. 그 형상은 추상적 음영으로 생성된 타자의 욕망이 선택한 실제의 구조와의 교차점이다.

반면에 최철주의 욕망 개념 형상은 추상적 풍경 형상의 욕망적 의미를 대리하는 이미지는 존재로서 실재의 사실적 형상을 보인다.

그러나 비실재의 사실적 구조로 한 전체의 실제 형상과 가역적 빛의 음영으로 디자인한 타자의 욕망이 응시로 보이는 교차점에 순간적으로 추상화된 형상이다. 그 형상은 이미지를 담고 있는 기표이다. 라캉의 상상계에서 유아가 거울에 비친 자신의 모습과 형상이 다른 오브제를 동일시하여 형상의 의미로써 유사성은 사라진다.

결국 보이는 유사성은 다른 형상으로서 동일시된 오브제의 의미를 왜곡시킨다. 이것은 실존적으로 일치되지 않는 두 개의 기표일 뿐이다. 따라서 형상이 다른 두 개의 기표가 동일시될 수 없다.

그러나 상상계는 유아가 거울에 비친 상을 보고 만족하는 것처럼 실재화한 경험과 관계없이 상상적 인식에서 비롯된다. 서로 다른 형상으로서 각각의 기표를 인식하지 못함으로써 상상적 인식으로 인한 오인을 만들어 낸다.

이러한 오인은 실재계에서 서로 다른 기표 간에 유사성을 통해서만 상상계로 보이는 은유가 가능한 추상이 가능한 것임을 말해준다.

회화에서 그 실재계는 라캉의 미술이론(라캉의 "해석의 네 방위")에서 알 수 없는 가정과 그 대상의 주체를 소외시키는 욕망의 원인을 말한다.

라캉의 실재는 억압된 무의식에서 드러난 것으로 “실재계는 인간에게 알려지지 않고 오직 가정될 수 있을 뿐이다.(É=Jacques Marie Émile Lacan, Écrits, Seuil, 1977, 137)”

이것은 현실에서 의미로써 드러난 실재와는 다른 것이다. 실재계에서 욕망은 실재와 만나기 위해 주체의 불충분함에서 오브제ɑ를 드러내려고 한다.

즉 주체를 구성하고자 오브제를 드러냄은 욕망과 타자사이에서의 환영을 주체에 결합하는 것이다. 여기서 타자의 욕망을 통한 오브제로의 접근은 대상에서 분리된 오브제ɑ의 결핍된 주체 형상을 가역적 빛으로 한 음영의 구조로서의 욕망이 메워주기 때문이다.

따라서 욕망의 주체로서의 이미지는 자신과의 분열되어서 욕망 구조가 있음을 확인한다. 이것은 욕망 개념 이미지의 오브제가 결핍된 욕망의 주체로서 상상계로 형상된 하나의 이미지가 다른 이미지로 디자인을 반복하여서 욕망 이미지의 주체를 순간적 형상으로 드러내고 가역적 빛으로 한 음영의 구조가 주체의 욕망이 타자의 욕망을 개념하는 형상을 원인한다. 그리고 빛의 가역적 그림자와 대상의 원하는 그림자에 의해 결정되는 사실적 윤곽은 욕망 개념의 구조로서 사실적 이미지의 그림자로서 추상성을 형성한다.

현대미술 문화평론: 젊은 유권자는 유튜브에서 선거 방송보다는 블랙핑크 '더 쇼'를 보려고 한다

Choi Kwan-woo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas·The Maids 8>, a hand-painted picture on a computer

젊은 유권자는 유튜브에서 선거 방송보다는 블랙핑크 '더 쇼'를 보려고 한다

시사만평으로 게재된 최철주 만평 [12] “젊은 유권자는 유튜브에서 선거 방송보다는 블랙핑크 '더 쇼'를 보려고 한다.”는 욕망적 응시로 바라본 벨라스케스의 <시녀들>을 중의적 이미지로 한다.

17세기 바로크 시대 절대 왕권의 관념적이고 정형화된 이미지로 벨라스케스(Diego Rodríguez de Silva y Velázquez)는 <시녀들Las Meninas 1656.>을 그렸다.

그는 등장한 인물을 공간에서 상징성을 배제하고 실체로써 오브제의 현실적 존재감을 강조하려고 응시적 시각의 화면 구성으로써 시각화하지만 시간성을 베제한다.

즉 다른 시점의 공간속에서의 왕과 왕비를 화면에서 응시할 수 있도록 동일시한다.

최철주 시사만평 12호에서는 왕과 왕비를 대신하여서 2021년 서울시장 후보들로 중의적 시각으로 한 각각 다른 시점으로 공간이 동일시 한다.

최철주, <시녀들>에서 벨라스케스의 시선

<시녀들>속의 시녀들의 모습과 동일하게 동시대의 현상과 인간의 존재감을 보여준다. 그리고 왕과 왕비를 대신한 서울시장 후보들과의 공간에서의 위치를 시선화하여서 젊은 유권자들이 응시하는 실재의 주체로써의 존재감을 강조한다,

<시녀들>에서 거울에 비친 오브제를 환상이지만 시사만평 12호에선 그 거울속의 환상의 오브제가 실재의 서울시장 후보들을 보인다.

이 환상의 연출은 거울에 비친 오브제의 주체가 환상의 오브제로써 시니피앙에 의한 주체의 절단이다.

환상으로의 실재는 거울에 비친 비실재에 삽입된 후보들와 블랙핑크로 한 환상의 오브제로 거울을 통해 순환적 구조에 비쳐진 이미지를 이룬다. 여기서 의미작용이 시니피앙의 의해 새로운 주체로써 가상적 이미지를 받아드림으로써 중의적 상징성을 띤다.

Choi Kwan-woo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas·The Maids 6-2>, a hand-painted picture on a computer

이렇게 시니피앙은 새로운 주체를 받아드리기 위해 절단하여서 만화 속에서 거울에 비친 공간이 <시녀들>의 장면에서 드러난 물리적 공간 속에 또 다른 하나의 공간 즉 만화의 전체 장면을 보는 시점에서 볼 수 없는 후보들의 상반신을 그림액자의 이미지로 응시로써 보이는 실재다.

이러한 응시로써 보이는 실재를 삽입하려고 화가의 붓을 넣어서 거울에 비쳐진 소재로 응시하게 한다.

<시녀들>처럼 시사만평 12호는 거울에 통해 벨라스케스가 본 동시대의 공간을 블랙핑크와 후보들의 시간과 공간의 실재적 재현이다.

거울 속에 비친 이미지는 비가시적 공간으로써 <시녀들>에서 벨라스케스가 보왔던 시간 속의 형상이다. 그가 바라본 시선과 타자의 시선이 동일시되고 다시 거울에 비친 왕과 왕비 그리고 공주로 시선에 보여진 것처럼 블랙핑크와 후보들의 상황을 상징적으로 드러내는 재현성과 응시성을 보인다.

<시녀들>에서 벨라스케스는 거울에 비쳐진 오브제로써 자신을 보고 그린 것이다. 그림에 또 하나의 거울은 펠리페 4세와 그의 부인 마리아 안나가 보인다. 이 거울은 그림 밖에서 벨라스케스와 왕과 왕비를 비쳐주지만 그림에 있는 거울에는 왕과 왕비만이 되비쳐지고 있다. 그 사이에 존재하는 시녀들은 보이지 않는 것은 원근법적 시각체계로는 해석할 수 없는 이미지다.

Choi Kwan-woo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas·The Maids 5>, a hand-painted picture on a computer

<시녀들)에 존재하지 않는 이미지에 후보들의 이미지와 두 시녀의 얼굴을 그려 넣어서 벨라스케스가 타자의 무의식적 욕망으로써 드러낸 환상적 이미지를 대리한다.

이것은 <시녀들>에서 드러나지 않는 응시로써 원근법적 시각체계에서 비실재로서 보인 이미지이기 때문이다.

이것은 타자로써 주체인 마가리타 공주와 부재로써 주체인 왕과 왕비를 대조시키면서 벨라스케스의 실재를 드러낸다. 그리고 거울에 비친 형상은 전체 시점에서 벗어난 보이지 않는 ‘응시’로서의 왕과 왕비의 형상이기 보다는 마가리타 공주를 바라보는 내면적 실체로써의 은유적 이미지이다.

따라서 나머지 등장인물 전체가 비실재로서의 가상적 이미지이다. 이러한 응시로써 보이는 중의적 이미지를 드러내는 것은 구상적 이미지가 가지는 실재의 상황으로써 “더 쇼”와 서울시장 후보선거가 가지는 공간의 영역과 매너리즘적 사회의 형식을 소거를 말한다. 즉 “젊은 유권자는 유튜브에서 선거 방송보다는 블랙핑크 '더 쇼'를 보려고 한다.” 다.

Choi Kwan-wooi, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas·The Maids 6>, a hand-painted picture on a computer

<시녀들>에서 벨라스케스는 화가로써 자신을 오브제로 등장하면서 실재와 비실재의 이미지를 동일한 공간으로 재현한다. 그러나 피카소는 동일한 평면에서 표현할 수 없는 왜상적 이미지에 대하여 그의 큐비즘적 방식으로 해석한다. 이것은 벨라스케스가 가상적으로 재현한 응시적 이미지와의 연관성을 찾고자 했으나 피카소는 여러개의 시선에서 보이는 이미지들을 동일한 화면에 총합한다.

따라서 <시녀들>에서 타자의 욕망적 응시로써 드러난 장소는 전체의 가상적 이미지에서의 소실점에 등장한 문에 서있는 남자의 위치다. 따라서 그 남자는 벨라스케스가 타자의 욕망적 관점에서 응시로써 드러낸 오브제 즉 실재다. 벨라스케스는 화가로써 <시녀들>에서 자신을 오브제로 드러내서 주체로서의 오브제는 인지적 주체가 될 수 없음을 말한다, 그러나 실재와 비실재의 이미지를 동일한 공간으로 재현에서 피카소처럼 보이지 않는 비실재의 이미지를 거울에 비쳐진 이미지처럼 하나의 화면에 중첩한다.

이것은 실재를 드러내기 위한 욕망의 왜상적 이미지로서의 미적 결과인 욕망적 이미지로서의 오브제다. /글. 현대미술평론가 최철주 (문화디자인박사)

Contemporary Artist, Louis Chul-joo Choi's "morning glory" Exhibition with the image of Lacan's object ɑ and Picasso's Anamorphosis.20220308~20220310 Yeomyeong Halll, New York.

Conceptualization of Desire: Conceptualization of Desire Art is a visualization of progress and results as objects of imagination and existence, facing artistic ideas and portraying the desires of others as objects of imagination and existence. Louis Choi Chuljoo's Conceptual Abstract Art faces artistic ideas and visualizes progressive phenomena and consequences as objects of Desire's imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 Louis Choi Chul-joo' theory of abstract art)

Shape image as a conceptual semantic structure: It refers to another image of the background of a real concept that represents a real morning glory by repeating the color of the shadow on the object image of desire, and it is the object of the concept of desire that depicts the shadow structure created from non-real images with reversible light.

The object is abstraction as a contemporary desire concept artwork, which is repeated by symbolizing and overlapping the desires of others with reversible shades of light in "morning glory" the background design concept of contemporary desire concept artwork.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Louis' Conceptual Art Theory on Realistic Abstract Painting)

Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.

As a background of culture, shape abstracts the concept of a realistic structure and determines its shape by reversible shading of light, but the background in which the shape disappeared as the whole is covered according to its shape time is summarized as contemporary light.

(Louis' Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)

Realistic structures are reflected in the shape of shadow colors by light. It's the contours and shadows that are determined by the reversible shades of light that reveal that shape. This is the concept of desire, the art of realistic abstraction, which actually forms an abstract image of the concept of desire.

And The realistic outline determined by the reversible shadow of light and the desired shadow of the object form an abstraction as the shadow of the realistic image as the structure of the concept of desire.

A Cultural Review of Korean News Cartoon Criticism Applying Choi Chul-joo's Desire Concept Abstract Art Design Methodology 2 : Contemporary Art Culture Review: Young Voters Want To Watch Blackpink 'The Show' Rather Than Election Broadcasts On YouTube

Choi Chul-joo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas·The Maids 8>, a hand-painted picture on a computer

Young Voters Want To Watch Blackpink 'The Show' Rather Than Election Broadcasts On YouTube

Choi Chul-joo's cartoon review, published as a current affairs review, [12] "Young Voters Want To Watch Blackpink 'The Show' Rather Than Election Broadcasts On YouTube," is the image of Velazquez's "The Las Meninas," which was viewed with a desire.

As an ideological and stereotypical image of absolute monarchy in the Baroque era in the 17th century, Diego Rodriguez de Silvay Velázquez painted Las Meninas 1656.

He visualizes the characters appearing as a screen composition of a gaze perspective to exclude symbolism from space and emphasize the realistic presence of the object as a substance, but it is against the temporality.

In other words, the king and queen in the space from a different point of view are identified so that they can be viewed on the screen.

In Choi Chul-joo's cartoon review No. 12, the king and queen transformed into candidates for the mayor of Seoul in 2021, forming a temporality converted from different perspectives in one space.

Choi Chul-joo, one's gaze in 'The Las Meninas'

It shows the contemporary phenomenon and human presence in the same way as the maidens in <The Las Meninas>. It emphasizes the presence as a subject of reality that young voters gaze at by visualizing the location of the Seoul mayoral candidates in place of the king and queen,

In "The Las Meninas", the object reflected in the mirror is a fantasy, but in the 12th issue of cartoon review, the fantasy object in the mirror shows real candidates for the mayor of Seoul.

The production of this fantasy is that the subject of the object reflected in the mirror is the object of the fantasy, and it is the cutting of the subject by the relationship between image and meaning.

The reality as an illusion forms an image reflected in a cyclical structure through the mirror with the candidates inserted in the non-real world reflected in the mirror and the fantasy object in black pink. Here, the meaning action takes on a neutral symbolism by accepting the virtual image as a new subject according to the relationship between the image and the meaning.

Choi Chul-joo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas·The Maids 6-2>, a hand-painted picture on a computer

In this way, the relationship between image and meaning is cut to receive a new subject, and the mirror space in the cartoon is another space in the physical space revealed in the scene of "The Las Meninas", which is the upper body of candidates that cannot be seen at the time of viewing the entire scene of the cartoon as an image of a picture frame.

In order to insert the reality seen through this gaze, the artist's brush is put in and the subject reflected in the mirror is made to stare.

Like "The Las Meninas", cartoon review No. 12 actually reproduces the time and space of Blackpink and the candidates of the contemporary space Velazquez saw through the mirror.

The image reflected in the mirror is an invisible space, which is the image of the time Velazquez has seen in "The Las Meninas" It shows the reproducibility and gaze that symbolically reveals the situation of Black Pink and the candidates, as if the gaze of the other and the gaze of the other are identified and again reflected in the mirror as a king, queen, and princess.

In "The Las Meninas", Velazquez painted himself as an object reflected in a mirror. Another mirror in the painting is seen by Felipe IV and his wife, Maria Anna. This mirror reflects Velazquez and the king and queen outside the painting, but only the king and queen are reflected in the mirror in the painting. What cannot be interpreted with a perspective visual system is what the maids that exist in between are invisible.

Choi Chul-joo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas·The Maids 5>, a hand-painted picture on a computer

The images of the candidates and the faces of the two maids are drawn on images that do not exist in "The Las Meninas" to represent the fantastic image Velazquez revealed as the unconscious desire of others.

This is because it is a gaze that is not revealed in "The Las Meninas", and it is an image that is shown as non-real in a perspective visual system.

This reveals the reality of Velazquez by contrasting the subject, Princess Margarita, as the other, and the subject, the king and queen, as the absence. And the figure reflected in the mirror is not the image of the king and queen as an invisible 'grief' that deviates from the whole point of view, but rather a metaphorical image as an inner entity looking at Princess Margarita.

Therefore, the rest of the characters are virtual images as non-real. Revealing the meaningful image through this gaze is a real situation of the conceptual image, which refers to the erasure of the spatial domain and manneristic society of "The Show" and the Seoul mayoral candidate election. In other words, "Young voters try to watch Black Pink's "The Show" rather than election broadcasts on YouTube."

Choi Chul-joo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas·The Maids 6>, a hand-painted picture on a computer

In "The Las Meninas", Velazquez represents himself as an object as an artist and reproduces the images of reality and non-real in the same space. Picasso interprets the skewed image that cannot be expressed on the same plane in his Cubist way. This sought to find a connection with the gaze image virtually reproduced by Velazquez, but Picasso combined the images seen from multiple eyes into the same image.

Therefore, in "The Las Meninas", the place revealed by the other's desired gaze is the position of the man standing at the door appearing at the vanishing point in the entire hypothetical image. Therefore, the man is an object, or reality, that Velazquez revealed by staring from the other's desire point of view. Velazquez reveals himself as an object in "The Las Meninas" as an artist, and says that the object as a subject cannot be a cognitive subject. However, in reproducing the image of reality and non-real in the same space, the image of non-real, which does not look like Picasso, is superimposed on one screen like an image reflected in a mirror.

This is an object as a desire image, an aesthetic result of desire as a skeletal image of desire to reveal reality. / Writing. Art critic Choi Chul-joo (Image Installation artist & Doctor of Cultural Design)

Art critic Choi Chul-joo

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Contemporary Art Design Method

contemporary art design method example 34

Review of Contemporary Art Design Methods [34] Examples of Modern Art Design Methods through Abstract Art Works by Contemporary Artist and Cartoonist Louis Choi Chul-joo's Abstract Concept, Modern Art News Sketch & Abstraction: Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic [38] Reviewing the aesthetic value, process, and artistry of photography, comics, art, and design, and approaching the meaning of the work as visual art: 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. / Art Criticism by Pop Art Abstract Artist Louis Choi Chul-joo [5] Contemporary Art Today Choi Chul-joo's Art Criticism, contemporary Art Review & Modern Art Criticism: Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Contemporary Art Critic Choi Chul-joo's A line News of Cartoon review of the concept [7] ABU TV Song Festival: Twice ‘Feel Special’ : A line News of Choi Chul-joo’s Manwha Review & The artwork posted on Facebook= Louis Choi chuljoo's =Abstract painting <morning glory outside the window 2024-2-light & Shadow>

Conceptualization of Desire: Conceptualization of Desire Art is a visualization of progress and results as objects of imagination and existence, facing artistic ideas and portraying the desires of others as objects of imagination and existence. Louis Choi Chuljoo's Conceptual Abstract Art faces artistic ideas and visualizes progressive phenomena and consequences as objects of Desire's imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 Louis Choi Chul-joo' theory of abstract art)

Choi Chul-joo's comic abstraction as a treacherous conceptual art means the abstraction of the conceptual image of desire as a realistic structure in art. Since the conceptual meaning of desire that exists in place of a realistic form can be divided into a cartoon criticism image, abstraction is drawn through reversible contrast that interprets the image of events and performances as an image of others' abstract desires.

Choi Chul joo cartoon review, which uses contemporary art abstraction as a treacherous conceptual art, reinterprets the image of desire as a concept of cartoon.

Louis Chul-joo Choi, morning glory window 2024-2--light, 357X225cm, acrylic and composite materials on cloth, 2024

The object "morning glory window 2024-light", which describes the meaning of the shape seen in the semantic space created by reversible light, is an abstraction drawn as a conceptual work of " Image Installation Performance", in which the image that conceals the desires of others in time is structured as a reversible shade of light. The meaning of abstraction of desire, that is, the image of desire reflected in the mirror, is a hypothetical non-realistic image of cartoon criticism, and contemporary artist Louis Choi Chul-joo describes the place of the other's unconscious desire with artistic movement in "morning glory", the background of the desire structure.

Louis Chul-joo Choi, morning glory window 2024-2--light, 357X225cm, acrylic and composite materials on cloth, 2024

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News

Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design

Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Louis Chul-joo Choi, The special feeling of the body and mind is “Twice”, a hand-painted picture on a computer, 2024

Cartoon review: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news

■ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review: 카툰 만평 [7] ABU TV Song Festival: Twice ‘Feel Special’ : A line News of Choi Chul-joo’s Manwha Review (2019-12-29)

/Reporter Choi Chul-joo’s Cartoon Review

. The special feeling of the body and mind is “Twice”

. Le sentiment spécial du corps et de l’esprit est « Twice »

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 300-The special feeling of the body and mind, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

Desire Concept Realistic Abstract Work: In front of the bamboo forest g300-The special feeling of the body and mind is “Twice”-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p110-9-The special feeling of the body and mind is “Twice”: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <morning glory p110-9-The special feeling of the body and mind is “Twice”> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.

■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

Louis Chul-joo Choi, The special feeling of the body and mind is “Twice”, a hand-painted picture on a computer

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 301-The special feeling of the body and mind, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

Desire Concept Realistic Abstract Work: In front of the bamboo forest c301-The special feeling of the body and mind is “Twice”-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p110-3-The special feeling of the body and mind is “Twice”: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p110-7, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory window 2024-2-shadow, 357X225cm, acrylic and composite materials on cloth, 2024

Louis Choi Chul-joo's "morning glory window 2024-2-shadow" absorbs temporal light and removes the symbolic representation of the image surface to create an image of realistic desire and hides the conceptual image of desire in the shadow of reversible light. The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.

Combined with images of reality with reversible light, including a desire for abstraction.

The image of desire repeats the process of directly acquiring the concept of the aesthetic structure of the real world that is subordinate to the concept, a reality that embodies the abstraction of desire as an event and facilitates performance.

The fact that the concept of desire cannot overlap with the image of reality is that factual abstraction is a treacherous conceptual art.

Abstracted realistic concepts reveal realistic figures similar to reality, but they momentarily pause space-time with the light of a conceptualized landscape like clouds.

Abstracting from the back of the morning glory landscape undermines timeliness, realizes the past time-adjusted traces of desire and the present overlapping landscape of color, and transfers images of desire into the painting.

It also doesn't represent the symbolic ideas abstracted from the image in a hidden form of color, but it gathers the image in shades of light in several directions.

In this way, the painting becomes a desire concept as a result of desire, dismantling abstract images interacting in real space. It shows a differentiated impression with a realistic abstraction that transforms the situation of desire in abstraction into a real world.

It shows aesthetic value by shading bright and dark parts in a distorted landscape and drawing a desireful meaning with a realistic expression.

Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time. It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.

Desire concept superimposes abstractions on morning glory and bamboo forests with dual landscapes, leaving fragmented real space in the gaps of light without disassembling and unifying symbolic images, and then repeatedly portraying reality over the present representation and the gap in between.

In this way, he creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality.

In order to reveal the realistic abstraction of the image of dance and music performance that is momentarily distorted in real life, the object of the conceptual form is abstracted in a semantic structure.

As a conceptual form, the realistic shape of non-realism with the same structure of meaning is abstract as a conceptual meaning structure, but abstraction with the same meaning with different shapes is a non-realistic existence with different colors and sizes.

Its existence defines an abstract space as an actual reversible shape, and abstracts the image <morning glory> in which the window shape placed in front of the morning glory is covered by the actual changed movement by the shade of reversible light into installation art outside the window. It is an image of desire in a picture, that is, a space without atmosphere reflected in a mirror. mirror. This is an abstraction as a being abstracted from a non-real painting into a realistic image.

This is an abstract urban impression in which images of the concept of desire are developed at small intervals as reversible shades of light that exist momentarily, just as a dancer reflected in the background of the concept of desire implements an unrealistic surface image of the sky like a cloud as a surface image.

In this way, the fragments of urban images in modern visual culture are abstracted into the structure of desire in the realistic structure.

Louis Chul-joo Choi, morning glory window 2024-2-shadow, 357X225cm, acrylic and composite materials on cloth, 2024

<morning glory window 2024-2-shadow> is a conceptual abstraction of desire as a treacherous conceptual art based on the cartoon review concept that images created by distorted images meaning the reality of <morning glory> are reversible shadows of light. This is a modern art movement that presents a methodology of realistic abstraction as a concept of modern desire.

Korean painter & abstract painter Louis Choi Chul-joo produced a poster as an abstract artwork of contemporary art related to the individual exhibition of "morning glory window", which is a modern abstract painting <morning glory window 2024-2-shadow> that symbolizes the exhibition poster image of the abstract painting as a desire semantic structure.

The object <morning glory window 2024-2-shadow>, which depicts the meaning of the shape seen in the meaning space created by the reversible light of realistic non-realism, is an abstract painting that reveals the place of the unconscious desire of others in <morning glory> by structuring the meaning of abstract space that can flip an object into a real shape with a reversible shadow of light. The image of desire in the mirror is a hypothetical non-real image of cartoon review, revealing the place of the other's unconscious desire in "morning glory".

Therefore, the factual abstract image defines abstract space as a real reversible shape, and Choi Chul-joo's exhibition poster, whose shape is hidden by actual changed movements in the shade of reversible light, means the meaning of abstraction of conceptual art by creating a place of abstraction as a contemporary art abstract art movement.

In the mechanical diagram of a perspective visual system that reproduces abstract image as an object <morning glory window 2024-2-shadow> as an image of desire concept, the visual system is concealed, but it is an object that appears to be a momentary gaze from a desire perspective revealed in the unconscious. This is a realistic abstraction of the concept of desire based on the image of events and performances.

As a painting, "morning glory window" forms a distorted image expressed through the desire revealed in the other's suppressed unconscious to acquire artistry beyond generality and creates an object as a being to reveal the artistry of the momentary distorted image of drama, disaster, riot, war, and performance as a semantic structure.

Abstract painting <morning glory window 2024-2-shadow> repeats the concept of desire to hide the shadow image of others' desires as performance images and collects images of desire overlapping with the timeliness of reversible light.

In <morning glory window 2024-2-shadow>, there is an abstract effect in which a person dancing against the background of a morning glory hides desire and gives reversible time sensitivity to the performance image to become the desire of others, and sets a phenomenal position so that the image of light does not overlap.

Louis Chul-joo Choi, morning glory window 2024-2-shadow, 357X225cm, acrylic and composite materials on cloth, 2024: Image installation overlaps with the impression of the city as a fragmented installation image of the concept of desire by abstracting the image as the concept of desire as a structure of desire in a realistic structure.

Louis Choi Chul-joo's <morning glory window 2024-2-shadow> absorbs temporal light and removes the symbolic representation of the image surface to create an image of realistic desire and hides the conceptual image of desire in the shadow of reversible light. The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.

Combined with images of reality with reversible light, including a desire for abstraction.

The image of desire repeats the process of directly acquiring the concept of the aesthetic structure of the real world that is subordinate to the concept, a reality that embodies the abstraction of desire as an event and facilitates performance.

The fact that the concept of desire cannot overlap with the image of reality is that factual abstraction is a treacherous conceptual art.

Abstracted realistic concepts reveal realistic figures similar to reality, but they momentarily pause space-time with the light of a conceptualized landscape like clouds.

Abstracting from the back of the morning glory landscape undermines timeliness, realizes the past time-adjusted traces of desire and the present overlapping landscape of color, and transfers images of desire into the painting.

It also doesn't represent the symbolic ideas abstracted from the image in a hidden form of color, but it gathers the image in shades of light in several directions.

In this way, the painting becomes a desire concept as a result of desire, dismantling abstract images interacting in real space. It shows a differentiated impression with a realistic abstraction that transforms the situation of desire in abstraction into a real world.

It shows aesthetic value by shading bright and dark parts in a distorted landscape and drawing a desireful meaning with a realistic expression.

Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time. It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.

Desire concept superimposes abstractions on morning glory and bamboo forests with dual landscapes, leaving fragmented real space in the gaps of light without disassembling and unifying symbolic images, and then repeatedly portraying reality over the present representation and the gap in between.

In this way, he creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality.

In order to reveal the realistic abstraction of the image of dance and music performance that is momentarily distorted in real life, the object of the conceptual form is abstracted in a semantic structure.

As a conceptual form, the realistic shape of non-realism with the same structure of meaning is abstract as a conceptual meaning structure, but abstraction with the same meaning with different shapes is a non-realistic existence with different colors and sizes.

Its existence defines an abstract space as an actual reversible shape, and abstracts the image <morning glory> in which the window shape placed in front of the morning glory is covered by the actual changed movement by the shade of reversible light into installation art outside the window. It is an image of desire in a picture, that is, a space without atmosphere reflected in a mirror. mirror. This is an abstraction as a being abstracted from a non-real painting into a realistic image.

This is an abstract urban impression in which images of the concept of desire are developed at small intervals as reversible shades of light that exist momentarily, just as a dancer reflected in the background of the concept of desire implements an unrealistic surface image of the sky like a cloud as a surface image.

In visual culture as contemporary art, the fragmented image installation of urban images overlaps with the impression of the city as a fragmented installation image of the concept of desire by abstracting the image into the concept of desire as a structure of desire in a realistic structure. / Writing. Art critic Choi Chul-joo (Image Installation artist & Doctor of Cultural Design)

Abstract artist Louis Choi Chuljoo