The Story of Contemporary Art1

contemporary art review on visual arts 1

Contemporary Art Story and Visual Art Review with Aesthetic Criticism [1/19~21] Contemporary Art Review by Choi Chul-joo, a contemporary art critic who examines the aesthetic value, process, and artistry of art and approaches the meaning of formative works with visual art theory: Neon-lit Tokyo Nights: Liam Wong’s photo

Picture source: CNN / Liam-wong's photo; tokyo nights /

https://edition.cnn.com/style/article/liam-wong-tokyo-photography/index.html

: http___cdn_cnn_com_cnnnext_dam_assets_190509095657-liam-wong-tokyo-9

Liam Wong’s photo book <Neon-lit Tokyo Nights>

Neon night is light that illuminates the shape of an object and works as a medium.

Liam Wong's photography collection 'Neon Light Tokyo Night' is the backside of a consumption city painted neon using Tokyo as a palette.

Due to the lack of basic lighting, Tokyo nights obscure the shape of the city where neon nights and lights seem to be out of sync due to non-dimming.

So he takes pictures of the shapes of Tokyo Night Street.

Shape modifies two images: grab an image that meets the neon night area that connects a city with a person and a visual shape.

The shape captures the area of the image he imagines and the actual visual shape in the photo book "Neon-lit Tokyo Nights", which is a cross-section of Tokyo's night streets and images he wants to take pictures with.

He perceives a picture that is different from the image of the game design that he actually experienced to face, and takes pictures of Tokyo's night streets as an area of the shape to have the image.

Neon Nights no longer grow the patterns on the electronic display and bring attention to images depicting Tokyo.

This reveals the behind-the-scenes reality of Tokyo's night streets, which is different from the form of consumption as a cartoon image satirizing Roy Lichtenstein's popular phenomenon.

His photo identifies the exterior color of the umbrella with the sign that appears to emit light from neon nights with water as a medium. This is because rainwater, which surrounds the umbrella, has the same effect as neon lights in an electrically charged glass tube.

The neon night cannot directly capture the object on the Tokyo night street. This is seen through consumption in buildings and stores where the object is visible. In other words, the lighting on the night street reflects the object of consumption, that is, the shape of consumption.

Picture source: CNN / Liam-wong's photo; tokyo nights : http___cdn_cnn_com_cnnnext_dam_assets_190509130258-liam-wong-tokyo-13

As a color of light, he wants to film neon nights and lights liquefying the streets of Tokyo at night.

He puts a small real figure that is always visible in the street into Tokyo's night streets through filming of a night street trying to avoid the traumatic figure of Tokyo's streets.

His photo looks like an ideal figure in popular life, looking at Tokyo as a neon night.

This is a neon night that illuminates the place of living in urbanized Tokyo.

The shape of neon night is an abstract color used for consumption effect, but it is the appearance of Tokyo night Street, which is popularly expressed as a clear understanding of the composition of the desire.

The night street's appearance is shaped. There, the shape has the effect of making the neon night look straight away. In other words, the neon night effect becomes a shape that makes the appearance of a dark city appear.

In a dark space where sunlight has disappeared, neon nights and lights limit Tokyo on the night streets to a place where it no longer increases.

Like Rembrandt's Nightscape, this is a place with lighting that replaces the sunlight on the night streets in Tokyo, just as the soldiers behind them who do not receive sunlight are painted darkly like the night streets.

In the photography collection 'Neonlight Tokyo Night', Liam Wong specifies Tokyo's night streets through images captured from lights that replace sunlight.

Images of neon nights away from unconscious game images are constructed in the same way as how to achieve the goal of making Tokyo nights photographic phenomenon effects.

And he takes Tokyo, where matter is dominant, as a photographic image of neon night.

Writing. Choi Chul-joo, photography critic (Doctor of Cultural Design)

Picture source: CNN / Liam-wong's photo; tokyo nights : http___cdn_cnn_com_cnnnext_dam_assets_190509095127-liam-wong-tokyo-3

Picture source: CNN / Liam-wong's photo; tokyo nights : http___cdn_cnn_com_cnnnext_dam_assets_190509130258-liam-wong-tokyo-13

Picture source: CNN / Liam-wong's photo; tokyo nights : http___cdn_cnn_com_cnnnext_dam_assets_190509095657-liam-wong-tokyo-9

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The Story of Contemporary Art 19

Contemporary art review on visual arts 19

Contemporary Art Story and Visual Art Review with Aesthetic Criticism [19] Contemporary Art Review by Choi Chul-joo, a contemporary art critic who examines the aesthetic value, process, and artistry of art and approaches the meaning of formative works with visual art theory: Contemporary Art Movement: A New Abstract Methodology for Drawing Abstracts from Uninterpretable Modern Abstracts to Images of Modern Events into Desire Concept [1] Louis Choi Chul-joo's Thread Painting:

Planning. Former curator of the Seoul Museum of Art Louis Choi Chul-joo (abstract design artist & contemporary artist)

conceptual abstract artist Louis Choi Chuljoo "Morning Glory" 2022 New York Personal Exhibition, 20220301~20220308 Flushing Town Hall, New York.

Louis Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting

* The production process of thread painting designs a predetermined point of an object, that is, a point of an object that depends on a predetermined existence unfolding an instantaneous coincidence in a brush. This is implemented by media art and painting without explaining the empty space. Here, in the process of producing the original media art in which the accidental place is repeatedly reproduced, thread painting is a form drawn by the gaze of the other.

* Thread Painting (Definition): An image created by the media art "morning glory" is drawn in the form of a cloth whose rear surface is reflected by hand (which can additionally embroider the shape). In other words, it is a picture that expands the space of a non-realistic painting with a shaded shape on a cloth made of crossed thread and a reflective light from a small hole in the fabric.

* The figurative meaning of the media art "morning glory" through thread painting is that the color of the meaning decorates the reality of the customs universality faced with the object with the color of light. In contrast to the light of the decorated shape, the dark blank space is a shadow that has created a place as an being. Here, as a real object, color is a single image of a cultured custom that seems to be a gaze. This is a symbolic language that symbolizes an imitated flower. Here, the morning glory image is a piece of meaning symbolized in the non-existent space as a result of desire meaning.

Louis Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting

* The production process of thread painting designs a predetermined existence in which paint from a brush accidentally spreads at the position of a predetermined object, that is, the position of an object that relies on instantaneous coincidence. By making the image of the shape with embroidery, the image of the taught fabric is expanded with embroidery or the position of the fabric is widened by drawing a flat shape. In other words, thread painting drawn on the fabric forms a multi-faceted structure of the object by expanding the viewpoint of the image as a cross-section of space.

▲ Thread Picture = Embroidery: Hea-sook Jang, Thread Painting: Choi Chul-joo (Plane painting with altered embroidery image)

Modern Concept Abstract Image Installation Artist Choi Cheol-joo designs spots on objects that rely on momentary coincidence and determines the range of paint stained with a brush from the spots on the object. When making spots on a figure with embroidery, the space of the image drawn on the fabric is widened by expanding the image drawn on the fabric with embroidery or by modifying the shape of the embroidery and painting it flat.

As an installation of the image, I implement it as a flat painting without embroidery or embroidery in media art and draw pictures without depicting empty spaces. Here, in the process of creating an image mechanically reproduced with original media art, thread painting is a form drawn with the other person's gaze.

▲ morning glory thread painting (Definition): an image made by joining morning glory with hand drawn cloth or embroidering additional shapes with cloth reflecting the back.

: Embroidery & Painting: Choi Chul-joo

▲ Louis Chul-joo Choi, morning glory 2021-g-back, 135X167cm, acrylic and composite materials on cloth, 2021

* The figurative meaning of "morning glory" in thread painting is that the color of the meaning decorates the reality of the customs universality faced with the object with the color of light. The dark space in contrast to the light of the decorated shape is a shadow created in a designated place. Here, as a real object, color is a single image of a cultured custom that seems to be a gaze. This is a symbolic language that symbolizes an imitated flower. Here, the morning glory image is a piece of meaning symbolized in the non-existent space as a result of the desired meaning.

Louis Choi Chul-joo's Process, Definition & Shape Meaning of Thread Painting: The process of creating a thread is to design a set presence in a place where paint spreads from a set object, an object that relies on instantaneous agreement, to embroider the image into a thread, to enlarge the place of the cloth by drawing a picture of a combined image or flat shape.

▲ [First thread drawing = Louis Choi Chul-joo] The process of creating a thread painting involves designing a place where paint accidentally spreads over the location of an object that depends on instantaneous coincidence, and expanding the image of the object by embroidery or by drawing the image of the object in a two-dimensional plane.

▲ A still media art image of Choi Chul-joo's morning glory

Louis Choi Chul-joo's <morning glory B-00-2-1> Thread painting: The <morning glory> is on a piece of cloth with a view of the image on the back. Media art, which has no description of space and is embodied as a picture, is a real picture that looks like the other person's desire in the process of drawing the image of the morning glory of the original media art reproduced by hand.

▲ [Second thread painting]

* The production process of thread painting designs the existence of a place that is accidentally determined by the movement of the brush in the place of the determined object, that is, the place of the object that depends on instantaneous coincidence. This is embodied as a picture without describing the atmosphere. Here, in the process of producing original media art reproduced as the concept of desire, the form drawn as the process of the gaze of the other is thread painting.

* Media art through thread painting The figurative meaning of 'morning glory' is that color in meaning decorates the reality of conventional universality facing objects with color of light. The dark space, which contrasts with the light of the decorated figure, is the shadow created in the place of existence.

Here, as the existence of a real object, color is a single image of cultural convention seen through the gaze. It is a symbolic language that symbolizes imitated flowers. And, the morning glory image is a transition of the concept of desire in a real picture symbolized in a space that does not exist due to the meaning of desire.

In the symbolic form, the unreal is a constructive form with a concrete real image. The reality of that form is another reality that is separate from the entire form as a crooked image.

In reality, a symbolic image is a distorted image that ignores reality and connects an incomplete structure to make a meaningless structure different from reality a condition of visual shape. In reality, a symbolic image is a distorted image that ignores reality and repeatedly creates an incomplete structure to form an unconscious desire structure different from reality as a condition of visual shape. Since the unconscious desire structure reproduces reality from a subjective point of view to a real point of view, a structure of desire hidden in the entire image of the unreal world appears.

Therefore, it is difficult to distinguish between the desire structure and the real image obscured by reality, whether the real image should be adjusted to fit the entire picture of the desire concept or the real structure of the viewer.

Therefore, it is unclear whether it is in the picture or is reflected in a mirror outside the picture, and the reality is unclear. In this way, "morning glory" is seen as a sphere reflected in the mirror as another object of reality transferred from symbolism as a non-reality that does not reveal the reality of other objects, not the same object reflected in the mirror in the imagination. The structure of desire is not revealed and concealed, and there is no real image of the structure of unconscious desire of the person who sees the picture by looking at another object revealed in the mirror.

Symbols and reality are inconsistent through hidden concealment from absence to absence. The space in which an object reflected in the mirror has moved from sign to reality is realized as an invisible reality. At this time, the object loses the symbolism of the space that existed and the reality of the space embodied in the symbol is extinguished.

To reveal the concept of desire in the unconscious space is to draw a realistic image, which is the actual structure of the structure of desire in which the object appears to be a crooked image.

Realistic real comes from a clear concrete structure. Structural spheres have several cross-sections in three-dimensional form.

The cross-sections paint objects in multiple viewpoints at the same time, but in "morning glory", one cross-section and two sides are flattened into a structure at one point in time.

However, cubist paintings show the multifaceted complexity of the object's morphological structure without showing realistic perspective or a face that makes it feel voluminous, thus clearly revealing the physical structure by removing the sense of volume and shadow.

In other words, rather than reproducing the shape, what is recognized as a prescribed size as reality is summed up. This is seen as a real image in the form of an object as a crooked image of "Napal Flower" as a media art without a predetermined size at other times in the form of visual representation, and an cognitive representation tailored to the size with thread painting in which the object is stopped.

▲ Louis Chul-joo Choi’s thread painting: morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth, 2022

* The production process of the actual desire picture repeatedly designs a predetermined existence, that is, a place of an object that relies on instantaneous coincidence. The image drawn in this way is the actual picture "morning glory 2022-c", which was drawn on the back of the cloth using the images of chickens and chicks in Louis Choi Cheol-joo's "morning glory B-00-2-1".

The meaning of a desire object creates the concept of desire as a thought movement that replaces the image by combining the effects of unconscious language into images.

In other words, after creating the actual image of the desired object, <thread painting: morning glory 2022-c>, the design is repeated in the connection structure between the image and the redesigned image, and the deficiency is revealed, and desire appears as a semantic action instead of the unconscious desire structure as a resistance to the semantic action.

The image formed by the deficiency is the same as what the infant in front of the mirror saw, and the image of the object is identified as the same subject in the imagination, and internally, the subject forms a transformed image of desire.

The reality of the object is an image of reality reflected in the mirror by confirming the structure of a phenomenal reality that does not exist in an empty space on the back of the object.

In other words, the phenomenal real image may be an image in which the image of reality as a metaphor is reflected in a mirror, or another image that appears to be an imaginary shadow.

Therefore, Lacan's metaphor did not compare to an object, but replaced one signifier with another, and Cézanne made it possible to see the meaning of the form after a similar form was revealed rather than an imitative painting's return to the object.

The two fixed points where the symbolic image from unconscious desire to divided subject leads to the structure of desire and the intersection of divided subject and intersection are where the meaning is fixed.

Simultaneous and disclosure are the semantic functions of the fixed point. Here, the meaning of the picture is completed by the retroactive effect of the simultaneous function using embroidery and painting, and the disclosure function is a disclosure structure, or metaphor, that can be obtained from the source because it is hidden in the picture like language. And after simplifying the form into a practical landscape, dividing the object into a plane, and abstracting it by adjusting the reversible light of the other's desire with a subjective color at the point where light and shade intersect.

The simultaneous function of embroidery and painting is completed by the retroactive effect of the meaning of the painting, and the formal function is hidden in the painting like language, so the formal structure that can be obtained from the painting is a metaphor.

It also simplifies the metaphor form in the picture into a practical landscape, divides the object into a plane, and abstracts the others desire by adjusting reversible light to subjective colors at the point where light and shade intersect. (Choi Chul-joo's abstract art theory on thread painting)

Choi Chul-joo's desire design visualizes desire as an abstract image and symbolizes the concept of desire as a real image through a visual vector.

It uses reversible light to abstract the boundary between reality and unreality to create an unconscious abstract space, repeatedly designing abstract elements to conceptualize real images as a structure of desire, and inductively infer the concept of desire from these abstract images.

Therefore, the formative meaning of the actual painting in Louis Choi Cheol-joo's concept of design desire is as follows

The simultaneous function of embroidery and painting is completed by the retroactive effect of the meaning of the painting, and the formal function is hidden in the painting like language, so the structure of desire that can be obtained from the painting is metaphorical.

And in that desire structure, we abstract what others want by simplifying the metaphor form into a practical landscape, dividing the object into a plane, and adjusting reversible light at the intersection of light and shade into a subjective color./ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)

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The Story of Contemporary Art 20

Contemporary art review on visual arts 20

Contemporary Art Story and Visual Art Review with Aesthetic Criticism [20] Contemporary Art Review by Choi Chul-joo, a contemporary art critic who examines the aesthetic value, process, and artistry of art and approaches the meaning of formative works with visual art theory: abstract artist Louis Choi Chuljoo's "morning glory" 2022 New York Personal Exhibition & Contemporary artist artwork & design [17] Contemporary art examples : A realistic abstract painting depicting the desires of others with treacherous conceptual art composed of modern art cartoons by contemporary artist Louis Choi Chul-joo

Abstract contemporary art that designed modern art abstract painting [12] Abstract Artist Louis Choi Chuljoo Abstract art work: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory" and "Bamboo Forest." / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: conceptual abstract artist Louis Choi Chuljoo "Morning Glory" 2022 New York Personal Exhibition

Art Review: Contemporary Artist & abstract artist Louis, Louis Chul-joo Choi's "morning glory" Exhibition with the image of Lacan's object ɑ and Picasso's Anamorphosis.

20220301~20220308 Flushing Town Hall, New York.

Flushing Town Hall, New York

"morning glory 2021-k-1" is thread painting in the form of a teaching fabric in which the back is illuminated by manually drawing an image of a misarranged image made from an anamorphosis image of a morning glory.

Louis Chul-joo Choi, morning glory 2021-k-1, 136X168cm, acrylic and composite materials on cloth, 2021

In other words, it is a shape in which the position of non-realistic painting with reflected light is expanded to the anamorphosis image in a shape of a cloth shaded in a thread and a small hole in the fabric.

The meaning of the shape is decorated with the color of the spatial light of the fabric entangled in a grid of the real of the customary universality facing the morning glory.

The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place.

Here, as a real object, color is a visual image familiar with the custom of sight.

The meaning is a symbolic language that symbolizes the imitated flower.

Here, the morning glory is a sculpture of Lacan's object ɑ, the meaning of hidden aesthetic structure, as a symbol of space rather than reality by the meaning of Lacan.

Realization triggered by naturalism is a computer-made virtual image that is easy to create, duplicate, and convert, creating an unrealistic image without an original.

This is a computer technology that is not related to works of art, so it is different from works of art using the other's desire perspective as a medium.

However, computer-mediated media art makes other virtual images into real images, but also has artistry as a replica of the original virtual image.

Therefore, the way to effectively promote works of art is to use media art, and the technical expression of media art is also artistic.

This is an example of expressing the medium of art as a media art with contemporary media technology.

The difference between art and non-art is distinguished according to the existence of object ɑ as a real formed from the perspective of the desire of the other in a hypothetical shape as a real thing and a virtual shape as a non-existence.

Therefore, it is difficult to reveal the object ɑ in a virtual shape as a non-existence without the original. The condition of a work of art is that the meaning of the hidden aesthetic structure that exists as the original is an object ɑ.

A realistic picture forms a formative structure, but when it is the same form that does not distinguish between the original and the reproduction, it is not a meaningful composition.

This is because its formability can form an image or reform it into the same form through a realistic structure.

Therefore, the anamorphosis image of the desire of the other person who is difficult to replicate is the meaning object ɑ of the concealed aesthetic structure as an existence.

Here, the anamorphosis image is an objectɑ as another real image separated from the real image, although it is not real as an image of the whole.

An image formed as a virtual object by reproducing an object in a painting is a virtual image that conceals reality.

The virtual image is viewed as a virtual image by being recognized as a plane.

Here, by revealing the object ɑ as a being through the Lacan art theory system, the virtual image becomes real.

Lacan's Object ɑ is hidden in the geometric schematic of perspective that reproduces objects and is momentarily revealed by the desires revealed in the unconscious.

The object ɑ form an anamorphosis image expressed through the desire revealed in the repressed unconsciousness of others with a design to obtain artistry beyond generality, and create the real of the object ɑ to reveal artistry.

The artistry here reveals the object ɑ as another being of the object by transforming the image of the object into an anamorphosis image from the perspective of the other's desire.

And the meaning object ɑ, which has become a concealed aesthetic structure as an existence, acquires artistic meaning with creativity and autonomy.

<morning glory 2021-k-1> depicts an image generated by an anamorphosis image of a trumpet flower, and the form of a picture drawn in the shape of a cloth consisting of a grid in which the back is illuminated is thread painting.

In other words, it is a shape in which the position of non-real painting with reflected light is expanded to an anamorphosis image of a grid hole in which the back is illuminated is thread painting. The meaning of the form is another person's desire decorated with the color of spatial light with thread painting of the real of universality in the customs facing the morning glory. The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place. Here, as a real object being, the color is an image on one side familiar with the custom seen as a gaze. The meaning is a symbolic language that symbolizes the imitated flower. The flower image is a sculpture of the hidden aesthetic structure meaning object ɑ a symbolized being in non-real space as a result of the lacan's meaning.

Object ɑ is an object revealed in Lacan's art theory as a 'gazing' from the perspective of desire and rational thinking from a perspective.

Therefore, the object ɑ as a gaze was revealed as a dot of light in the eyes of the other as the subject.

This is an image that overlaps with the perspective visual system but is momentarily revealed from a desire perspective in an oppressed unconsciousness.

The eyes on the picture see an object drawn on the canvas, but the eyes is like a subject staring at it.

The gaze determines what is seen and what is not seen in a small hole on the screen, such as a cloth, in space, the reflected light determines the image that is shifted according to the coincidence or inconsistency with the gaze.

Therefore, Object ɑ means a concealed aesthetic structure as an entity revealed in the lustful gaze system, not a non-real image in the perspective visual system.

The object to which Lacan's art theory is applied is Louis Chul-joo Choi's morning glory. The object's real is hidden in the margins of the non-real space, depending on the time.

In this way, the reality of the morning glory as a lacan's object becomes the blank space of the non-real space according to the change in time. The trumpet flowers painted there match the image of the light of the space as the target, and the target is set according to the inevitability of the symmetrical unreal space reflected in the mirror, equating the symmetrical real space with the non-real place. This is the space of the image tailored to the object. It is a space of fabric that repeatedly connects one gap and blank, and one picture structure overlaps the color drawn on the fabric with several blanks, square threads.

Louis Chul-joo Choi, morning glory-2021-l, 148X175cm, acrylic and composite materials on cloth, 2021

The image depends on the color and shape determined by the place of the object.

Therefore, the meaning of the image as an object in <morning glory-2021-l> made of thread painting is the color of its meaning, and the reality of the customs universality facing the object is decorated with the color of light.

The dark space in contrast to this decorated light is a shadow created by staying in one place. The object that exists here has a cross-sectional shape that has changed its shape due to the appearance of a staring color and familiarity with customs.

The meaning of "morning glory 2021-l" is an aesthetic structure in which the shape of a realized object stopped in a place of everyday life is shaped as the color of light, and the color of the reflective margin that is difficult to distinguish is repeatedly drawn on a fabric-like material.

Here, the colored picture unravels the value of reality in the shape of color when enlightened by customs or when in place.

However, the material hidden in the margins of the object in the picture is tailored to the color suitable for the object of the time because it cannot reproduce its timeliness.

And "morning glory-2021-l" which sets the outline of the shape on a cloth-like thread as a color line contrasting its color, captures the familiarity of customs with the inevitability of the past space.

This indicates the meaning of the symbolic action that characterizes the design that repeatedly combines pieces of distorted morning glory image in the pictorial imitation process.

The meaning is a symbolic language that symbolizes imitated flowers. Here, the morning glory image is a sculpture of meaning symbolized in non-real space as a result of the lacan's meaning.

The place where the meaning of the morning glory is fixed is an image that leads from unconscious desire to a divided subject, and by repeating the design of the morning glory, the divided subject and the intersection form an image close to the two fixed points.

The semantic function of the image close to the fixed point is simultaneity and synchronicity. The simultaneous function here is the meaning of the sentence, and the image completed by designing the actual object by retroactive effect of the design concept is <morning glory-2021-l>.

The synchronic function of the image is <morning glory 2020-D>, which is a synchronic structure that can be obtained from the source of the design concept hidden in the linguistic sentence, that is, an image of a contrasting metaphor of the image reflected in the mirror.

The emergence of linguistic meanings unconsciously in reversible temporality creates an image of the other's inconsistent desire as the place of <morning glory 2021-b> and develops it in a consistent sense.

This shows the meaning of Lacan's unconscious language, which repeatedly indicates that there is no unstable element, and draws an inconsistent image of a "morning glory" representing an incomplete phenomenon representing the unconscious language, like the desire shown by the other's conscious movement.

Louis Chul-joo Choi, morning glory(2021-b), 132X168cm, acrylic and composite materials on cloth, 2021

The emergence of linguistic meanings unconsciously in reversible temporality creates an image of the other's inconsistent desire as the place of <morning glory 2021-b> and develops it in a consistent sense.

This shows the meaning of Lacan's unconscious language, which repeatedly indicates that there is no unstable element, and draws an inconsistent image of a "morning glory" representing an incomplete phenomenon representing the unconscious language, like the desire shown by the other's conscious movement.

The structuring of "morning glory" as thread painting is an object that implicitly relies on the existence of a structure, that is, the temporality of a momentary coincidence, at a predetermined object.

The image of the object is structured as a shape of the thread, and the image drawn on the connected fabric is expanded into the shade of light to expand the planar shape of the morning glory in the fabric.

Therefore, the structuring of thread painting is the place of morning glory that depend on the existence of an implicit structure in the designated place of the morning glory, that is, the coincidence of momentary temporality.

The position creates an image of a morning glory in the sky and overlaps the image of the overlapping fabric to expand into a reversible shade of light. And the image describes the atmosphere that has changed to flat morning glory and temporality.

By illuminating the position in several directions, the existing shape of the past time is returned to the unconscious shape, and the images reversible to the real shape cannot be overlapped according to one time, but are overlapped in an integrated meaning.

However, the shape does not appear to be meaningful, and the image background is settled in several shades that are momentarily reversible.

This is a different image in which the position of temporality, that is, the image of the sky, appears to be a stimulus of light set in time at one moment of time, just as clouds, rain, and eyes appear.

The image is the place of infinite and continuous existence that light has achieved over time.

The momentary shape in which abstract phenomena coexist as images with form and meaning is a reversible visual structure. When an painter draws, it is the temporal logic of the image that obtains semantic recognition of the image.

Therefore, the structure of the visual reversible reaction is a momentary image according to the visual reversible reaction in the shape of a morning glory, and a misaligned image in which the morning glory is temporarily obscured by shadow or light or coexists in its original position is the meaning of a momentary image.

The image is a view of another person's desire on a cloth at the moment when the shadowy shape of everyday life intersects the morning glory of the past time.

The structure of the branches and leaves of the trumpet flower shows the meaning in harmony with the trumpet flower that matches the appropriate shade corresponding to the light. It's meaning shows the positional structure of the morning glory exposed to bright light in a symbolic shape according to the shadow light.

Therefore, a morning glory painting is an image method that reveals the morning glory that unconsciously exists in the place of the morning glory. The more you repeat the shading image of the reversible light, the more abstract the morning glory image becomes.

In other words, the more reversible light is repeated over time, the less the area of light is expressed by overlapping the shade of the staring morning glory.

The meaning of the morning glory, which repeatedly combines pieces of distorted morning glory image, represents a symbolic shadow in which the other person's desire is specified.

Here, meaning is a language that symbolizes the conceptual image of a morning glory and a flower that mimics an object that always exists.

Therefore, the morphological language of 'morning glory" decorates the reality of the customary universality faced by objects with the color of light.

The dark space in contrast to the decorated light is a shadow created by staying in one place.

In "morning glory 2021-h-back" actual morning glory, cats, fish colors, and shadows coincide with conventional images. The "morning glory 2021-h-back" is a word that symbolizes the other person's desire by imitating the other person's desire hidden on the back of "morning glory 2021-h" where the cat's movement has stopped.

As that "morning glory 2021-h-back", the cats image is a sculpture of meaning symbolized in non-real space as a lacan's word of meaning generated by visual reversible reaction in its place.

This is because the color of the shade caused by reversible light on the overlapping fabric determines the position of the cat and morning glory, and over time, the distorted desires of the other overlap and develop into an image of fabric.

Louis Chul-joo_Choi, morning glory 2021-h, 131X167cm, acrylic and composite materials on cloth, 2021

In "morning glory 2021-h-back" actual morning glory, cats, fish colors, and shadows coincide with conventional images. The "morning glory 2021-h-back" is a word that symbolizes the other person's desire by imitating the other person's desire hidden on the back of "morning glory 2021-h" where the cat's movement has stopped.

As that "morning glory 2021-h-back", the cats image is a sculpture of meaning symbolized in non-real space as a lacan's word of meaning generated by visual reversible reaction in its place.

This is because the color of the shade caused by reversible light on the overlapping fabric determines the position of the cat and morning glory, and over time, the distorted desires of the other overlap and develop into an image of fabric.

This is a visible phenomenon, and the morning glory made by the movement of the other's desire appear inconsistent, and the images of the cat that's separated from desire and the morning glory, whose desires are fragmented, overlap with intersecting threads to form a space ahead of them.

The "morning glory 2021-l-back" approaches landscape paintings that seemed to be the daily desires of others, rejects two-dimensional flatness, divides fantastic plane images into two planes and shows them in a fabric structure so that they can recognize others' desires as reversible shadows.

It is difficult to reveal the object ɑ of the structure of beauty concealed in the object of the hidden structure existing as an attribute of shadow in a picture that is converted into a system that approaches recognition as a meaningless being and draws out symbolic expressions.

Louis chul-joo choi, morning glory-2021-l-back, 148X175cm, acrylic and composite materials on cloth, 2021

The "morning glory 2021-l-back" approaches landscape paintings that seemed to be the daily desires of others, rejects two-dimensional flatness, divides fantastic plane images into two planes and shows them in a fabric structure so that they can recognize others' desires as reversible shadows.

It is difficult to reveal the object ɑ of the structure of beauty concealed in the object of the hidden structure existing as an attribute of shadow in a picture that is converted into a system that approaches recognition as a meaningless being and draws out symbolic expressions.

The perceived symbolic expression is a linguistic composition lacking a formative aesthetic structure that is well-seen at the bottom of the image. It is perceived as a flat expression, but it is a virtual image that hides reality.

The image is a virtual image that deviates from the perspective of reality and belongs to the structure of desire as a hidden aesthetic structure.

<morning glory 2021-l-back> is a background shading by manipulating the morning glory's background with reversible light on the surface of a fabric made of crossed threads.

And light reflected in a small hole in the fabric is an abstract image that expands the plane of an object by overlapping it with reversible light in an unrealistic picture.

The meaning of the image is that the reality of the present universality that trumpet blossoms encounter representing the other person's desires overlaps with reversible light, decorating all space with the sense of color.

The dark shape that contrasts with this decorated flat image is a momentary shadow of reversible light drawn on the fabric.

Here, the cross-sectional image of the custom seen as a real object looking at color is a language that symbolizes an imitated morning glory. This is because the morning glory image is a reversible shadow of the Lacan's semantic structure.

The expression of color recognized as a shadow forms the semantic structure of the image according to the tone of speech with temporary light that reflects the desire of others who are staring at the screen or are invisible.

The transition from a practical expression of this semantic structure to a symbolic system transmits the plane dimension of the object to a semantic structure. The planar image of this practical morning glory makes you stare at symbolic expressions and real images. It shows a dual appearance of expressing the opponent's daily life and symbolic desires at the same time through morning glory.

By removing the stage of volume by using reversible shades over time as monochromatic color, <morning glory 2021-l-back> does not have a fantastic image of the object by light, that is, an image of quattrocento painting.

The ocento painting. This is the process of transitioning from an imaginary world to a symbolic world, and images that do not exist, that is, images reflected in the mirror in the imaginary world, coexist. It reproduces the reality of a morning glory as an image that coexists, but the background image is identified with the morning glory, but the image assimilated with a non-substantial shaded color does not fit the metaphorical meaning of the substance. Its meaning is metaphorical like the linguistic structure, so it is not the same as the form of a morning glory.

Therefore, the meaning structure of shadows created by reversible light with images different from morning glory is an object as a reality, not real. It's not an image as an object, it's an object of reality as someone else's desire. In this way, Lacan's symbol, "morning glory 2021-l-back," shows the concept of changing the shape in which reality exists and enlightening its meaning.

The morning glory 2021-l-back is a small hole where the surface of the picture intersects, setting the non-actual position with reflected light, and drawing a shadow shape in which light overlaps. On the right back and side, the part that receives the light has a bright shape unlike it really is, and the rest has a shape of a shadow transferred by reversible light.

By revealing the reality of <morning glory 2021-l-back> created by the other person's desire, it created a dual space in everyday symbolic expression and real space. In terms of perception, this reveals the flatness of the picture that converts the morning glory, which appears to be an external image, into a symbolic image in contrast to several reversible light. Here, the morning glory 2021-l-back extends the position of the non-real image with reflected light reflected from a small grid-shaped hole pierced on the grid-shaped fabric of the grid.

This is expresses non-real images and existential meanings in the part of the light reflected from the back and the light reversible from the before the time. It forms a visual object with reversible light, brightens the object with a awakened image of the other's desire, and forms a form in which the rest of the image is shaded by several reversible light.

By revealing the reality of <morning glory 2021-l-back> made by the desire of the other, it created a real space with symbolic representations and behind everyday life.

In terms of perception, the morning glory flower, which appears to be a substance as an external image, is converted into a symbolic representation system in contrast to a shadow with several reversible lights in the background. In other words, the represented painting of a symbolic representation shows an image of a cultural shape overlapped with several reversible lights over time.

The crooked image viewed from the side as the object ɑ of Lacan is consistent with visualizing a photo image of the other person's desire in the past as a collage.

This is a crooked image generated by reversible light that goes beyond the actual visual image of the picture.

This is because it is an image created by the desire of the others in the Lacan's theoretical system, which is an irrelevant gaze area whether it is flat or three-dimensional. As an object in <morning glory 2021-e-back>, the morning glory at the bottom of the center among the three morning glory is not clearly aligned and viewed by the object 'ɑ' looks like a gaze.

Here, the morning glory refers to the presence stopped by a momentary gaze in the continuity of reversible time.

Louis Chul-joo Choi, morning glory 2021-e-back, 114X169cm, acrylic and composite materials on cloth, 2021

The image in <morning glory 2021-e-back> shows the existence of reversible temporality by planarizing the morning glory according to the reversible temporality of the perspective visual system margins and objects.

However, even if the existence of the morning glory is reproduced, the morning glory is identified as the background image, but it does not match the object 'ɑ'

It is a meaning structure of shadows created by reversible light with different images from morning glory about what existence is. It is an object that has another reversible temporality from a shadow that is not real.

Therefore, the object is not an image as an object, but a reality as another person's desire.

The morning glory at the bottom of the center connects reversible light to determine the place of existence and form a process of time to indicate the direction of the existence and a space in which it exists.

A morning glory flower formed at a single light source point in time does not have a sense of volume. Here, the morning glory is a partially fragmented image, such as a collage. In this way, each partial image exists in space as a fragmented shape exposed at the same time.

The planar morning glory is the form of a subject generated by the observer's gaze. Through morning glory that have eliminated volume, the presence connected to the reversible light is extracted, and the various reversible light in the background and the shadow of the morning glory are contrasted to show a plane view converted into a distorted image.

The Lacan's gaze cannot be selected as a visible image in which real and non-real reproduce an object according to the perspective of view, and the pictorial image expressing the actual image is identified as an image as non-real.

Therefore, the existence of an object is a distorted image similar to that of Lacan's object ɑ.

Louis Chul-joo Choi,_morning glory 2022-b-back, 130X158cm, acrylic and composite materials on cloth, 2022

The painting they completed as a means of livelihood is what Lacan calls a picture reflected in the mirror, that is, an imaginary system as a metaphor, an object that is satisfied with the image of the real object as an infant by looking at the object reflected in the mirror.

In <morning glory 2022-b-back>, the boundary of the canvas visual range is removed and the three-dimensionality of invisible mannerism in the picture is removed to schematize it as a semantic object. This is an object viewed from the perspective of semantic duality, away from the traditional style of painting expression from the Middle Ages to the modern times.

It imprints that it is a flat canvas and refers to the reality of the family as another meaning of the compositional image formed by chickens and chicks, not the actual picture of perspective.

It is a lacan painting that shows the shadow of object a with a reversible light that rejects the image center of simulacre, which replaces real, by omitting the volume of chicken and rejecting perspective description.

Louis Chul-joo Choi,_morning glory 2022-b, 130X158cm, acrylic and composite materials on cloth, 2022

The transition from such a semantic representation to notation shifts the planar dimension of the figure to the essence of meaning. This is a dual object that simultaneously shows livestock in daily life and a family in a symbolic sense through chickens and chicks.

The shape of the picture reveals the aesthetic meaning of an object in the visual system in image painting.

This is a pictorial act, and the object is defined in a limited area in perspective, distorting the original space, and drawing it on the canvas to produce meaning.

In addition, another meaning due to the shape of the area similar to the object forms a meaning subtracted from the image in a semantic form from the double expression of the shape.

The dual meaning formed here breaks the relationship with the apparent being in the visual system and exists as a meaning in an immaterial cultural space.

The verbal expression of the object in the picture is also metaphorical, but assuming that it is an image that is not reproduced, real exists as a virtual image that reproduces real through thinking.

Here, 'morning glory 2022-b-back' is an unrealistic meeting that distinguishes the symbolic image and real meaning of morning glory, contrary to the reality that chickens and chicks are life and family.

In the picture space, Lacan's real is different from objective real and representative thoughts. It has a real object ɑ that is separated from the real transferred from the symbolic world

In "morning glory 2022-b-back," the hidden images of chickens and chicks in the morning glory landscape are repeatedly expressed in the meaning of the family, and the meaning of the family is revealed in the composition of hidden images from the images of chickens and chicks.

In the semantic space in the picture, the volume of chicken is omitted in its actual shape, and the meaning of the family is expressed in a non-visual system.

In the public domain, real is a hidden meaning beyond the displayed image.

As a real in its concealed meaning, "morning glory 2022-b" shows both the space of life and chickens and chicks with morning glory in the landscape to reveal the existence of the family. "morning glory 2022-b" is a real that shows the value revealed in the family's appearance, eliminating the unrealistic real that seems to be right in front of you and depicts the reality of meaning through thinking.

Painting in the symbolic world is only a continuing symbolic existence of objects. Lacan calls its existence a transcendent signifier.

<morning glory 2022-b> metaphorically expresses the meaning of the family as a real, an area separated from the realm of the symbolic world. Without showing the object to be expressed, compare the actual meaning of the family to chickens and chicks. In other words, invisible concealment creates an image that symbolically compares its meaning with its symbolic image.

However, Freud's unconscious expression can be compared to the desire of the symbolic others in the Lacan theoretical system through psychoanalytic interpretation. Here, the symbolic other's desire is identified in the category of the symbolic world in Freud's unconsciousness and the linguistic meaning of Lacan's signature image.

Therefore, the meaning of Lacan's concealed real image is an unconscious structure. By understanding the real of the family, which is not seen in <morning glory 2022-b-back>, you can find the meaning of the image that symbolizes the existence of the other's desire in a lacan's painting.

The pictorial objects invisible in the visual system are Lacan's object ɑ and surreal object.

This is a distorted image in which the desires of others appear momentarily as an object ɑ of surreal lacan.

That is a dual object of surreal painting that has a symbolic meaning, unlike the meaning of symbolic and perspective actual shapes, as a shape derived from human subconsciousness.

The semantic language of Lacan's surreal image is based on the existence of real that identifies Freud's unconsciousness as a category of symbolic world. Therefore, the meaning of Lacan's surreal real is an unconscious structure. By understanding the real of the painting, <morning glory 2021-h> can be interpreted as another unconscious real in visual art symbolizes the desire of others.

In other words, the real of Lacan's unconscious shape is the effect of the emergence of incomplete and distorted images formed by repeating the semantic language of the image. This is a formula that can be exchanged for meaning through the conscious movement of the notation image, and the meaning is determined by substituting a shape to reveal the meaning of Lacan's desire graph.

It is similar to constructing an image with an unconscious structure into a scenario like a stage in a play and revealing and interpreting the meaning of the scenario through the thinking movement of the image shining reversible light of the past.

In Lacan's theory of visual arts, image exchange is expressed as the others person's desire instead of semantic action by repeating the structure of the mark image and shows meaning that does not act as resistance to insufficient images, that is, insufficient forms. In Lacan's graph of desire, it accepts Saussure's symbolic language, but reveals the meaning, which is the effect caused by the unconsciousness that prioritizes the meaning, that is, the image of the notation.

Here, Lacan's exchange formula; 'f(S...S')S=˜ S (-)s' is replaced with <morning glory 2021-h-back>, the morning glory as a image is connected to the sky, and the cat is incarnated, and the fish is selected as an object ɑ of the batter's desire and shaded into an object in the shadow. Lacan says that the meaning of the fish as the desire of the others is combined with the maintenance of the stick (-).

Lacan's fantasy formula, which functions visually in the picture, describes shapes such as unconsciousness and language so that others can experience their desires consistently and meaningfully. Therefore, the attempt to pursue in Lacan's painting seems to constitute a meaning that symbolizes the desire of others hidden by images, like unconscious language, in the existing space where certain effects of semantic behavior occur. / Writing. Art critic Louis Chul-joo Choi (Modern Painter & Doctor of Cultural Design)

Art critic Louis Chul-joo Choi

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conceptual abstract artist Louis Choi Chuljoo "Morning Glory" 2022 New York Personal Exhibition, 20220301~20220308 Flushing Town Hall, New York.

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The Story of Contemporary Art 21

Contemporary art review on visual arts 21

Contemporary Art Story and Visual Art Review with Aesthetic Criticism [21] Contemporary Art Review by Choi Chul-joo, a contemporary art critic who examines the aesthetic value, process, and artistry of art and approaches the meaning of formative works with visual art theory: Contemporary Artworks Review & contemporary art sculpture [26] Example of contemporary artwork: Contemporary Art Critic Louis Choi Chul-joo's Art Review of installation artist artwork & Modern Art Review : Contemporary installation artist artwork [1] Contemporary Art Sculpture Symbolic Sculpture : Contemporary Artist Louis Choi Chul-joo Installation Art Review & Abstract Artist Louis Choi Chul-joo Design Review of Painting and Sculpture Design: Famous Installation Artist, Contemporary Artist, Abstract Artist, Conceptual Artist Installation Art Painting and Sculpture / Contemporary installation art work : Design of sculpture at Busan Museum of Art by Louis Choi Chul-joo

Planning. Former curator of the Busan Museum of Art Louis Choi Chul-joo (abstract design artist & contemporary artist)

2009 Busan Museum of Art Sign Sculpture Design Drawing

Concept of Sculpture Design by Louis Choi Chul-joo The exploration of artistic sculpture is based on the design environment of the sculpture and is a flat plan that aims for human desire

Busan Metropolitan City a flat Plan for the Installation of Sculptures at the Busan Museum of Art (2009)

Louis Choi Chul-joo's concept of sculpture design: The search for artistic sculpture is based on the design environment of the sculpture and aims at human desire.

Busan Metropolitan City Budget Plan and Installation for the Installation of Sculptures at the Busan Museum of Art: Choi Chul-joo (2009)

Choi Chul-joo (design), Haegeum Advertising (installation/construction), "Busan Museum of Art sculptures", 2009. 2

Sculptures of the Busan Museum of Art

The image that was revealed to be in the unconsciousness of others while commuting to and from the Busan Museum of Art was an image that allowed the Busan Museum to be viewed from the side for a moment. This is a modified and reduced image seen in the perspective visual system. In other words, it is a virtual image of the Busan Museum of Art and a real image as a simplified image without seeing the space between the bars in front of the Busan Museum of Art.

2009 View of the Busan Museum of Art

This is an image revealed by desire in the process of repeating Choi Chul-joo' desire visual theory, and is formed as a symbolic sculpture as an effect of semantic action as it is replaced by other images according to metaphors. In the sculpture as a work of art, the simplified image of the object is recognized as a quantified visual perception form at the perspective level, so there is a limit to the approach of desire. This is an object in a subjective sense that meets through the alienation process of others. It is because it exists momentarily and disappears into the realm of unconsciousness.

The formation of a missing object with a lacanic design is Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i>. The connection structure(D...D') of the image and the image according to "<D(I...I')d=I(D...D'i)i>" is a design deficiency, that is, the desire that has disappeared unconsciously after repetition, is rendered from the unconsciousness of others by the effect of design semantic action (D'I).

According to the Choi Chul-joo's metaphorical desire formula <D(I...I')d=I(D...D'i)i>, rendering as an original image is replaced by an object (D/D') as another image, and meaning (I'D') object ɑ' is converted into an image through rendering as an original image. Choi Chul-joo's desire formula 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 hidden by the instantaneous movement of the actual changed shape results in verbal abstraction. In other words, the realistic shape of the other person's desire in an instantaneous event is a linguistic abstraction with the same meaning. Conceptual art as a cultural background is linguistic abstraction. After language fosters, abstraction creates a conceptual structure based on the shape of reality and hides the desires of others in instantaneous events.

Desire in Abstract Art Theory on Design of Sculptures The abstract design methodology of contemporary artist Choi Cheol-joo's concept of desire overlaps with the image created by reversible light by applying the abstract desire formula of contemporary art <D(I...I')d=I(D...D'i)i>. In addition, abstract sculptures are realized by applying the desire formula again in connection with verbal metaphor images and setting it as a shade of reversible light in another place in one space.

Repeating the design sketch, Choi Chul-joo's desire formula "D(I...I')d=I(D'D'I)i" is applied to the conceptual image of desire to acquire aesthetic value instantaneously and to reveal the meaning of abstract desire by realizing realistic formality in the shadow of reversible light at that moment. The abstract meaning of the shape in which the shape of the instantaneous desire that has been actually changed by the reversible movement of light is hidden results in a verbal abstract sculpture. In other words, it is a linguistic structure with the same meaning as a realistic image of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art, which is set as the background of cultural abstraction, is a linguistic abstract sculpture of an image. After the meaning of language cultivated, the sculpture creates a conceptual structure based on the shape of reality and hides the abstract desires of others in the momentary event or exhibition space.

Work. Sculpture Lacan design. 3 Rendering of drawing images revealed from a desire perspective

The image revealed as a being in the others unconsciousness was the image of the exterior that allowed a momentary view of the Busan Museum of Art from the side.

Fig. Desire Design of Sculptures.1 Forming an object ɑ by designing a desire image (rendering)

The desire sculpture with symbolism exists in reality as an object ɑ due to the desire of others, and the object ɑ is concealed by leaving the meaning of existence as an image of desire. Here, the repetition process of revealing the object ɑ finds a lost existence that was concealed in the unconsciousness of others through the relationship between the subject and the "object ɑ" that is lacking according to the formula (＄◇a) that emerges an illusion. This repetition process derives an image of a sculpture that reveals a desireful subject within existence.

This is the formula < f(S...S')S=˜ S (-)s> that regenerates the image...The connection structure between the image and another image according to < f(S...S')S=˜ S (-)s> Design deficiency (-), that is, the desire that has disappeared into the unconscious during repetition in S'), is the effect of design meaning action (fS), which renders the image of the desire subject in the other's unconscious to create a desire image.

As this is replaced with an object of another symbolic image as a rendering of a desired subject, a sculpture as an object transferred from the rendering of a skewed image is formed. It is the cencept image installation artist Choi Chul-joo's theory of abstract art that connects the sculpture with a design of a desire structure and replaces the symbolic image abstracted as a desire concept with a sculpture.

According to the ChoiChuljoo's desire formula <D(I...I')d=I(D...D'i)i> that adds this meaning, the rendering of the desire subject as the original image is replaced by the object ɑ as another image (D/D') and the sculpture is formed as the object ɑ changed from the rendering of the desire image as the meaning (I'D') of the image.

According to the repeated process of deriving the image of desire and adding the meaning of the image, the application to the exhibition sculpture design reveals the image of desire . The <D(I...I')d=I(D...D'i)i> connection structure between the image and another image according to <f(S...S')S=˜ S (-)s> Repeating it in <D(I...I')d=I(D...D'i)i>, rendering is replaced by a sculpture as an image in a different sense (D/D'), and the original image (D'-rendering) becomes an imaginary meaning (I'-desire image).

According to the formula <D(I...I')d=I(D...D'i)i> that reveals meaning, the effect (I'D') of semantic action in which rendering changes to a sculpture as another image (D/D') is said to be combined with crossing the rod forming the sine sculpture.

Work. Sculpture Desire Design. 4. Signed sculpture of Busan Museum of Art formed by Desire Design 2

Work 5.5 is an image revealed as a being in the unconsciousness of the other through the other's desire thinking at a perspective point in which the desire image appears to be a real image. If the material of the sign and sculpture is real, the image of the sign and sculpture is a symbolic image. In other words, the image of desire revealed in the desire of others becomes a symbolic image of the Busan Museum of Art based on the iron of reality revealed as an existence in the unconscious.

The desire to identify with the natural environment image is that cognitive changes occur in the natural environment and the changed image is re-recognized as a symbolic image included in the natural environment. This suggests that the object ɑ of desire existed in the unconscious desire of others as it was momentarily revealed in the desire design sculpture.

Work. Sculpture Desire Design. 5. The moment when the object ɑ is concealed and disappears in the unconsciousness of the other as an image of desire in the sculpture formed by Desire Design 2

Work. Sculpture Desire Design. The object ɑ as an image of desire in 5. is concealed in the unconsciousness of the other. It disappears in the unconscious desire as the exhibition component, or sculpture, is formed in the perceptive image seen in the place (place) of the moving element in the exhibition space. This is because the object ɑ is not visible in the perspective visual system.

Photo. Sculpture Desire Design. 1 Busan Museum of Art Signs and Sculptures

Photo. Sculpture Desire Design 1. The autograph and sculpture of the Busan Museum of Art are photos of three-dimensional sculptures made of real materials. Sculpture always in the same place (located) as installed in Desire Design 1.

As the sculpture disappears, it gets another meaning of the sculpture created by installation.

Since the gaze area of desire is a linguistic structure system, repetition is a language that forms identity by the difference between unconscious habits and repeated images, the signs and sculptures of the Busan Museum of Art were repeatedly installed with empty spaces and vertical bars.

Overall, this has a complex visual effect that appears to be the shape of the Busan Museum of Art facade. Each vertical bar is a part of the entire façade and is a symbolic installation with the continuity and difference of the image.

This is the same shape outwardly, but it makes the shape of the other's desire that is momentarily visible from the gaze point of view be contained in the other's unconsciousness. Therefore, the sculpture through desire design becomes a reality formed by the desire of others. The reality here is the reality as the material of the sculpture. Louis Choi Chul-joo's Desire Design 2 installed the sculpture through rendering expressed from the language of desire images separated from reality.

In the cognitive communication system, object ɑs were formed according to the results of design application to exhibition sculptures through Lacan theory. As an environmental art, the desire design sculpture was formed by a new design. Along with ready-made objects that give new meaning to ready-made products, the representative material of environmental sculptures is steel art.

It is a sculpture suitable for the morphological form of the sculpture revealed in the desire design. Steel, the material of the sculpture, is an opportunity to change the exhibition space into the natural environment, is a ɑ object of the desire to recognize locality while appearing in a three-dimensional form in the space of the natural environment, and is a sculpture of Desire Design, a work of art that newly reveals the visual shape of the place environment and changes the natural environment.

Nevertheless, the Busan Museum of Art has eliminated a representative sculpture that lasted more than a decade, just like a white cube exhibition space that repeats a new form of exhibition. / Writing. Choi Chul-joo, former curator of the Busan Museum of Art (Doctor of Cultural Design)

Curator Choi Chul-joo