Review of Contemporary Artist
Art Critic Choi Chuljoo Art Criticism 11
Contemporary Art Criticism [11] Contemporary Art Critic Louis Choi Chul-joo Design of Contemporary Art : Desire Conceptual Abstract Art Design & Art Critic Louis Choi Chul-joo Abstract Art Theory of Concept Abstract Painting, Concept Abstract Art Installation & Contemporary Artist Louis Choi Chul-joo Abstract Art Design Criticism: Renowned Contemporary Artist, Contemporary Painter, Abstract Artist Art Criticism & Contemporary Abstract Artist Louis Choi Chul-joo's Desire Concept Art Abstract Painting 'morning glory' Design Criticism: Docent on the New York Contemporary Art Exhibition of "Morning glory: an exhibition of the desires of others seen by a chick as an infant." a contemporary art work that applies artist Louis's Lacan art theory.
Art Docent/ Review: NewYork Exhibition: Louis's "morning glory": Exhibition of Modern abstract artist Louis's "morning glory" with the image of Lacan's objectɑ, 20220301~ 20220308 Flushing Town 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)
Poster: NewYork Exhibition: Louis's "morning glory": Exhibition 20220301~20220308 Flushing Town Halll, New York.
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.
Forming Light and Shape in Visual Analysis New York Exhibition (Louis's "morning glory"): Abstract Formation of the Shape of Light in Visual Interpretation
The realistic abstraction of Louis Choi' "morning glory" which is not realistic, creates an abstract image made of a double image that means the reality of morning glory, and is drawn in the form of light on a cloth reflected in the image behind it.
In 2022, Louis Choi Chul-joo's first solo exhibition was held at Yeomyeong Hall in New York. Louis' exhibition works are a form of shading the cloth where the shades of light intersect on the canvas, and an extension of the position of non-realistic paintings with reflected light from a small hole in the fabric to abstract images. The meaning of shape is a structure of the desire of the other decorated with the colors of spatial light in reality in the reality of the conventional universality in the face of morning glory.
Therefore, the structure of the morning glory lies in the position of the morning glory, which depends on momentary temporal coincidence. The image of the pierced fabric is expanded into a reversible shade of light by forming an image of the morning glory in an empty space. It also depicts a flat morning glory and a temporally changed atmosphere on the spot.
By illuminating in various directions, the existing shape of the past time is returned to the shape of the unconscious, and the image that is reversible to the real shape superimposes the concept of desire that cannot be superimposed according to one temporality in an integrated sense.
An object as an anamorphosis image exists as a virtual image that abstractly reproduces reality, assuming that the pictorial image of desire is a non-reactive image.
In particular, the object of desire clearly reveals the physical structure by erasing the sense of volume and shadow from the morphological structure. This is an analysis of an invisible object as a gaze, and the form of visual representation is viewed as the form of cognitive desire representation from a different point of view.
The object as an anamorphosis image in Picasso's painting is a crooked image that looks like Choi Cheol-joo's desire object. This is not irrelevant to the image of anamorphosis as an object of desire. The object of desire goes beyond the dimension of the non-realistic visual image of painting. This is because the anamorphosis image in the form revealed from the line is composed of the instantaneous point of time and has temporality and existence. This is because it is an image created by the desire of others in the abstract art theory system of Choi Cheol-joo's concept of desire, which has an irrelevant gaze area, whether flat or stereoscopic.
Therefore, by choosing an anamorphosis image integrated by lines, perspective density and volume formed at a single light source point of view do not exist. Here, object refers to the existence of partial images in space as a skewed form revealed at the same time, such as collage.
However, the shape hovers in the background of the image with several shades that are instantly reversible without being seen as meaningful. This is an image in which the position of temporality, that is, the image of the sky appears as a fixed stimulus of light at one moment in time, just as clouds, rain, and snow appear. This is the position of an infinite and continuous existence that the light has formed over the course of temporality.
It is a reversible visual structure in which abstract phenomena in which spheres coexist exist. It is a structure of temporality for the image that obtains semantic recognition of the image when the artist paints.
Therefore, the visual reversible reaction is an image of the instantaneous structure according to the visual reversible reaction of the morning glory, in which the artist overlaps with various colors and turns black or is obscured by light, that is, the morning glory and its place as a certain body coexist.
The image is a landscape in which the image of the other, which was located at the moment when the shadowy figure of everyday life intersects with the morning glory of the past, is drawn on the cloth.
In contrast to the decorated light, the dark blank space is a shadow created by occupying a part of the space. Here, as a real object being, color is a fragmentary image of a refined custom viewed through the gaze. This is a symbolic language that symbolizes an imitated flower, and the 'morning glory' is a hidden aesthetic structure as a being that symbolizes the desire of others symbolized in an unrealistic space as a result of the meaning of desire. And it is an object piece with a desired meaning.
Regarding the symbolic form of the non-realistic painting "morning glory" it is interpreted as a contemporary art review by abstract painter Louis Choi Chul-joo, who drew paintings during the 2022 New York exhibition of "morning glory" which was conducted as images of amorphous image and the objects of desire that chicks saw in their childhood.
Louis’s thread painting: morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth, 2022
<morning glory> painted on a cloth composed of thread
thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.
The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.
The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze.
A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place.
However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space.
Louis, morning glory 2022-c-back, 135X156cm, acrylic and composite materials on cloth, 2022
The meaning of a desire object generates meaning as a thought movement that combines and replaces the effects that emerged from the chain of desire languages.
In other words, after creating an image of a desired object <thread painting: morning glory 2022-c-back>, the design is repeated to create a connection structure between the image and the image drawn with another shade of light, revealing the deficiency structure of the desired object, and allowing desire to appear through semantic action instead of not acting as a lack of meaning, that is, resistance to semantic action.
The image formed by the deficiency is the same as what the infant saw in front of the mirror, and the image of the object and the image of the object identified in the imaginary world are identified internally as the same subject, and the subject forms a transformed image of itself. This <morning glory 2022-c-back> is a phenomenal image, and the shadow of the real object and the desire object brightens or disappears in a reversible shade of light in an empty space.
It is an image that is lacking as an object as an image that is satisfied as a child in the image of an object of reality.
By confirming the structure of the phenomenal reality that does not exist in empty space on the back of the object, the reality of the object is an image of reality reflected in the mirror. In other words, the image of the phenomenal reality may be an image of the image of the reality as a metaphor reflected in the mirror or an image that appears as a virtual shade as another image.
Therefore, in the concept of desire that Choi Chul-joo refers to, the metaphor does not compare an object, but as one image is replaced with another, the original image becomes the meaning of reality. Like Cézanne, a similar form can be seen after revealing a public form rather than an imitative painting attributes an object to a form.
The place where its meaning is fixed becomes a fixed point where desire and reality intersect as a divided subject by repeating the image of desire from unconscious desire to the divided subject.
The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.
And by simplifying the form of confrontation in the painting into a desire landscape, the object is divided into a plane, and the desire to shade a reversible light at the intersection of light and shade is adjusted with color. / Writing. Choi Chul-joo, art critic (abstract painter & doctor of cultural design)
Contemporary Art Critic Choi Chul-joo
New York Exhibition: Louis Choi Chul-joo's "morning glory": Exhibition of Modern abstract artist Louis's "morning glory" with the image of Lacan's object ɑ, 20220301~20220308 Flushing Town Halll, New York.
