현대미술 디자이너 최철주｜Designer Louis C

Contemporary Art Designer Choi Chuljoo12

Mar 12. 2024

현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [12] 현대미술 디자이너이자 화가인 최철주는 회화, 전시, 조각, 설치, 연극, 오페라 무대 등과 관련된 현대미술을 디자인했다. 그는 미술 디자인, 현대 추상미술 디자인, 현대 설치미술 및 문화 디자인에 대한 비평을 통해 라캉의 미술 이론과 철학적 욕망 개념으로 현대 개념 추상적 사실주의의 구조를 디자인한다. Choi Chul-joo, a contemporary art designer and painter, designed contemporary art related to painting, exhibition sculpture, installation, theater, opera stage, and more. Choi designs the structure of contemporary concept abstract realism with Lacan's art theory and philosophical desire concept through criticism of art design, contemporary abstract art design, and contemporary installation art and cultural design./ Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./ Desire Designing Modern Art Abstraction Concept Abstraction & Abstraction Artist Louis Choi Chul-joo Abstraction Art Work [13] contemporary abstract art movement examples / The Story of Contemporary Art: Contemporary Art movement Review: Modern Art Works Desireful Concepts Art Abstraction: Louis Choi Chul-joo's 2022 New York Exhibition Poster Abstraction 100 ■ 최철주의 현대미술 디자인 정의는 언어적 의미와 이미지 자체의 결합된 이미지를 상징으로 간주하며, 그의 시각 예술 이론을 바탕으로 철학적 욕망의 개념과 개념적 추상적 실재론을 중심으로 그 언어적 의미를 통해 욕망의 추상적 개념을 회화 디자인 구조로 식별합니다. 그 디자인은 회화, 설치, 조각, 공연 예술 등 다양한 매체를 통해 인간 욕망의 구조를 시각적으로 해석하고, 시간성에 따라 빛의 구조로 개념적 추상적 사실주의 이미지를 재현하고자 하는 타자의 욕망을 바탕으로 추상적인 형태와 언어적 의미를 이미지화한다. ■ 최철주의 개념추상 리얼리즘 추상화 디자인 프로세스는 예술성에 따라 사실주의를 이끌어낸 대상으로서 시각 체계에서 벗어난 또 다른 시선 구조로서 이미지를 현실로 드러내는 또 다른 추상적인 대상은 사실주의의 이미지입니다. 사실주의 추상화 디자인에서 추상화와 현실의 이중 메시지를 효과적으로 전달하는 방법은 현대 미디어 아트 이미지나 추상화와 같은 현대 개념 추상적 사실주의 추상화를 통해 개념과 추상화를 현실적으로 표현하는 것입니다. 따라서 미디어 아트 추상화 디자인에서 개념추상 리얼리즘 추상화 디자인하는 과정은 다음과 같습니다. 1. 리얼리즘 오브제의 컨셉: 리얼리즘 오브제를 재현하여 가상적 오브제로써 형성된 이미지는 실재를 은폐한 가상적 이미지이다. 그 가상적 이미지는 평면으로 인지되어짐으로써 리얼리즘 이미지로 보인다. 여기서 현실적인 객체를 재현하는 원근감 시각 시스템의 기하학적 평면 이미지에 숨겨져 있다가 무의식이 드러내는 욕망의 관점에서 순간적으로 시선으로 드러납니다. 이는 타인의 욕망에 의해 억압된 무의식을 통해 언어적 의미의 이미지로서 창의성과 자율성을 갖춘 현실주의 객체의 개념을 개념적 추상적 실재 객체의 또 다른 존재로 정의합니다. 2. 리얼리즘 이미지를 알레고리로 연결하는 스케치: 추상 미술과 예술은 물질이 현실로서의 존재와 가상의 존재로서 서로의 추상적인 관점에서 형성된 사물의 존재로 구별되는 것입니다. 예술 작품의 조건은 존재하지 않는 존재와 상상의 형태로 존재를 드러내는 것으로, 사물과 사건을 현실로 이미지화하는 알레고리를 통과하는 스케치다. 최철주의 가역광은 빛의 현실적인 형태와 움직임, 즉 시간성에 따라 현재 '가역광의 그림자에 가려진 실제 이미지'로 음영 처리된 이미지입니다. 이 이미지는 추상으로 보이는 언어적 의미가 식별되는 가역광의 음영 처리된 이미지로 현실을 만들어냅니다. 이것은 스케치를 반복하여 아나모르포시스 이미지를 현실의 이미지와 분리된 또 다른 현실, 즉 시선의 구조로 보이는 실존적 이미지와 연결하여 추상적인 언어 이미지를 스케치로 형성하여 개념적인 추상적 현실주의 개념으로 재구성할 수 있도록 한다. 3. 추상적 리얼리즘 오브제 응시: 추상적 사실주의 오브제로서 타인의 눈에 빛의 한 점으로 드러나는 추상적 객체는 욕망의 시선 체계에서 드러나는 최철주의 미학적 구조로서 왜상적 이미지를 철학적 장치로서 추상적 의미가 다르게 나타나는 추상적 사실주의 오브제 시선처럼 보이게 한다. 관람자의 위치와 시선에 따라 추상적 의미가 달라지는 철학적 장치로서, 이 이미지는 사실주의 공간의 관점과 추상적 언어적 의미를 일치시키며, 욕망의 개념적 관점에서는 추상적이고 보이지 않는 오브제가 시선 경로로 나타납니다. 그 이미지의 개념적 추상적 실재론의 언어적 의미에서 인과관계에 의해 제한된 인간의 허구적 요소로서 타인의 욕망을 내포하는 오브제로서 이미지와 교차하며 무의식적 추상적 실재론의 언어적 의미로 구조화한다. 4. 추상적 리얼리즘의 추상화: 추상적 실재론의 추상화는 최철주의 욕망 공식에 명시된 추상적 대상을 얻고, 욕망 이미지(i) 디자인(d)는 타인의 욕망을 넘어 언어적 의미의 문법적 해석을 통해 추상적 대상의 이미지가 실현되는 조건(i/d)을 구두로 해석되는 계기가 된다. 욕망의 주체로서 추상적 리얼리즘이 무엇을 원하는 지를 욕망의 주체가 스스로에게 질문하는 특정 대상을 추상적 선택하여서 실재로서 개념추상 리얼리즘 추상화에 도달<D(I...I')d=I(D...D'i)i> 한다. 이것은 인간이 삶 속에서 경험할 수 없는 추상의 자리를 언어적 의미 체계애서 균열한 추상 구조를 욕망의 대상으로 추상하여서 실제화한 추상적 욕망 개념에서 멈춰선 리얼리즘 이미지다. 문화성에 따르면 최철주 개념추상현실주의 추상화 단계 1: 현실 속 욕망의 개념을 문자적 인과관계와 분리된 이미지로 증류하여 추상적 사고를 촉진합니다. 2단계: 자연물 모티브의 언어적 의미와 컬러 팔레트와 같은 문화적으로 공명하는 시각적 요소를 중첩하여 시각적으로 조화로우면서도 개념적으로 밀도가 높은 현실주의 추상 이미지를 만듭니다. 그것은 철학적 의미와 언어적 의미를 이미지에 전달하는 장치로서 최철주의 개념적 추상화로 작동하여 인간 존재의 본질과 인식의 한계를 은유로 재현하는 철학적 이미지로서의 개념적 추상적 현실주의 추상화다.

Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula.

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.

As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.

Louis Choi Chul-joo's "morning glory" is painted on a cloth that reflects the image on the back as an image generated from a crooked image that means the substance of the morning glory.

Louis Choi Chul-joo <morning glory> is an abstract thread painting depicting the concept of desire drawn on a fabric whose back side is reflected by hand using images created as anamorphosis, which means the reality of morning glory.

On March 1, 2022, at Flushing Town Hall in New York and at Yeomyeong Hall in New York on March 8, 2022, Louis Choi Chul-joo's "morning glory" exhibition in New York completed 100 posters of New York by visualizing the progress and results of depicting the imagination of other people's desires and objects of existence while facing the artistic notion of desire conceptual art in preparation, and the final abstract work "morning glory 2022 p-100" is displayed in the New York exhibition.

Here, by producing painting and poster abstraction of contemporary art works using the same conceptual art, Louis Choi Chul-joo's solo exhibition works were presented as modern art abstract paintings symbolizing the exhibition image of paintings. In other words, it referred to the concept of posters as modern art abstract painting as immaterial visual effects. This is the same conceptual art abstraction as <morning glory> by visualizing another painting and poster in the place after setting a place for one exhibition space.

A review of contemporary art works <morning glory> on the exhibition of contemporary art poster by contemporary art critic and contemporary artist Louis, 20220301~20220308 Flushing Town Hall, New York.

Painting docent as Lacan conceptual art: Lacan conceptual art faces artistic ideas. It visualizes the phenomenon of progressive phenomenon and results as painting objects of Lacan's an imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 라캉적 도슨트/ 루이 최철주)

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.

(Choi Chul-joo's Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)

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)

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.

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 rib images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon rib image as an image. (*Cartoon rib image, that is, an image that emphasizes the hidden meaning of the cartoon)

Louis Choi Chul-joo <morning glory> Conceptual Art Abstract Painting in 2022 New York Exhibition: abstraction <morning glory poster 100-12> : ■ news cartoon of Choi Chul-joo’s cartoon news/ A hand-painted picture by Choi Chul-joo on a computer & webtoon news cartoon design works by cartoon designer Choi Chul-joo ■ In <Choi Chul-joo's Morning glory>, Lacan's art theory is formalized by connecting images with abstract paintings and converting them into meanings. This means that other people's desires are expressed in paintings by repeatedly applying Lacan's imagination and formula, and as a result of applying Lacan art theory to paintings, other people's desires for abstract formative beauty gain the value to approach. ■ <Choi Chul-joo's Morning glory> is the spatial background of the desires of others, not the subject. It is the same as a space of life as consistent as the sky. It is connected to cartoon review and Pop Art, which represent the space of life but do not criticize and judge, and reproduces reality as news with pictures of events. In addition, the effect of conceptualizing the reality of the symbolized object as the desire of others is structured in the shade of reversible light and exemplified as a realistic abstraction of treacherous conceptual art. ■ 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. The morning glory is the location where the flower blooms, where leaves and stems are formed according to their shape, and where the stem is aligned with the flower as a composition of the flower.

This is realized without an explanation of the atmosphere in media art and painting, where a real picture is created in the process of producing the mechanically reproduced prototype of media art in response to the needs of others. In addition, he said in thread painting, "The structure of the form is a structure of pictorial thread painting in which the formative meaning is retroactive as a series of threads become a formative structure without explaining the object of the thread that formed the shape." The color of the structure gives a distance of time, so that it is regarded as a formative structure of a faded original structure without marking it, showing the aesthetic value hidden as seen.

The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory 2022-h> 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 <Corona mutant viruses 6> 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 45-03> 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, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world. ■ 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.

■ Choi Chul-joo's definition of contemporary art design regards the combined image of linguistic meaning and image itself as a symbol, and identifies the abstract concept of desire as a painting design structure through its linguistic meaning, focusing on the concept of philosophical desire and conceptual abstract realism based on his theory of visual art. The design visually interprets the structure of human desire through various media such as painting, installation, sculpture, and performing arts, and images abstract forms and linguistic meanings based on the desires of others to reproduce conceptual abstract realism images with the structure of light according to temporality.

■ Choi Chul-joo’s Conceptual Abstract realism Abstraction Design Process

Another abstraction that reveals the image as a reality as another structure of gaze that deviates from the visual system as an object that led to realism according to artistry is the image of realism.

In realism abstraction design, a way to effectively convey the dual message of abstraction and reality is to realistically represent concepts and abstractions through contemporary conceptual abstract realism abstractions, such as contemporary media art images or abstractions. Thus, the process of designing conceptual abstrac realism abstractions in media art abstract design is as follows

1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.

2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality. Choi Chul-joo's reversible light is an image shaded at the present time in what is called "a real image obscured by the shadow of reversible light" according to its realistic form and movement of light, that is, the temporality. The image creates reality as a shaded image of reversible light, where the linguistic meaning seen as abstraction is identified. It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.

3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism. Through this process of transformation, viewers experience linguistic abstraction in which forms follow concepts and forms become entangled with meaning.

4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning. And to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This formula suggests a dynamic interplay: desire (D) is echoed across repeated images (I...I'), ultimately shaping an abstract concept (i). This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system.

According to Culturality, Choi Chul-joo Concept Abstraction Realism Abstraction Stag's step 1: Distill the concept of desire in reality into images separated from literal causation to promote abstract thinking. step 2: Overlapping the linguistic meaning of the natural object motif with culturally resonant visual elements such as color palettes creates visually harmonious yet conceptually dense realism abstract image. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images.

Contemporary art works Media Art<morning glory> on the exhibition of contemporary art poster by contemporary art and contemporary artist Louis Choi Chuljoo, 20220301~20220308 Flushing Town Hall, New York.

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

Modern Art Critic and Conceptual Artist Choi Chul-joo's Modern Conceptual Art is the concept of early conceptual art and is the return of painting. In other words, because it is a conceptual art created by a painting work, his contemporary conceptual art criticizes phenomenal images such as current events and mentions the meaningful value of painting.

This combines the life value of critical perspective and cartoonization with scene photography of events, which goes beyond mathematical and philosophically meaningful linguistic interpretations, and combines the life value of critical perspective and desire with satirical photo image of events. Here, desire abstraction means a conversational personality that can immediately recognize the rational perception of the other person's desire rather than an arbitrary philosophy.

Louis Choi Chul-joo <morning glory> Conceptual Art Abstract Painting in 2022 New York Exhibition: abstraction <morning glory poster 100>

현대 개념미술 미술가 작품 : Louis Choi Chul-joo, morning glory-2022 p100, a hand-painted picture on a computer / <나팔꽃>을 개념 미술가 작품으로 재해석한 현대미술 추상화

현대미술 디자이너 최철주는 현대미술을 그의 욕망 공식을 통해서 추상화를 디자인한다.

최철주의 욕망 공식은 I/I(이미지)와 D/d(디자인)를 기호로 사용하여 디자인 이미지의 개수와 사건 및 공연 이미지를 연결하여 다항식의 욕망 이미지를 생성하는 곱셈 공식이다. 기호로서의 이미지의 언어적 의미는 욕망의 추상적 개념을 식별하고자 하는 욕망 개념의 이미지(I/i)이다.

추상화가로서 최철주의 현대 개념미술은 타자의 욕망을 주제로 한 비실재로서 실제적 조형성의 흔적과 가역적 빛의 음영으로 개념을 추상하는 미술이다. 이것은 초기 개념미술의 개념으로 한 회화성의 복귀 즉 사실적 실재의 자리를 대리하는 타자의 욕망을 추상하는 추상화다.

개념적 의미 구조로서 형상 이미지: 이미지를 오브제로 디자인한 욕망 배경 나팔꽃 포스터 <morning glory poster 100>은 비실재의 개념미술 이미지 화폭에 갈색으로 연쇄하여서 실재 나팔꽃의 실재 개념미술 이미지다.

이것은 <morning glory 2022-p100>을 가역적 음영으로 중첩하여서 전이한 <morning glory>를 의미하며 비실재의 사실적 이미지를 가역적 <빛>으로서 왜상(anamorphosis)적 이미지로 수작업으로 그리진 욕망 배경 나팔꽃 추상화다.

그 추상화의 형상은 현대미술 추상화 작품의 디자인 컨셉으로 한 <morning glory 2021 k-1>에 <morning glory 2022 p100>을 중첩해 그려서 이것을 라캉적 의미 구조로서 형상의 디자인 즉 회화의 전시 포스터 이미지로서 욕망 개념미술 추상화로 전이하는 창문을 통해 비친 <morning glory 2021 k-1>에 알 수 없는 가역적 빛을 중첩하여서 <morning glory 2022 p100>로 추상화 한다.

* <빛 > : 알 수 없는 가역적 빛의 음영적 형상

현대 미술평론가 & 개념미술가 최철주의 현대 개념미술은 초기 개념미술의 개념으로 한 회화성의 복귀다.

즉 회화 작품으로 생성하는 개념미술이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 비실재의 사실적 이미지< morning glory 2021 k-1>의 의미적 가치를 말한다.

그리고 비실재의 추상적 이미지<morning glory 2021 k-1>에 <알 수 없는 가역적 빛의 형상>을 중첩하여서 <morning glory 2020 p100>으로 추상화 한다.

이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 여기서 라캉적 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)

이성적 지각할 수 있는 회화성에서 시간성에 따른 왜상적 배경을 타자의 욕망으로 경험할 수 있도록 나팔꽃 형상의 틀을 객관적 실재와 표상적 개념미술과는 차이가 있다. 그 오브제는 상징계에서 전이된 실재에서 분리된 오브제ɑ를 실재로 하고 있기 때문이다.

따라서 욕망 개념미술 추상화로 전이할 수 있도록 가역적 빛을 투입하는 투입구로서 창문을 추가한다.

그러나 그 창문을 통해서 조명된 <morning glory>는 창문 단계를 넘어간다.

욕망적 회화 디자인방법론(Lacan's design methodology)으로 한 회화 디자인에 대한 라캉적 도슨트:

라캉적 디자이너, 디자인평론가 & 현대미술가 최철주 라캉적 디자인방법론: 현대미술 추상화 작품으로서 <morning glory 2021 k-1> 이미지에 라캉의 환유공식 f(S...S')S=˜ S (-)s 적용하여서 가역적 빛으로 생성한 틀로서의 창문 단계를 넘어서 <morning glory 포스터100>으로 전이한다. (ACN 2022.10.05. 최철주 라캉적 회화 디자인방법론 해석)

상상계의 비실재는 언어적 은유 이미지를 단색으로 연쇄하여서 라캉의 환유공식을 재적용하여서 가역적 빛의 음영으로 한 공간의 또 다른 자리에 현상적 개념적 자리를 정하는 <morning glory 포스터>로 추상화 한다.

이것은 루이 최철주 뉴욕 전시에서의 최초의 비사실적 추상화 포스터로 전이 하여서 라캉적 오브제를 실재화하여서 최철주 욕망 개념 추상미술이론을 통해서 욕망 공식 <D(I...I')d=I(D...D'i)i>으로 전이한다. 그리고 창문에 비친 가역적 빛의 음영으로 전이된 포스터가 실재의 비사실적 추상화가 된다.

나팔꽃 포스터를 스토리보드로 한 공간에서 현대미술 디자이너 루이 최철주와 라캉의 미술 이론을 발견하고, 최철주의 욕망 공식을 구현하여 그 자리에서 욕망의 개념을 추상화하고 포스터 100을 추상화로 전이한 / Modern art designer Louis Choi Chul-joo and Lacan's art theory were found in the space with morning glory 100 posters as a storyboard, and Choi Chul-joo's desire formula was embodied to abstract the concept of desire in the place, and the poster was transferred to abstract painting

현대 개념미술 추상화 작품: 루이 최철주 뉴욕 전시 나팔꽃 포스터 100

루이 최철주 뉴욕 전시에서 포스터 이미지에 의미가 미출현하는 라캉의 환상공식(＄◇ɑ)의 소쉬르 연산식에 대입하여서 <나팔꽃>이 상상하는 타자의 욕망을 쾌락과 성적충동의 만족(Jouissance)과 함께 배경의 또 다른 나팔꽃을 잡으려는 빗금친 기의(s(ɑ/))에서 분열된 주체(＄◇D)는 거세(castration)에 도달한다. 이것은 시각체계에서 보이는 나팔꽃이 상상하는 비일관성을 음영으로 은폐한 나팔꽃을 스크린으로 한 이미지를 보인다.(ACN ・ 2021. 12. 29. 0:01 라캉의 환상공식(＄◇ɑ)

그 이미지의 환유는 기표이미지와 기표이미지의 구조를 연결하여서 반복하여 왜상적 이미지 즉 결핍된 형상에 대한 의미작용의 저항으로한 의미작용을 안하는 것을 대신하여 의미작용으로 타자의 욕망이 등장시킨다. 이것은 라캉의 욕망그래프에서 소쉬르의 연산식(의미의 미출현)과 동일하다.

여기서 라캉의 환유공식 f(S...S')S=˜ S (-)s 을 <morning glory 2021 k-1>에 대입하면 기표이미지로서 나팔꽃과 또 다른 기표이미지로 정하고 그림자속에 왜상적 오브제ɑ로 음영화한다. 여기서 닭을 타자의 욕망으로서의 의미를 막대기(-)의 유지와 <morning glory 2022 p100>과 합동(=˜ ) 한다.

합동한 <morning glory 2022 p100>에서 타자의 욕망 의미가 미출현하는 라캉의 환상공식(＄◇ɑ)의 소쉬르 연산식에 대입하여서 타자의 욕망을 쾌락과 성적충동의 만족(Jouissance)과 함께 욕망을 잡으려는 빗금친 기의(s(ɑ/))에서 분열된 주체(＄◇D)는 거세(castration)에 도달한다.

라캉의 환상공식에 소쉬르의 연산식을 실재에 대입하여서 비일관된 실재의 이미지로서의 주체는 타자의 욕망으로 한 기의에서 거세된다. 그리고 라캉의 환상공식을 통해 주체를 잃어버린 그 이미지는 가역적 빛으로서 일관되고 의미 있는 형상이 선 존재한 공간을 구성하는 자리를 제공하는 또 다른 실재의 기의적 효과(오브제ɑ)로 살아난다. (ACN ・ 2022. 10. 01 22:29 라캉 환상공식 최철주 회화적 해석)

여기서 실재의 효과에서의 기의적 의미작용은 초월적 기표로서 시니피앙(Signifiant)의 의해 새로운 주체를 받아드림으로써 상징성을 띤다. 그 시니피앙은 새로운 주체를 받아드리기 위해 절단한다.

추상화<morning glory 2022 p100>에서 회화적 절단은 단색화 하거나 무채색으로 가역적 빛의 음영적 구조를 생성하고 그렇게 절단된 주체는 표상하는 형상으로 고착된다.

이것은 보이지 않는 실재로서의 오브제ɑ다. 그것은 상징계에서 보이는 은유의 형태적 기표가 상징적 의미의 기의로 전이된다.

따라서 회화에서 실체적 형상인 기표로서 형상의 실체는 사라지고 허상적 상징의 기의로서의 환유적으로 고착된다. 그 기의는 화가의 욕망으로 실체화된 형상적 의미 즉 이미지를 기호적인 추상 형상화 하는 라캉적 개념미술의 과정을 통해서 자리바꿈한 추상화 다.

라캉적 개념미술의 과정은 거울이론을 통해 유아가 드러내는 실재를 거울에 비친 기표적 이미지와 동일시하는 상상계에서부터 시작된다.

회화에서 주체로서 기표적 이미지가 자신이 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 그림은 상징계로 전이한다.

여기서 상징적 이미지와 실재가 분열을 통해 실재와의 만남이 이루어진다. 그 그림은 실재로서 기표적 이미지가 왜상적 이미지로 드러나지만 순간적 응시로서 오브제ɑ는 비실재와의 어긋난 만남을 이룬다. (ACN 2022. 10. 04 오브제ɑ 최철주 해석)

그 어긋남 만남은 실재가 연쇄적으로 부재에서 부재로 계속되는 드러나지 않는 은폐를 통해 상징성과 실재성은 불일치함을 연출한다.

이것은 거울에 비친 으브제가 실재가 된다면 그 오브제가 상징성에서 실재성으로 전이된 공간은 거울 밖에선 보이지 않는 실재로서의 상징성이 비실재화된다. 이때에 오브제는 존재했던 공간의 상징성을 잃고 상징성에서 실재화된 오브제는 존재했던 공간의 실재성이 소멸된다. 그것은 라캉적 개념미술 회화에서 비실재의 사실적 이미지가 추상되는 것과 동일하다.

따라서 라캉적 개념미술 추상화는 원근법적 시각체계의 기학적 도식에서는 은폐하고 있으며, 무의식에서 드러난 욕망적 관점의 응시로써 순간적으로 드러낸다.

그것은 실재성에서 벗어나 추상성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 순간적으로 응시할 수 있게 그 욕망의 대상이 멈춘 이미지를 구별해서 추상했기 때문이다. / 글. 문화디자인평론가 최철주 (현대미술디자이너 & 문화디자인박사)

Louis Choi Chul joo morning glory New York exhibition poster abstract painting 99

Louis Choi Chul-joo morning glory New York exhibition poster abstract painting100

Poster Abstraction 100: Korean Painter & Abstract Artist Louis Choi Chul-joo's <morning glory> 2022 New York Exhibition Poster Abstraction 100 Media Art, which visualizes the progress and results of depicting the imagination of desire and the object of existence while facing the artistic notion of desire conceptual art.