현대미술 디자이너 최철주｜Designer Louis C
Contemporary Art Designer Choi Chuljoo 4
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [4/ 20~22] 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./
Art Design Review of Contemporary Art works [4] Abstract Artist Louis Choi Chuljoo Desire Conceptual Art Abstract Painting <Morning glory> Art Review & Conceptual Art Pop Art Abstract Painting Design / Contemporary art examples of Abstraction Review : Treacherous Contemporary Art Abstract Painter Louis Choi Chul-joo Pop Art Abstract Art Works & Art Reviews / 추상화 디자인 abstraction design: 개념미술 한국화 추상 디자인3/ 배반적 개념미술 의미 구조의 이미지를 설치한 한국화 추상 디자인한 팝아트 현대미술 작품 <나팔꽃 추상화 p36-8> 한국화가 루이 최철주 뉴욕 전시 포스터100 이미지로 한 한국화 추상 디자인3 = 유명 현대 개념 미술가, 현대미술 작가, 현대 추상미술 한국화가 작품 / 추상 화가 그림 최철주 개인전: 2022 루이 최철주 뉴욕 전시 나팔꽃 추상화 p36 유명한 현대 미술가 작품 현대 화가 추상 화가 루이 최철주 /
Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' pop art abstraction design / 현대 배반적 개념미술로 한 한국화 추상화 작품 <morning glory p36-8> 디자인 평론
Design review: the New York Contemporary Art Exhibition of "Morning glory" abstract painting(Poster): an exhibition of the desires of others seen by a chick as an infant." a contemporary art work that applies artist Louis Chul-joo Choi's Lacan art theory. 20220301~20220308 Flushing Town Hall, New York.
Louis Chul-joo Choi, morning glory p36-8, a hand-painted picture on a computer, 2022/ 현대미술 회화 디자인: 개념적 의미 구조로서 형상 이미지를 기호화한 오브제 디자인
개념적 의미 구조로서 추상 이미지 디자인: 이미지를 오브제로 디자인한 라캉의 오브제ɑ
<morning glory>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로 디자인한 배면이 비춰지는 교직된 천의 형태에 그리진 라캉의 오브제ɑ다.
그 오브제ɑ의 형상은 뉴욕(Flushing Town Hall & Yeomyeong Hall)에서 루이 2022년 <나팔꽃>개인전 관련 현대미술 추상화 작품으로서 디자인 컨셉으로 한 포스터<morning glory poster>를 제작하여서 이것을 라캉적 의미 구조로서 형상의 디자인 즉 회화의 전시 이미지를 기호화하여서 연쇄한 현대 개념미술을 추상화했다.
배반적 개념미술로서의 추상화는 미술에서 사실적 구조물로서의 추상화를 말한다. 사실적 형상의 자리에 존재하는 개념적 의미들은 카툰 만평 이미지로 구분될 수 있으므로, 추상화는 타인의 추상적 욕망을 카툰 만평 이미지로 해석하는 가역적인 빛의 음영을 통해 그려진다.
Abstract painting as a precarious conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, abstraction is drawn through reversible light shading that interprets others' abstract desires as cartoon review images.
Louis Choi Chul-joo, <Red Velvet Irene & Seulgi 4>, a hand-painted picture on a computer
미술가 개념미술 추상화 작품 : Chul-joo Choi, morning glory 36-Red Velvet Irene & Seulgi 4, a hand-painted picture on a computer / 만화뉴스 만평을 개념 미술가 작품으로 재해석한 현대미술 추상화 개념만평
가역적 빛으로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 2022 뉴욕 전시 포스터-36)는 병아리가 타자의 욕망을 시간성에 감춘 이미지를 가역적 빛의 음영으로 <Red Velvet Irene & Seulgi 4>을 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 형상의 실제 변화된 움직임에 의해 가려지는 개념적 추상의 의미 즉 거울속의 이미지는 가상적인 비실재의 이미지로서 타자의 무의식적 욕망에서 드러낸 추상적 이미지의 순간적 왜곡된 상 오브제ɑ를 보인다.
현대 미술평론가 & 개념미술가 최철주의 현대 개념 디자인은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 회화 작품으로 생성하는 개념미술 디자인이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 디자인적 가치를 말한다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다.
반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로 한 최철주의 개념미술 추상화 디자인은 시사만평으로 개념의 의미를 라캉적 개념미술 추상화 이미지에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 개념미술 추상화 디자인을 통해서 삶적 가치를 교합시킨다.
여기서 라캉적 개념미술 추상화 디자인은 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 추상성 디자인을 말한다. (ACN ・ 2022. 10. 7. 2:33 최철주 개념미술 추상화 디자인 해석)
라캉적 디자인방법론(Lacan's design methodology)으로 한 회화 디자인에 대한 라캉적 도슨트: 라캉적 디자이너, 디자인평론가 & 현대미술가 최철주 라캉적 디자인방법론: 현대미술 추상 한국화 작품으로서 <morning glory 2022 p-36>에 라캉의 환유공식 f(S...S')S=˜ S (-)s 적용하여서 가역적 빛으로 생성한 페인팅 <Red Velvet Irene & Seulgi 4>를 중첩한다. 그리고 언어적 은유 이미지를 연쇄하여서 라캉의 환유공식을 재적용하여서 가역적 빛의 음영으로 한 공간의 또 다른 자리에 <Red Velvet Irene & Seulgi 4>의 현상적 자리를 정하여 <morning glory 포스터36>으로 보인다. 이것은 루이 최철주 뉴욕 전시에서의 라캉적 개념미술로 디자인한 포스터가 라캉적 오브제를 실제화한 추상화임을 말한다.
루이 최철주 2022 뉴욕 전시 포스터-36
라캉의 오브제ɑ<루이 최철주 2022 뉴욕 전시 포스터-36>로서 추상적 오브제를 재현하는 원근법적 시각체계의 기학적 도식에서는 시각체계는 은폐하고 있으나, 무의식에서 드러난 욕망적 관점의 순간적인 응시로서의 오브제ɑ다.
회화로서 오브제ɑ<Red Velvet Irene & Seulgi 4>는 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 디자인으로 형성하고 존재로서 오브제ɑ를 생성하여서 타자의 무의식적 욕망에서 드러낸 추상적 이미지의 순간적 왜곡된 이미지를 의미적 구조으로 한 개념성을 드러내는 것이다.
여기서의 오브제ɑ에서 출현한 개념적 예술성은 타자의 욕망적 관점에서 왜상적 이미지<Red Velvet Irene & Seulgi 4>로 오브제의 이미지를 의미의 구조로 변형<나팔꽃 포스터-36> 함으로써 오브제의 또 다른 존재로서의 오브제ɑ를 드러내어서 오브제ɑ가 창조성과 타자의 욕망의 자율성으로 한 예술적 의미를 담고 있다.
그리고 회화적으로 육화된 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각<Red Velvet Irene & Seulgi 4>는 그 형상의 실제로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 추상적 공간<나팔꽃 포스터-36>을 보인다. 이것은 추상적 오브제의 의미를 가리키며, 그 오브제는 실제 가역할 수 있는 추상 공간을 말하며 형상의 실제가 추상된 타자의 욕망에 가려지는 추상적 풍경 형상의 의미를 비실재의 사실적 형상을 추상한다.
한국화 추상 디자인은 드러나지 않는 은폐의 존재로서의 실재로서 개념 미술의 추상적 의미를 표출한다.
"병아리가 거울에 비친 기표적 이미지를 동일시하는 상상계에서부터 시작된다. 주체로써 기표적 이미지가 닭이 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 상징계로 전이한다. 여기서 상징적 이미지와 실재가 분열을 통해 실재와의 만남이 이루어진다. 실재로서 기표적 이미지는 왜상적 이미지로 드러나지만 가역적 빛으로 생성된 이미지는 비실재로서 의미와의 만남이다.( 유아로서 병아리가 닭이 되려는 욕망: ACN 2022.06.06)"
현대 미술평론가 & 개념미술가 최철주의 현대 개념미술은 초기 개념미술의 개념으로 한 회화성의 복귀다.
즉 회화 작품으로 생성하는 개념미술이다. 따라서 한국화 추상 디자인에서 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 의미적 가치를 말한다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다. 반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로서 최철주의 개념미술은 시사만평으로 개념의 의미를 라캉적 회화속에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 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 회화성 즉 사실적 구조의 추상화를 말한다.
사실적 추상화의 개념미술이란 사실적 구조는 빛의 왜곡을 받아서 형태를 반사한다. 그 형태를 드러내는 것은 빛의 음영으로 확정되는 윤곽과 그림자다. 배반적 개념미술로 한 사실적 추상화는 이것에 주목하여서 사실적 개념을 형상화한다. (사실적 추상화에 관한 최철주 개념미술이론)
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)
따라서 배반적 개념미술로 한 사실적 추상화는 일상의 사건에서 사실적 구조를 왜곡하는 빛의 음영으로 형상을 빛의 음영으로 그 형성을 확정하여서 사실적 개념을 추상화한다.
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.
문화의 배경으로서 형상은 사실적 구조의 개념을 추상화하고 빛의 가역적 음영에 의해 그 형상을 결정하지만, 형상 시간에 따라 전체가 가려지면서 그 형상이 사라진 배경은 동시대의 빛으로 정리된다.
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.
(배반적 개념미술을 적용한 사실적 추상화에 대한 최철주문화개념이론 / Choi Chul-joo's Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)
현대미술 팝아트 한국화 추상화 작품: 루이 최철주 뉴욕 전시 나팔꽃 p36-8
라캉적 디자인방법론(Lacan's design methodology)으로 한 회화 디자인에 대한 라캉적 도슨트: 라캉적 디자이너, 디자인평론가 & 현대미술가 최철주 라캉적 디자인방법론: 현대미술 추상 한국화 작품으로서 <morning glory p-36>에 라캉의 환유공식 f(S...S')S=˜ S (-)s 적용하여서 가역적 빛으로 생성한 페인팅 <Red Velvet Irene & Seulgi 4>를 중첩한다. 그리고 언어적 은유 이미지를 연쇄하여서 라캉의 환유공식을 재적용하여서 가역적 빛의 음영으로 한 공간의 또 다른 자리에 <Red Velvet Irene & Seulgi 4>>의 현상적 자리를 정하여 <morning glory 포스터36-8>로 보인다.
미술가 개념미술 추상화 작품 배경 이미지: morning glory p-36, a hand-painted picture on a computer, 2020
라캉적 실재는 사건의 실재와 은폐된 존재의 실재와는 다르다. 상징계로서 <Red Velvet Irene & Seulgi 4>에서 전이된 존재에서 분리된 드러나지 않는 진실을 은폐한 실재다. 마네가 <풀밭위의 점심식사>에서 누드의 여인을 통해 드러나지 않는 은폐를 도출한 것처럼 <Red Velvet Irene & Seulgi 4>는 사회성을 실체화한 실재다.
이러한 공시적 영역의 실재는 사건에 은폐된 곳에서 사건의 주체가 출현한다.
마네가 사유에 의한 실재로서 <풀밭위에 점심식사>에서 주체의 존재를 드러내는 행위로서 누드의 여인과 정장한 남자를 동시에 보임으로써 환영적 비실재를 없애고 사유를 통한 실재를 그려낸다.
상징계에서의 실재로서 <Red Velvet Irene & Seulgi 4>은 음악적 행위로 한 상징적 존재의 이미지다. 여기서의 존재는 라캉의 초월적 기표(Signifiant)다.
현대미술 팝아트 한국화 추상화 작품: 루이 최철주 뉴욕 전시 나팔꽃 p36-8
마네는 동시대에서는 수용될 수 없는 상징계의 영역에서 분리된 영역인 실재를 <풀밭위의 점심식사>에 그렸지만 그 실재의 누드를 <풀밭위의 점심식사>에 그려서 신화의 여신으로써 누드화의 절대적 의미를 부정하고 어색하고 낯선 실재 여인의 누드화라는 의미가 실재다.
반면에 <Red Velvet Irene & Seulgi 4>은 타자의 욕망을 대신하는 은유적인 상징성의 존재를 보여줌으로서 그림을 보는 이에게 라캉적 상상계에서의 허상에 만족하지 않고 자신의 욕망을 음악적 행위를 통해서 타자를 통해 보여줌으로써 상징계에서 탈출을 시도한 실재다.
이렇게 <Red Velvet Irene & Seulgi 4>는 동시대의 실존적 이미지를 보임으로써 상징계에서 오브제의 은유적 주체를 보이는 이미지로 주채의 실체적 의미와 형상이 출현한다. 즉 보이는 은폐는 상징으로써 의미와 허상의 형상은 소거한다.
실재로서 <Red Velvet Irene & Seulgi 4>은 회화에서 또 다른 실재로서의 문화적 욕망을 상징하는 상징성을 드러낸다. 비실재 사실적 추상화로서 <Red Velvet Irene & Seulgi 4>에서 문자로 한 언어적 표현도 은유성을 띠지만 그것이 비재현적 이미지라고 가정할 때 실재는 상사적으로 실재를 재현한 가상적 이미지에서 존재한다.
라캉의 거울이론을 통해 실재를 드러내는 것은 유아가 거울에 비친 기표적 이미지를 동일시하는 상상계에서부터 시작된다. <Red Velvet Irene & Seulgi 4>에서 주체로서 타자의 욕망이 실재가 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 상징계로 전이한다. 여기서 분노한 병아리가 상징적 실재가 분열을 통해 실재와의 만남이 <morning glory p36-8>에서 이루어진다.
그 실재로서 문화성의 음악적 행위 이미지<Red Velvet Irene & Seulgi 4>는 가역적 빛의 왜상적 음영으로 드러난 비실재로서 실재와의 어긋난 만남을 이루고 추상한다. / 글. 디자인평론가 최철주 (추상 화가 & 문화디자인박사)
Abstract Painter Louis Choi Chul-joo------------------------------------------------------------
Contemporary art designer Louis Choi
Contemporary art designer Louis Choi Chul-joo art work 20
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [20] 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./ Contemporary Art Cultural Design Criticism [5] Contemporary Art Cultural Design Designer Choi Chul-joo's Contemporary Art Cultural Design Criticism: Cartoon, Korea News Cartoon Review with Contemporary Art Critic Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [188] Trump gets attacked during the campaign, (2024-7-14) / Reporter Choi Chul-joo’s Cartoon Review
The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.
Louis Choi Chul-joo, Trump gets attacked during the campaign, a hand-painted picture on a computer
Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning gnlory 2021-e-1" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.
--------------------------------------------------------------------------------------------------------------------------
Louis Choi Chul-joo, morning glory p117-5, a hand-painted picture on a computer
Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory', 'Bamboo forest' ' & 'pond' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News
Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design
Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.
The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
Louis Choi Chul-joo, Trump gets attacked during the campaign 6 , a hand-painted picture on a computer
News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [188] Trump gets attacked during the campaign, (2024-7-14) / Reporter Choi Chul-joo’s Cartoon Review
. Trump gets attacked during the campaign
. Trump se fait attaquer pendant la campagne
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 184-Trump gets attacked during the campaign: 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.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest Forest c184-Trump gets attacked during the campaign: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Forest c184-Trump gets attacked during the campaign-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Louis Choi chuljoo, morning glory p117-5, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p117-5-Trump gets attacked during the campaign: 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.
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 p117-5> 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 <Trump gets attacked during the campaign> 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 p117-5--Trump gets attacked during the campaign> 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.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p117-5-Trump gets attacked during the campaign" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection
Therefore, conceptual abstract painter Louis Choi Chul-joo's "Bamboo Forest Forest d179-Trump gets attacked during the campaign" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory
Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 184, a hand-painted picture on a computer
Background image of an artist's artwork:Louis Choi Chul-joo, morning glory p117, a hand-painted picture on a computer, 2024
Final image superimposed on the artist's work: Louis Choi Chul-joo, pond s3, a hand-painted picture on a computer
Louis Chul-joo Choi, morning glory window 2024-9-the gaze of desire, 160X113cm, acrylic and composite materials on cloth, 2024
The gaze of desire appears as an image that affects abstract values from the universal perspective of desire as a subject. The image of the subject is the image that meets the morphological criteria that the desire of the abstract concept constitutes. The image adjusts the compositional form to reversible temporality by adding abstract desire to the concept and compositional form of desire.
This represents an image in an abstract sense as a correlation of facts intuitively designed by abstract desires.
According to the process of Choi Chul-joo's concept of desire, the image defines the abstract meaning as a real image by determining the object that exists in the meaning and embodying the abstract formative element. In other words, it takes the meaning of existence by inductively inferring the meaning of abstraction as a real image from verbal abstraction.
In addition, the concept of desire is abstracted from the perspective of an image to the outside of real, and the image of reality as an object of abstraction is designed as the correlation between real and real. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire.
In this way, Choi Chul-joo's Desire Concept Design Process 1 does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with the real image to escape the misunderstanding that transfers from the abstract concept to the real structure.
The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as the shade of the concept of desire resulting from the real image. In addition, the conceptual process 2 of Choi Chul-joo's desire follows the process of decorating the object with the color of universal reality suitable for custom in order to have an aesthetic value suitable for its position as a single image.
The aesthetic structures obscured by realistic colors are distinguished by clouds and obscured by shaded light, obscuring abstract concepts in real images.
In "Gaze of Desire", the morning glory background and the woman of desire abstracts the morning glory background as a stage of desire and creates an abstraction that contrasts with the past and desire that stopped with the color of desire.
The abstraction takes on the form of women in the past and present stopped by desire, and is a form of desire for women in the same linguistic sense as the female abstraction of the past and the female reality of the present. The background of the morning glory that existed in place of its appearance seems to be a viewpoint shot of desire.
The politician's perspective practices ethics in the public interest in the name of the interests of voters seeking power, but girl group singers have musical talent first. Their YouTube views are higher than those of politicians. Nevertheless, politicians broadcast on YouTube to increase their value by contacting voters as Internet users.
The force in the direction acting on the YouTube screen is a vector.
In the politician broadcast screen, a vector in which shorts in a certain direction are connected only shows continuity, but does not reveal the concept of desire. On the other hand, the girl group broadcast screen can visualize the concept of desire in vectors in multiple directions by shorts in opposite directions. The vector is a motion vector as a force in which a line of desire's gaze is connected to the subject changes the dynamic direction between the subject and another object. It symbolizes the concept of desire as a visual vector as a movement in various directions.
Therefore, YouTube videos of girl groups with high motion vectors get more favorable responses than those of candidates for Seoul mayor.
Here, the image of the concept of desire is a psychological vector, and the involuntary desire is another gaze, staring at the concept image.
Recognizing the image as abstraction is the result of an image based on the correlation with desire as an object of reality in the process of representing a subject of a desire structure created in a social environment as a being in the past.
In other words, the subject who painted abstraction implements 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 the design process 3 of the concept of desire abstract art that repeatedly designs desires that combine lines and colors in thoughts but are not conscious as unconscious actions.
The unconsciously abstract concept of desire is a sculpture image 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.
The image is the design process 4 of the concept of desire abstract art that constitutes a space of desire by combining it into a reversible light structure through conscious movement of flat monochromatic painting carved from reality.
This is Choi Chul-joo's concept of desire Abstraction. The concept of desire Abstraction created by the design process of art reveals a desire object as another skewed reality in the perspective visual system.
Until modern times, Cartesian consciousness recognizes objects that have been identified as verbal meanings through conscious action and correlations between meanings and objects, but Choi Cheol-joo's concept of desire expresses verbal abstraction as a real image as a semantic correlation. Therefore, the real image of the concept of desire is regarded as an abstraction independent of the phenomenon.
Here, the "desire gaze" creates a metaphysical image in which the object of a desired existence generates the subject of that existence, and creates a structure of unconscious desire with the image in a reversible shade of light. And it faces the gaze of looking at the abstraction in which the structure is painted.
Abstraction drawn in this way is a linguistic meaning, and an abstract object that deviates from generality abstracts the image expressed through the desire revealed in the unconscious of the other into a structure of meaning. And it gains aesthetic value by autonomously choosing the desires of others as beings and creating a desire object as another structure of a desired form.
The structure of unconscious desire and the image created by another form of desire are the structure of the subject's desire unconsciously expressed by the image that appears to be an object of the desires of others.
As the abstraction of the concept of desire that embodies the structure as an image is repeatedly drawn, abstraction is separated from the object of desire and exists as a real image by connecting reality to the abstraction drawn by impulsing the desire that is lacking as the subject of desire.
The image is identified with the real image as the subject of desire and forms the meaning of the other abstracted from the concept of desire. This is the imagination enjoyed in the realm of motherhood as an infantile imagination. Here, the correlation with objects seen in infants is achieved through a shared relationship with the desires of others in the realm of protection. This is where a politician who hides desire and wears a false mask expresses the linguistic meaning of the imagination of reality.
Therefore, by viewing the imagination as a metaphor as an object reflected in a mirror, infants abstract from the linguistic semantic structure to create an object of desire as an image that satisfies the image of an actual object and an image as an infant.
Politicians are the users who cover their faces, hide their misaligned desires, and reveal heroic aspects. They embody social desires by wearing masks that represent the desires of others.
This is a direct effect that mediates the desires of others who embody the desires of politicians as an object of social desire, and as a result of the concept of desire, abstracts the representational real image of the object indicated by experience.
In other words, it interprets the actual image in which the concept of desire affects behavior as an abstraction as a correlated action. This interprets the concept of desire as an allegory that goes beyond abstract symbols in reality with similar linguistic meanings.
However, for politicians, masks only reveal images of faces tailored to voters' desires, like ornaments on election grounds that avoid voters' eyes.
This is a symbolic impression of a politician as a still mask image with the desires of others as the subject.
As a symbolic correlation with the voter's subject, the desire of the other is specified as an abstract reality structure transferred from an irreversible and still symbolic image. Then, an abstract space suspended in the shadow of reversible light is created, and the sound of desire is abstracted from the movement of light that forms that abstraction.
The sound of desire is clearly conceptualized as a text, and the concept is inductively visualized as an abstract image of desire as a universal sphere. This is similar to the meaning of desire delivered as a text image.
This recognizes only the concept of desire, excludes the image, embodies the concept, and instantaneously meets and imitates the abstract image as reality through the distinction between meaning and reality. And through the realistic image, the momentary encounter with reality is achieved, and the abstract image as reality is modeled.
In cartoons that have satirized politics since modern times, the sound has been expressed with oval speech balloons
Comic sound expression uses speech balloons to convey the subject's intention through text. Therefore, visualizing the concept of desire shows meaning through abstraction.
The abstraction is a real image that avoids decomposing shape into lines and colors.
This does not separate the shape components like cubism, but creates a place of desire separated by the shadow of reversible light and is fixed as an abstraction of a real image as a conceptual art of desire. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
Louis Choi chuljoo, Trump gets attacked during the campaign 3 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korean News Cartoon Culture Column in Cartoon Review [188] Trump gets attacked during the campaign, (2024-7-14) / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ 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. ▶during the campaign _ pendant la campagne
------------------------------------------------------------
Contemporary art designer Louis Choi
Contemporary art designer Louis Choi Chul-joo art work 21
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [21] 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./ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review: [7] ABU TV Song Festival: Twice ‘Feel Special’ : A line News of Choi Chul-joo’s Manwha Review (2019-12-29) & Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
Louis Chul-joo Choi, The special feeling of the body and mind is “Twice”-10, a hand-painted picture on a computer, 2024
Cartoon review: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news
■ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review: [7] ABU TV Song Festival: Twice ‘Feel Special’ : A line News of Choi Chul-joo’s Manwha Review (2019-12-29)
/Reporter Choi Chul-joo’s Cartoon Review
. The special feeling of the body and mind is “Twice”
. Le sentiment spécial du corps et de l’esprit est « Twice »
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 193-The special feeling of the body and mind is “Twice”, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 193-1-The special feeling of the body and mind, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work
Desire Concept Realistic Abstract Work: In front of the bamboo forest 193-1-pond-The special feeling of the body and mind is “Twice”: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, The special feeling of the body and mind is “Twice” 15-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <The special feeling of the body and mind is “Twice”> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <The special feeling of the body and mind is “Twice” 15-pond> becomes a non-real abstraction of reality.
■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.
Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.
In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.
Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024
Abstract Design Process of Desire Concepts: The Missing Pond
The border of the pond, where water is collected on the surface of the earth, inside the tangent line of the earth's surface to the water surface, is the same as the geometric tangent line in the shape of the water surface.
The missing pond is a structure of light that deviates from the concept of instantaneous desire as a shade of reversible light, and perspective objectivity distorts the range of the sky and the size of the perspective with reversible light on the object superimposed on the water surface.
It opens its eyes in the pond and emerges an aesthetic structure of desire that casts leaves and flowers on fish and water hovering in the direction of desire.
The concept of desire that emerged in this way abstracts to fit a pond in a realistic hue with a reversible shade of light.
Choi Chul-joo's concept of desire in the disappeared pond does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided into a design, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure obscured by images designed by the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as images in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object of the past and is recognized as an abstract image. And the subject who depicts existence as an actor implements reality that symbolizes the concept of desire and transforms abstract desire into a mental phenomenon of an image.
And Choi Chul-joo's concept of abstract desire is created by the imagination desired by the subject of desire in selecting the image of the object of abstract painting in the unconscious.
Desire Process As an abstract picture image, the Desire concept design process 3 is an unconscious act that is thoughtful but unconscious, and is to repeatedly design a desire that combines lines and colors and transfer it to a real image.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire concept design process 4. is to design the space composition of desire in which the image of the idea is a flat monochromatic painting carved from reality by combining it into a reversible structure of light through conscious movement.
Therefore, the temporality of a linguistic image according to reversible light presents the image of reality as a being through existential-theoretic interpretation, like Aristotle's time.
Here, Choi Chul-joo's Desire Concept Abstraction Design Process 5 represents the linguistic meaning to present the concept of desire. This is a correlation structure of elapsed time, which is abstracted by simplifying a specific surface of the image while converting to an actual image.
Thus, by simplifying the actual image that embodies the abstract structure, the contrast of the cross section is eliminated with reversible shades of light, and the essence of abstraction is flattened into the cross section. This is an image that revives the essence of abstraction in the linguistic and temporal sense of concealing the same object that exists in the present.
In this way, Choi Chul-joo's concept of desire design emerges as an object of desire as another abstract reality in the perspective visual system through his desire design process.
The expression of water as a structure of the object of desire contrasts with the sense of reality and the flat abstract gaze of the lotus, which gave a sense of motion to the flow of water by the movement of the fish,
The perspective simplifies the real image of recognizing the object of a reversible perspective in a linguistic sense from abstract thinking to a phenomenal structure. In other words, it brings the error of abstract perception to a reversible perspective and designs it as a real image that avoids the unconscious surreal formative structure.
Reality creates boundaries of realistic structures and specifies the meaning of images in terms of time as empty spaces abstracted by the concept of desire.
Like Jugendstil, an abstraction of morning glory in linguistic abstraction that specifies the concept of involuntary desire, this abstracts the rhythm of the object and transforms it into a flat design form, but interprets it as reversible light. Therefore, it is not an impressionistic image that captures the moment of 'the disappearing pond' as an impression, but a symbolic image of existence that verbally interprets the abstract meaning of 'the disappearing pond' in an explicit temporality as a shade of reversible light.
Therefore, determining the object of abstract desire as a correlation in reality is the starting point for abstracting the concept of involuntary desire as a being. This is in accordance with Choi Cheol-joo's process 1 of the concept of desire, which abstracts the structure by presenting the present image, that is, the image of temporality verbally, in the shade of reversible light that embodies the concept of desire in the present place.
By simplifying the real image that embodies the abstract structure of desire and eliminating the light and shade of the cross section into reversible light and shade, the essence of abstraction is flattened into a cross section. This is an image that returns the essence of abstraction to temporality in a linguistic sense.
The abstraction of the concept of desire creates an image of a pond that existed in a linguistic sense as a shade of reversible light tailored to the linguistic logic in which the shadow of the existing light returned to temporality.
The pond captures the lotus and the fish whose temporality is superimposed on the waves as the subject of desire. This is a linguistic demand separated by abstraction, and the aesthetic value in the pond is recognized in an abstract sense as a structure of desire and as a symbolic structure of the concept of desire.
Therefore, we follow the Desire Concept Design Process 2 to harmonize the concept of desire and abstraction, where symbolic meanings are fantasized to conform to the concept of esthetic values and desires, in which reality represented by the abstraction of linguistic meaning is distinguished.
In linguistic abstraction, as the philosophical logic approaches, images formed in the structure of letters are tailored to art to form a formative structure.
Choi Chul-joo's abstraction of the concept of desire is the same as abstracting the concept of biblical desire as a real image by personifying a divine character in the Bible, like the the theological formative structure of a Renaissance church that attributed philosophical logic to religion.
Although the artistic inspiration of early Dadaist conceptual art cannot be ignored, Choi Chul-joo's concept of desire in contemporary art, whose conceptual abstraction deviates from the Bible, is a concept of installing flat images in conceptual art with literal concepts and linguistic meanings as sketches through images reflected in a pond.
The unconscious abstraction, in which abstract words are drawn in a linguistic sense, is difficult to interpret as an image of an idea as the content of the mind, and the concept of abstract desire is an annular structure.
Therefore, according to Desire Concept Design Process 3, it is to repeatedly design images generated by abstraction as reality that symbolizes desire and express actual images of desire with arbitrary unconscious actions desired by desire.
On the other hand, it is conceptual art in a linguistic sense that expresses abstract concepts as real images. Therefore, Choi Chul-joo's conceptual art of desire transfers the structure of Idea to the structure of reality. And abstract works show real images as images of the subject's events and performances.
The image is a conceptual abstraction that goes beyond the limits of the real image of impressionist painting. It illuminates the impressive abstraction of the concept of desire in photographs with instantaneous impressions of images of events and performances. And it clearly realizes the concept of unconscious desire as an image in a linguistic sense.
In this way, the realization of the concept of desire is abstracted into an effect specified as unconscious action, a universal reversible being created by the imagination desired by the subject of desire illuminated in the reversible shadow of light.
Therefore, it is according to Desire Concept Design Process 4 to select thoughts that cannot be subconsciously recognized in universal reality as fragmented planar structures to form meaningful spaces "morning glory, bamboo forests, and ponds" as frames of desire.
Desire that existed in the "disappeared pond" is abstracted into a real image tailored to the conditions of correlation with past experiences of the unconscious as an essential image of linguistic meaning.
Here, a superimposed image of meaningful desire hidden in temporality appears in the pond as an image of reality, but the entire image is an abstract composition that deviates from the perspective visual system. Its planar shape simplifies the image of the past concept of desire and abstracts the existence of unconscious desire into an objective image of reality.
Choi Chul-joo divides desire into background and actor as the subject of the abstraction. He structures the image of morning glory, bamboo forest, and pond in the desire background and expresses the actor of desire as an objective correlation of the concept of desire. The desire realistically abstracts the landscape in the linguistic sense as a correlation in which a reversible shade of light structurally directs desire.
It shows the impression of desire perceived as a real meaning of desire that is abstracted as a realistic structure. In other words, the background of Choi Chul-joo's concept of desire is the morning glory, which is the structure of desire. The shadow is the linguistic meaning, which is a phenomenon of life through events and performance images, and the mirror image is hidden in a bamboo forest. And the image reflecting the shadowy structure in the pond represents the cause of desire in reality as the existential meaning of timeliness according to reversible light as the background of desire.
Therefore, it follows the desire concept abstract design process 5 to represent the existing linguistic meaning in temporality to the hidden real structure of unconscious desire.
This reveals the impression of the concept of desire in a reversible light that is passively set in the imagination, and as a cause, an abstract deviating from the impression that the actor, the subject of desire, represents desire.
The stray abstraction of the impression faced by the phenomenon representing desire is the reality of desire that is invisible to the imagination. This has a linguistic meaning along with the form of an abstract desire image reflected in the pond.
The concept of desire, which represents linguistic meaning in a painting as a metaphor, does not fall outside the scope of an imitation painting. However, when the concept and image of desire representing invisible reality in the imagination are the same, they turn into conceptual abstractions.
This is a symbolic system that constitutes a structure with social rules, and it is an image of a desire structure that equates the symbolic meaning invisible to the image of abstract reality.
Therefore, the subject of the image of desire is the object as the subject of desire. The object enters reality from the symbolic world of abstract desire by accepting the symbolic meaning invisible to reality as the subject.
In the category of imitability in painting, the real image, which appears to be a symbol with the object of desire as a conceptual subject, has been accepted in religious customs until modern times. In addition, by obscuring the concept of desire as a social constraint, it hides the figurative reality of nude in painting and is symbolized as an illusion based on a mythical story. In the imagination of painting until modern times, the symbolic meaning, which is socially taboo, has no difference from the image of morphological reality.
Choi Chul-joo's abstraction of the concept of desire is an image of a substantive shape, and the formative meaning in which social desire is embodied is transformed into a symbolic shape. In other words, paintings up to modern times are modern paintings that break away from the category of realistic formativeness and conventional abstraction that revealed the stage of contrast and destroy the symbolism of the other's desires as invisible reality, making it an abstract desire concept.
This abstracts the reality of fish by expressing the flatness of painting in monotone with the outline of fish as an image of desire as an abstract structure revealed by the desire of the other in <Disappeared Pond>.
The pond shows contemporary social reality and reveals the image of reality hidden in conventional reason, reflecting the pictorial meaning of desire through communication with its reality.
The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.
In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.
Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
In addition, as a design process of the concept of desire, the object of desire is symbolized as a conceptual subject, forming the reality expressed through desire revealed in the suppressed unconscious through design and revealing abstraction as being./ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
------------------------------------------------------------
Contemporary art designer Louis Choi
Contemporary art designer Louis Choi Chul-joo art work 22
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [22] 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./ Contemporary pop artist Louis Choi Chul-joo, Pop Art Abstract Painting & Cartoon, Korea News Cartoon Review with Contemporary Art Critic Choi Chul-joo's A line News of Manwha Review [22] JTBC drama 'the world of husband and wife' (Kim Hee-ae and Park Hae-joon), TV ratings as high as empathy for the extramarital affairs of married men. (2020-04-04) / Reporter Choi Chul-joo’s Cartoon Review & morning glory p110-7-window shadow-pond, a hand-painted picture on a computer
연못에 비친 생각에 의해 투영된 욕망 이미지
연못에 비친 생각이 투영하는 욕망의 이미지는 수면 위의 물처럼 모여드는 욕망의 경계를 넘어선 연못의 기하학적 단면과도 같다.
사라진 연못은 가역적인 빛의 그늘로 순간적인 욕망의 개념에서 벗어난 빛의 구조이며, 투시객체성은 수면 위에 덧씌워진 물체에 가역적인 빛으로 하늘의 범위와 투시 단면적의 크기를 왜곡시킨다.
이 왜곡된 욕망의 개념은 가역적인 빛의 음영을 가진 현실적인 형태소의 연못에 맞도록 추상화된다.
그 추상은 최철주 욕망 디자인 과정과 동일하다. 이것은 추상적 형태와 추상적 개념 구조를 통해 욕망의 개념을 탐구하는 시각적 표현을 창조한다,
여기서 개념적 토대는 욕망 디자인 과정에서 추상적 욕망의 개념을 깊이 탐구하는 것에서 시작됩니다. 이것은 추상적 욕망을 감정으로 실재 이미지로 이해하는 것뿐만 아니라 심리적, 사회적, 철학적 요소들의 복잡한 상호작용으로서 타자의 욕망 개념을 해석한다.
사라진 연못에서 최철주의 욕망 개념은 실재 이미지와의 인과를 전제하지 않고 무의식에 소외된 욕망이 분열된 추상적 개념에서 욕망의 대상을 개념적 주체로 한 디자인으로 상징화하여서 실재 이미지의 상관 관계로서의 욕망 개념으로 추상한 실재 이미지로 귀결한다.
따라서 욕망 개념의 추상적 표현은 타자의 욕망을 다양한 측면에서 상징하기 위해 추상적인 형태로서 단면적 형태를 구분하는 기하학적 면과 추상적 유동성을 가역적 빛의 음영으로 다각적인 그 형태를 특징한다.
여기서 가역적 빛과 음영의 사용은 시간성에 따른 빛으로 욕망의 그림자의 깊이를 만들고 추상적인 형태를 강조한다. 이것은 회화적 기술로 한 욕망의 추상적 측면을 시각화하는 데 도움을 주어서 보는 사람이 욕망 개념의 실재에 접근시킨다.
언어적 추상에서 실재 이미지로서 추상의 의미를 귀납적으로 추론하여서 상징적 존재의 의미를 취한다. 그 이미지는 문화적, 보편적 욕망 개념과의 연관성을 전달하는 형태소이다.
그리고 그 존재의 이미지를 바라보는 시선은 실재의 외면으로 욕망 개념을 추상화하여서 그 욕망 개념으로 실재의 상관물로서 실재 이미지가 추상의 대상이 된다. 이것은 최철주 욕망 개념 디자인 프로세스1에 따른 추상의 실재 이미지다.
추상적 욕망의 대상을 개념적 주체로 한 디자인으로 상징화된 실재 이미지를 음영으로 한 크기를 생략하고 빛으로 보이는 범위로 자리에 이미지를 평면화한다. 그리고 그 이미지가 언어적 의미로서 말하는 욕망 개념의 상징 구조로서 표상한다.
이렇게 표상된 상징 구조는 여러개의 단면적인 층과 가역적 빛의 음영으로 반사된 질감을 추가하여서 욕망 개념의 복잡함과 깊이감을 만들어 타자의 욕망의 복잡한 본질과 실재 이미지를을 투영한다.
최철주의 욕망 디자인 과정 2의 개념에 따른 실제 구조물의 욕망 이미지의 심미적 가치는 이렇게 투영된 상징 구조물의 현실이 단일 무대로서 장소에 상응하는 심미적 가치를 가지도록 대상을 현실의 보편적인 색채로 장식하는 것이다.
욕망 개념으로 디자인한 이미지에 은폐된 미적 구조는 구름으로 구분되어 가려진 음영으로 욕망 개념과 이미지로 대립된 방향으로 여러개의 방향에서 욕망 개념을 이미지로 시각화하여서 그 이미지를 추상화로 인지하도록 사회적 환경에서 생성된 욕망 구조의 피사체를 과거에 존재물로 대리한다. 그리고 그 존재물을 그린 주체가 욕망 개념을 기호화한 실재를 대리자로 집행하여서 추상적 욕망을 이미지의 정신적 현상으로 무의식의 이미지를 실제화한다.
그리고 무의식에서 추상적 욕망 대상의 이미지의 선택은 욕망의 주체가 바라는 상상에 의해 생성된 것이 최철주의 욕망 개념 추상화 다.
이것은 무의식적 추상의 인터랙티브 요소로서 욕망 개념의 디자인 프로세스를 통해서 타자의 욕망을 객관화한다.
그리고 추상화 이미지로서 무의식 구조로서 선과 색이 조합된 이미지가 생각속에 있지만 의식되지않는 것을 무의식과의 인터랙티브 행위로서 욕망을 반복해서 디자인하여서 실재의 이미지로 생성하는 것이 욕망 개념 디자인 프로세스3에 따른 무의식 욕망의 디자인이다.
무의식적으로 추상하는 욕망 개념은 실재의 대상이 가역적 빛의 음영으로 보이지 않는 실재의 조각 이미지로 실재를 그림자로 감추고서 또 다른 실재 이미지를 보인다.
그 이미지는 실재 이미지와 욕망의 주체가 바라는 상상에 의해 유지하는 무의식으로서 그 이미지로 자각할 수 없는 생각이다.
이것은 생각에 대한 스토리텔링으로서 언어적 방식으로 내러티브와 맥락을 주어서 욕망 개념의 심도를 높인다.
따라서 현실에 조각된 평면 단색화인 욕망의 공간구성은 의식적인 움직임을 통해 사유의 이미지를 빛의 가역적인 구조로 결합하고, 사유의 이미지를 빛의 가역적인 구조로 결합하여 욕망의 공간을 디자인하는 욕망 개념설계 과정 4이다.
Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-1, a hand-painted picture on a computer
욕망 개념 디자인 프로세스를 통과한 욕망 이미지는 거울에 비친 욕망의 형태소다.
욕망의 언어적 상관물에 따른 사회적 형태소의 무의식적 욕구를 추상한 개념 이미지를 거울에 비친 단상이 시간성에 따라 사라진 연못의 수면에서 보이는 존재의 이미지다.
그 존재의 이미지를 바라보는 시선은 실재의 외면으로 욕망 개념을 가역적 빛으로 단상하여서 무의식적 욕망 개념으로 실재의 상관물로서 실재 이미지가 추상의 대상에 은폐된다
무의식적 욕구는 시간성에서 은폐된 욕망의 상관물로서 추상할 수 있는 존재물을 반복해서 디자인한 것이 최철주의 욕망 개념 디자인이다.
이것은 디자인의 주체를 타자로 하여서 욕망의 대상을 추상한 존재물을 이미지로 출현시키는 그림의 구조를 생성한다.
관습에 적합한 보편적 추상적 구조에서 욕망의 주체는 그림의 구조로 표상되는 추상적 구조의 실체가 하나의 이미지로서 장소에 상응하는 미적 가치를 갖도록 대상을 현실의 색채로 장식한다.
따라서 욕망의 배경을 추상의 영역한 실재를 주체로 존재적 상관물을 사건과 공연의 주인공을 욕망의 원인을 충족하는 추상의 이미지를 정한다.
그 추상 이미지로서 무의식 구조로서 선과 색이 조합된 이미지가 생각속에 있지만 의식되지않는 것을 무의식적 행위로 한 욕망을 반복해서 디자인하여서 생각 이미지로서 욕망을 자각하게 한다.
그 생각 이미지는 실재에서 조각난 평면적인 단색화가 의식 운동을 통해서 가역적 빛의 구조로 조합하여 자리한 욕망의 공간 구성하여서 타자가 자각하도록 디자인한다.
이것은 욕망을 타자가 자각할 수 있도록 그 주체가 존재했던 시간성에 맞는 대상을 동시대의 사건과 공연 행위적 이미지를 추상으로 출현하기 위해서 가역적 빛의 음영으로 동일한 실재 이미지로 한 대상으로서 욕망이 거울에 비친 존재적 실재다.
그 실재 이미지를 욕망 개념으로 현전하여서 언어적 의미를 욕망의 구조로 표상한다.
욕망과 거울에 비친 모습은 실제상으로서의 욕망의 구조적 형태로 시각적으로 공감되며, 실재 이미지와 동일시된 욕망과의 상관관계로 이해된다.
연못에 비친 욕망의 이미지는 욕망의 형태에 적합한 추상적 개념이며, 현실의 구조로 설계된 욕망의 거울처럼 연못은 언어적 욕망의 형태이다. / 글. 미술평론가 최철주 (개념추상화가 & 문화디자인박사)
Louis Chul-joo Choi, the world of husband and wife, a hand-painted picture on a computer, 2020
News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news
■ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review: [22] JTBC drama 'the world of husband and wife' (Kim Hee-ae and Park Hae-joon), TV ratings as high as empathy for the extramarital affairs of married men. (2020-04-04) / Reporter Choi Chul-joo’s Cartoon Review
. JTBC drama 'the world of husband and wife' (Kim Hee-ae and Park Hae-joon),
TV ratings as high as empathy for the extramarital affairs of married men
. JTBC drame - le monde du mari et de la femme (Kim Hee-ae et Park Hae-joon),
Des cotes d'écoute de la télévision aussi élevées que l'empathie pour les affaires extra-conjugales des hommes mariés
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 79-the world of husband and wife, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work
Desire Concept Realistic Abstract Work: In front of the bamboo forest c79-the world of husband and wife-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p110-7-window shadow-pond-5: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <morning glory p110-7-window shadow-pond-5> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.
Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.
In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.
Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 79, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest c79, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p110-7, a hand-painted picture on a computer
Final image superimposed on the artist's work: Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024
Louis Choi chuljoo, the world of husband and wife 9 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korea News Cartoon Review with Contemporary Artist Choi Chul-joo's A line News of Manwha Review [22] JTBC drama 'the world of husband and wife' (Kim Hee-ae and Park Hae-joon), TV ratings as high as empathy for the extramarital affairs of married men. (2020-04-04) / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, an art critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ 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. ▶TV ratings._ audience de la télévision
Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-2, a hand-painted picture on a computer
an image of the desire projected by thought reflected in a pond
The image of desire projected by thoughts reflected in the pond is like a geometric cross-section of the pond beyond the boundary of desire that gathers like water on the surface of the water.
The missing pond is a structure of light that deviates from the concept of instantaneous desire as a reversible shade of light, and perspective objectivity distorts the range of the sky and the size of the perspective cross-sectional area with reversible light on objects overlaid on the surface of the water.
This notion of distorted desire is abstracted to fit into a pond of realistic morphemes with reversible shades of light.
The abstraction is the same as Choi Cheol-joo's desire design process. It creates a visual expression that explores the concept of desire through abstract forms and abstract conceptual structures,
Here, the conceptual foundation begins with a deep exploration of the concept of abstract desire in the process of designing desire. This not only understands abstract desire as an emotion as a real image, but also interprets the concept of desire of others as a complex interaction of psychological, social, and philosophical elements.
Choi Chul-joo's concept of desire in the disappeared pond does not presuppose causality with the real image, but rather symbolizes the object of desire as a conceptual subject from an abstract concept in which an abstract real image appears as a real correlation by dividing desire alienated by unconsciousness into design.
Therefore, the abstract expression of the concept of desire is characterized by symbolizing the desires of others in various aspects by dividing the cross-sectional form into abstract forms and abstract fluidity into reversible shades of light.
Here, the use of reversible contrast creates the depth of the shadow of desire with light according to temporality and emphasizes the abstract form. This helps viewers access the reality of the concept of desire by visualizing the abstract aspect of desire with a pictorial technique.
From linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence. The image is a morpheme that conveys a connection with the concept of cultural and universal desire.
And the gaze on the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is an abstract real image according to Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
The symbolic structure represented in this way adds a texture reflected by several cross-sectional layers and reversible shades of light to create the complexity and depth of the concept of desire, projecting the complex nature and real image of the other's desire.
The aesthetic value of the image of desire of the actual structure according to Choi Chul-joo's concept of desire design process 2 is to decorate the object with a universal color of reality so that the reality of the symbol structure projected in this way has an aesthetic value corresponding to the place as a single stage.
The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
This is an interactive element of unconscious abstraction, objectifying the desires of others through the design process of the concept of desire.
In addition, as an abstract image, an image that combines lines and colors as an unconscious structure, but is not conscious, is an interactive act with the unconscious, and it is the design of unconscious desire according to the desire concept design process 3 by repeatedly designing desire as an image of reality.
Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-4, a hand-painted picture on a computer
The concept of unconsciously abstracting desire is an image of reality that does not see the object of reality as a shadow of light that can be overturned, and shows another aspect of reality by concealing reality with shadows.
The image of desire is an unconscious mind maintained by the image of reality and the imagination desired by the subject of desire, and it is an idea that cannot be recognized by that image.
This is a storytelling for thinking that enhances the depth of the concept of desire by giving a narrative and context verbally.
Therefore, the spatial composition of desire, a flat monochromatic painting carved into reality, is a desire conceptual design process 4 that combines the image of thought into a reversible structure of light through conscious movement and designs the space of desire by combining the image of thought into a reversible structure of light.
Desire concept The image of desire that has passed the design process is a form of desire reflected in the mirror.
It is an image of existence seen on the surface of a pond that has disappeared according to temporality, reflecting a conceptual image that abstracts the unconscious needs of social morphemes according to the linguistic correlation of desire.
The gaze at the image of its existence is the external surface of reality, and the concept of desire is a reversible light, and the real image is concealed by the object of abstraction as a correlation of reality with the concept of unconscious desire.
Unconscious desire is a correlation between desires concealed in temporality, and Choi Chul-joo's conceptual design of desire is a repetitive design of objects that can be abstracted.
This creates a picture structure in which the object of desire appears as an image, using the subject of design as the other.
In a universal abstract structure suitable for customs, the subject of desire decorates the object with the color of reality so that the reality of the abstract structure represented by the structure of the picture has an aesthetic value corresponding to the place as a single image.
Therefore, the background of desire is the subject of reality in the realm of abstraction, and the existence correlation and the protagonist of the event and performance are determined as an abstract image that satisfies the cause of desire.
As an abstract image, an image that combines lines and colors as an unconscious structure is repeatedly designed as an unconscious act, and the desire is recognized as a thought image.
The thought image is designed so that the other becomes aware by combining the flat monochromatic paintings carved from reality into a reversible structure of light through conscious movement.
This is an existential reality in which desire is reflected in a mirror as an object that fits the temporality in which the subject existed in order to abstractly appear contemporary events and performance images.
The real image is presented as a concept of desire, and the linguistic meaning is represented as a structure of desire.
Desire and the reflection in the mirror are visually sympathized with each other as a structural form of desire as a real image, and are understood as a correlation with desire identified with the real image.
The image of desire reflected in the pond is an abstract concept suitable for the form of desire, and like a mirror of desire designed as a structure of reality, the pond is a form of verbal desire.
/ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
Choi Chul-joo, a contemporary art designer