Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 52

Art Critic Louis Choi Chul-joo Criticism [52] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Louis Chul-joo Choi, Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire, a hand-painted picture on a computer, 2024; The overall size in the shadow of light is positioned as a range that appears to be a reversible shadow of light. The background of the object is decorated with morning glory, bamboo forest, and pond with universal reality colors that match customs so that reality has an aesthetic value that corresponds to its place as a single stage.

The concept of desire, which illuminates the abstraction of the concept of desire by putting it in a photo as a momentary impression of events and performance images, clearly realizes the linguistic meaning of the image, and inductively illuminates the concept in a reversible shade of light, resulting in a universal reality.

Louis Chul-joo Choi, morning glory p124-2-1-Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire, a hand-painted picture on a computer, 2024

Desire conceptal image rendered by couple's world against the backdrop of 'morning glory' of Desire

Conceptual image of desire is a background image of desire, and by juxtaposing the concept of event news cartoons and performance images in abstract spaces such as morning glory, bamboo forests, and ponds, it explores the intersection of conceptual desire and real images with a unique combination of reality and abstraction.

Here, the concept of abstract desire identifies the space created by reversible light, stopping the existence of desire in phenomenal reality, like the gear of a stationary clock, and reducing changes in the shade of light. Unconscious desire repeatedly designs objects that can be abstracted as a correlation between the concept of desire hidden in temporality and the real image.

This is to create a picture structure in which the object of desire appears as an abstract object by using the other's desire as the subject of desire that passed Concept of desire as an image, which is repeatedly designed as a correlation between desire hidden in temporality.

Therefore, in a universal abstract structure suitable for custom, the subject of desire decorates the object with real colors so that the reality of the abstract structure expressed as the concept of desire as a picture structure has an aesthetic value corresponding to the place as a single image.

In this way, Concept of desire does not presuppose causality with the real image, but results in an abstract image as a correlation between the real image in order to escape from the misunderstanding that has shifted from the abstract concept to the real structure.

The actual image is shaded with reversible light and placed on the gaze of desire. In addition, it clearly embodies the linguistic meaning of the concept of desire, which decorates the background of desire with morning glory, bamboo forest, and pond, which are the background of the gaze, and illuminates the concept of instantaneous desire for events and performances with abstract pictures.

In addition, the desire image that illuminates the abstractness of the desire concept is captured instantaneously, embodying the linguistic meaning of the image, and the abstract image of desire that illuminates the concept with inductively reversible shades of light results in universal reality.

The overall size in the shadow of light is positioned as a range that appears to be a reversible shadow of light. The background of the object is decorated with morning glory, bamboo forest, and pond with universal reality colors that match customs so that reality has an aesthetic value that corresponds to its place as a single stage.

The concept of desire, which illuminates the abstraction of the concept of desire by putting it in a photo as a momentary impression of events and performance images, clearly realizes the linguistic meaning of the image, and inductively illuminates the concept in a reversible shade of light, resulting in a universal reality.

Louis Chul-joo Choi, Rendering of the couple's world set in the 'morning glory' of Desire, 112X162cm, acrylic and composite materials on cloth, 2024

Rendering of the couple's world set in the 'morning glory' of Desire

The background of flat desires, such as morning glory, bamboo forests, and ponds, varies over time.

Thus, the reality of the concept of desire as an image of events and performances in the background of desire consists of reversible shades of light

Here, the space is determined by a watch with multiple gears combined, but the gears keep the space.

Choi Chul-joo's concept of abstract desire equates reality with space by creating a space with reversible light, stopping the existence of desire in abstract reality like the gears of a clock, and reducing the change to the shade of light. (Definition of the concept of Choi Chul-joo's desire)

Sketches of the couple's world take place in the morning glory, the background of desire. In that place, the couple sketches with desire as the subject of the image before the desire disappears.

This allows the couple's world to decide the space beforehand to be satisfied.

Therefore, designing the abstract concept of the concept of desire is a suitable plan for the marital world as a space of life.

This is to pave the way for an abstract concept of desire to sketch a real that draws the couple's world into the line space.

According to the news images of events and performances as subjects, morning glory, bamboo forest, and pond, which are the background of desire, are embodied as symbolic places in real images.

Therefore, the abstract structure of contemporary art is realized by the concept of desire as a reversible shade of light that implies the desired desire structure beyond the actual structure of the subject.

This is a metaphor in which the real image represents the concept of abstract desire, and by emphasizing the concept of desire as a phenomenal structure, the concept of desire is appropriately disposed of in the real image. In other words, abstract desire is described as a real image as a linguistic concept

It reads the abstract language of desire as a real image, specifies the concept, and is subordinate to desire.

This replaces the abstract concept of desire with reality, erasing the concept from a reversible shadow of light into a symbolic image.

Here, the rendering of the concept of desire forms a real structure that verifies reality as an image of the concept of abstract desire and abstracts it into an aesthetic structure.

Louis Chul-joo Choi, morning glory-A couple's world set in the 'morning glory' of Desire-sketch 1, 112X162cm, acrylic and composite materials on cloth, 2024

A couple's world set in the 'morning glory' of Desire

When a couple breaks away from the correlation of desire and enjoys desire with another boss, the couple reveals existential meaning in the correlation faced by the subject of inappropriate desire as a structure of confrontation according to sociality.

The behavioral reality in the play is destroyed, and the narrative structure of desire shows the confrontation and conflict of correlations.

This abstracts the confrontation of inner desires in the morning glory, which is the background of desire, as the meaning of unconscious language structure is the real image of the correlation.

Therefore, painting, which abstracts the desires of the couple's world, does not compare desire as a correlation, but replaces desire with confrontational conflict and realizes it. The real image replaces the phenomenon with a conflict image and creates an objective image that is opposed to desire as a correlation between opposing desires.

The objective gaze of desire constitutes a correlation as a being according to unconscious desire and creates a pictorial framework tailored to the linguistic semantic structure that interprets it as a real image of desire with existential significance faced by the desires of others in the phenomenal space.

In this way, the image of desire tailored to the linguistic meaning structure is interpreted as a real image of desire with an existential meaning faced by the other's desire in a phenomenal space, and the background of desire is composed like a distant image using spumato techniques so that traces of temporality overlap and the surface of the object overlaps with reversible traces of light.

Like Da Vinci's Mona Lisa, the color light reflected sloping from the underlying surface of the skin is produced between small holes on the back of the shaded fabric and depicts the real structure of a woman who contains desire.

In this way, the objectivity of the external structure is secured so that the abstract unconscious structure of women expressing conflict in the couple's world can be considered phenomenally.

In "A couple's world set in the 'morning glory' of Desire" the background of social phenomena and desires, the couple aims for a contradictory appearance, but it is intended to camouflage their desire to deny decision-making relationships and justify the phenomenon of desire.

This is identified with the reality of freely finding a desire to stop judging the couple's empirical phenomena, reduce the desires of others to unrealistic phenomena, and form confrontational relationships because the couple's world aims for ideal happiness.

In the marital world, desires and phenomena are combined into an unconscious desire structure to hide conflict in the disclosure structure as a linguistic meaning and recognize the meaning of desire that is out of alignment.

This darkens the morning glory with a reversible shade of light and repeatedly designs the image of desire as a linguistic meaning to reveal the phenomenon of an abstract couple that forms a confrontational relationship as the subject of desire as a structure of reality.

The actual image revealed in this way enables the desire to obtain the desired way from an object that causes conflict, not desire, under the influence of the concept of desire.

Here, the design of the concept of desire as an abstract reality structure transitions the abstract frame of looking at desire into the abstract design process of the concept of desire through Choi Chul-joo's concept of desire, and the abstract structure is transferred to the actual structure so that desire can be viewed as a gaze that makes you stare at reality.

Conflicts concealed by the abstract desires of the married couple's world reveal real images that can experience the meaning of desire, constructing an abstract line space in which the effect of confrontational conflict occurs.

This is an abstract real image that causes misunderstanding in the existential dimension, and it is an abstract painting that sets a clear place by comparing it with the morning glory, which is the background of desire./ Writing. Choi Chul-joo, abstract concept artist

Choi Chul-joo, abstract concept art critic