Review of Contemporary Artist

Art Critic Choi Chul-joo Art Criticism 2

Critique of artist & Contemporary Art Criticism [2/ 14~16] Contemporary Art Critic Louis Choi Chul-joo Design of Contemporary Art : Desire Conceptual Abstract Art Design & Art Critic Louis Choi Chul-joo Abstract Art Theory of Conceptual Abstract Painting, Concept Abstract Art Installation & Contemporary Artist Louis Choi Chul-joo Abstract Art Design Criticism: Abstract Painting Art Theory Presentation of the Concept of Desire [16] 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: Louis's <morning glory 34-2>, 2022 New York Exhibition Abstract painting of contemporary art

Conceptualization of Desire: Conceptualization of Desire Art is a visualization of progress and results as objects of imagination and existence, facing artistic ideas and portraying the desires of others as objects of imagination and existence. Louis Choi Chuljoo's Conceptual Abstract Art faces artistic ideas and visualizes progressive phenomena and consequences as objects of Desire's imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 Louis Choi Chul-joo' theory of abstract art)

Shape image as a conceptual semantic structure: It refers to another image of the background of a real concept that represents a real morning glory by repeating the color of the shadow on the object image of desire, and it is the object of the concept of desire that depicts the shadow structure created from non-real images with reversible light.

The object is abstraction as a contemporary desire concept artwork, which is repeated by symbolizing and overlapping the desires of others with reversible shades of light in "morning glory" the background design concept of contemporary desire concept artwork.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Louis' Conceptual Art Theory on Realistic Abstract Painting)

Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.

As a background of culture, shape abstracts the concept of a realistic structure and determines its shape by reversible shading of light, but the background in which the shape disappeared as the whole is covered according to its shape time is summarized as contemporary light.

(Louis' Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)

Chul-joo Choi, morning glory 34-2, a hand-painted picture on a computer, 2022

Realistic structures are reflected in the shape of shadow colors by light. It's the contours and shadows that are determined by the reversible shades of light that reveal that shape. This is the concept of desire, the art of realistic abstraction, which actually forms an abstract image of the concept of desire.

<morning glory 34-2>은 추상의 배경으로서 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 욕망 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 쓰레드 페인팅이다. 이것은 육화된 닭의 욕망 이미지의 오브제를 대리하여서 현대미술 회화 의미 구조로서 형상 이미지를 욕망 개념의 이미지로 한 가역광으로 한 음영으로 <morning glory 2022-g>를 변형한 사실적 추상화 다.

뉴욕(Flushing Town Hall & Yeomyeong Hall)에서 루이 <나팔꽃> 2회 개인전 관련 현대미술 추상화 작품으로서 현대미술 회화 디자인 컨셉으로 한 포스터 100점과 욕망 개념 이미지의 오브제를 추상화로 제작하여서 욕망 개념의 의미 구조로서 형상의 사실적 회화 디자인 즉 욕망 개념의 사실적 회화의 전시 이미지로서 기호화한 현대미술 추상화 다.

상상계의 보이는 욕망 개념을 은유하는 추상 회화에서 모방성의 범주에서 욕망 기표를 캔버스에 담고서 근대까지의 그 회화의 욕망 개념을 종교적 관습에서 수용할 수 있는 사회적 제약(制約)으로 한 이미지다. 따라서 욕망 개념이 사회적 제약으로 한 추상 회화에서 이미지의 형상적 실체를 감추고 추상의 이야기에 근거로한 허상으로 상징화된다. 상상계에서 사회적으로 욕망 개념은 이미지가 상징적 의미를 갖지만 형태적 욕망 기표는 일관된 이미지로 차이를 갖지 못한다. 이것은 최철주의 욕망 공식에 적욕함으로써 욕망 개념이 동시대 타자의 욕망으로 전이됨에 따라 그 욕망의 이미지는 가역적 빛으로 생성한 욕망 개념이 말하는 사실적 이미지로 추상된다.

가역적 빛으로 한 음영의 구조로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 뉴욕 전시 추상화 나팔꽃 35-3)은 병아리가 타자의 욕망을 공용이 화석된 긴 시간성에 감추어진 이미지를 가역적 빛의 음영적 이미지(morning glory 2022-g)에 욕망 개념의 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 형상의 실제 변화된 움직임에 의해 가려지는 추상의 의미 즉 욕망 개념 이미지의 오브제로 추상을 대리한다.

여기서의 그 오브제에서 출현한 예술성은 타자의 욕망적 관점에서 왜상적 이미지로 오브제의 이미지를 의미의 회화 구조로 변형함으로써 오브제의 또 다른 존재로서의 개념된 오브제를 드러내고 그 오브제가 창조성과 타자의 욕망의 자율성으로 한 예술적 개념 의미를 보인다.

그리고 회화적으로 육화된 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각은 그 형상의 실제로 바꾸는 욕망 기표적 의중 운동을 통해서 가역된 실제 추상적 공간을 대리한다. 이것은 추상적 오브제의 개념을 가리키며, 그 오브제는 실제 가역할 수 있는 추상을 사실적 공간을 이루고 욕망 이미지 상의 실제가 추상된 타자의 욕망을 가역적 빛의 음영으로 가려진 추상적 풍경속에서 욕망 이미지가 개념미술로 한 사실적 추상 회화의 개념을 가리킨다.

욕망 개념 현대 미술평론가 & 개념미술가 최철주의 현대 개념미술 <나팔꽃>은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 주체로서 <나팔꽃>을 지나가는 순간적 형상을 드러내는 가역적 빛으로 한 음영의 구조가 타자의 욕망을 개념하는 사실적 형상을 추상화 작품으로 생성하는 개념미술이다.

보이지 않는 실재로서의 사실적 상징계는 보이는 은유의 형태적 욕망 기표가 상징적 의미의 기의로 전이된다. 욕망 개념 이미지로 한 회화는 실체적 형상인 욕망 기표로서 형상의 실재는 사라지고 허상적 상징의 기의로서의 욕망 개념의 사실적 추상화다. 즉 회화에서 사회적 제약에서 벗어난 동시대 타자의 욕망 개념을 기의로 한 타자의 욕망으로 실체화된 형상적 욕망 의미를 상징적 형상으로 추상으로 자리바꿈을 한다.

욕망 개념적 의미 구조로서 욕망 이미지: 욕망 이미지를 오브제로 디자인한 욕망 개념 이미지<morning glory 34-2>는 비실재의 개념미술 이미지 화폭에 어두운 청색으로 연쇄하여서 실재 나팔꽃의 실재 개념미술 이미지다. 이것은 <morning glory 2022-g>에서 전이한 <morning glory 34-2>를 의미하며 비실재의 사실적 이미지를 가역적 빛으로서 왜상(anamorphosis)적 이미지로 수작업으로 그리진 욕망 개념을 추상한 오브제다.

그 오브제ɑ 형상은 현대미술 추상화 작품의 디자인 컨셉으로 한 <morning glory 34-2>에 타자의 욕망을 가역적 빛의 음영으로 중첩해 그려서 이것을 기호화하여서 연쇄한 현대 개념미술 사실적 회화로서의 추상화 다.

Louis Chul-joo Choi, morning glory 34, a hand-painted picture on a computer, 2022

욕망 개념의 동시대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 비실재의 사실적 이미지<morning glory 34>의 개념적 가치를 말한다. 그리고 비실재의 사실적 이미지를 개념미술로 한 실재의 비사실적 이미지<morning glory 34-2>로 전이한다.

비사실적 실재의 이미지를 바라보는 유아로서 병아리는 주체성을 인식하면서 자신의 이미지와 동일시하는 것이 욕망 개념의 상징계다. 닭는 복장을 갖추고 이성적 도덕관을 표명한 시대에서부터 19세기까지 계속적인 사회적 규정에 의해 유아가 갖는 상상계의 인식의 구조에서 타자의 욕망으로 한 욕망 기표롤 전이된다. 이성적 도덕관의 상징계에서 벗어난 병아리는 외부에 노출된 개방된 공간에서 타자의 욕망이 자신의 주체와는 다른 것임을 인식하고서 닭의 복장을 벗고서 타자의 욕망과 동일한 다른 정장을 한 욕망 이미지의 주체임을 인식한다.

이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 카툰만평으로한 욕망 개념의 회화의 삶적 가치를 교합시킨다. 여기서 그 회화는 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 회화성을 말한다. (ACN ・ 2022. 4. 20. / 유아로서 병아리가 본 타자의 욕망 <나팔꽃> New York Exhibition 뉴욕 전시 도슨트1)

따라서 사회적 규정에 따른는 이성적 회화성에서 욕망 개념의 사실적 이미지가 시간성에 따른 왜상적 배경을 타자의 욕망으로 경험할 수 있도록 욕망의 배경의 나팔꽃 형상을 틀로서 객관적 실재와 욕망을 억제하는 상징적 개념미술과는 차이를 넘어서 타자의 욕망 개념 이미지의 오브제로 한 실재에서 분리된 사실적 이미지의 욕망 이미지의 오브제를 실재로 추상한다.

욕망 개념적 의미 구조로서 욕망 이미지: 욕망 이미지를 오브제로 디자인한 욕망 개념 이미지<morning glory 34>는 비실재의 개념미술 이미지 화폭에 어두운 청색으로 연쇄하여서 실재 나팔꽃의 실재 욕망 개념으로 한 개념미술 이미지다. 이것은 <morning glory 2022-g>에서 전이한 <morning glory 34-2>를 의미하며 비실재의 사실적 이미지를 가역적 빛으로서 왜상(anamorphosis)적 이미지로 수작업으로 그린 쓰레드 페인팅에 자리잡은 욕망 개념 이미지의 추상적 오브제다.

그 오브제 형상은 현대미술 추상화 작품의 디자인 컨셉으로 한 <morning glory 34-2>에 타자의 욕망을 가역적 빛의 음영으로 중첩해 그려서 이것을 기호화하여서 디자인을 연쇄한 욕망 개념의 추상화 다.

욕망 개념 현대 개념미술 추상화 작품: 루이 최철주 뉴욕 전시 나팔꽃 34-2

욕망 개념의 오브제<루이 최철주 2022 뉴욕 전시 나팔꽃 34-2> 추상화로서 추상적 표상 이미지 오브제를 재현하는 음영적 도식으로 시각체계는 은폐하고 있으나, 무의식에서 드러난 욕망적 관점의 가역적 빛의 음영에서 드러난 비사실적 형상을 순간적인 응시로서 보이는 추상화로서의 오브제다.

그 추상화에 감춰진 욕망 이미지의 오브제는 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 디자인으로 연쇄하여서 타자의 욕망을 존재로서의 오브제를 생성하여서 타자의 무의식적 욕망에서 드러낸 사실적 이미지가 순간적 왜곡된 타자의 욕망적 이미지를 실재의 사실적 추상화의 개념 미술성을 드러낸다.

루이 최철주 2022 뉴욕 전시 <나팔꽃 34-2> 추상화는 상징계의 영역에서 분리된 영역인 실재로서 삶의 의미를 은유적으로 표현한다. 그 표현하려는 오브제를 보이지 않고 은폐로서의 인간의 실제적 의미를 여러개의 가역적 빛의 음영으로 중첩한다. 즉 두 개의 상에서 주체가 어느 것인지를 구분되지 않는다. 그러나 이 두 개의 상을 보이는 오브제로 동일시한다. 여기서 실재의 상과 다른 이미지의 상을 실재성을 보고 타자의 욕망이 실재와 다른 상에 만족해하기 때문에 가역적 빛의 음영속에 또 다시 중첩된 실재적 의미를 실재 사실적 표상으로 추상화 이미지에 담는다.

그 이미지는 최철주의 욕망 공식에서 현실에 없는 것을 인식하여서 적용시킨 욕망 개념이다. 그 개념은 무의식과 언어를 동일한 형상을 그려낸 하나의 이미지다. 여기서 응시로 보이는 나팔꽃은 하나의 색깔로 평면화된 왜상적 구조다. 이것은 욕망 개념미술 추상화에서 나팔꽃이라는 욕망의 배경으로 일관된 의미로 보이게 있는 왜상적 평면성이다.

그 개념미술 이미지로 추상된 오브제ɑ는 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 디자인으로 형성하고 타자의 욕망을 존재로 한 조형성의 음영으로 오브제를 생성하고 의미적 존재 구조의 예다. 그 의미적 존재의 오브제ɑ에서 출현한 예술성은 타자의 욕망적 관점에서 왜상적 이미지로 오브제의 이미지를 의미의 구조로 변형함으로써 오브제의 또 다른 존재로서의 오브제ɑ를 드러내어서 타자의 욕망의 자율적 선택으로 한 조형적 가치를 담고 있다.

그리고 회화적으로 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각은 그 형상의 실제로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 추상적 공간을 보인다. 이것은 타자의 욕망을 추상적 오브제의 존재 의미로 그 오브제를 실제 가역할 수 있는 이미지로서 추상 공간으로 자리한다.

추상 공간의 자리에서 이미지를 명시하지않고 라캉의 “해석의 네 방위(É=Jacques Marie Émile Lacan, Écrits, Seuil, 1977, 53)”에 적용한다면 상상계로서 이미지ⓐ ('utre)와 말(moi) a의 선과 상징계로서 해석A (utre)와 그림(Es) S의 선을 교차하는 대각선 위치에 둠으로써 회화 작품을 해석하는 해석의 네 방위(The quadruple)이다.

여기서 라캉의 "해석의 네범위"을 적용한 개념미술 추상화는 거울이론을 통해 실재를 드러내는 것은 유아가 거울에 비친 기표적 이미지를 상상계 이미지ⓐ와 동일시하게 상상계에서부터 시작된다. 주체로써 기표적 이미지가 자신이 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 상징계로서 해석A (utre)된 추상화로 전이한다. 그 추상화 이미지와 실재가 분열을 통해 실재와의 만남이 이루어진다. 실재로서 기표적 이미지는 왜상적 이미지로 드러나지만 비실재로서 실재와의 어긋난 만남 즉 추상화 다. (ACN. 2022.10.14 '라캉 해석의 네 방위'에 대한 최철주 해석)

라캉의 "해석의 네범위"을 적용한 타자의 욕망적 형상이 실재와의 어긋난 만남으로 이루어진 형상의 실제가 추상된 타자의 욕망에 가려지는 추상적 풍경 형상의 의미를 대리하는 비실재의 사실적 형상을 보인다. 그 형상은 추상적 음영으로 생성된 타자의 욕망이 선택한 실제의 구조와의 교차점이다.

반면에 최철주의 욕망 개념 형상은 추상적 풍경 형상의 욕망적 의미를 대리하는 이미지는 존재로서 실재의 사실적 형상을 보인다.

그러나 비실재의 사실적 구조로 한 전체의 실제 형상과 가역적 빛의 음영으로 디자인한 타자의 욕망이 응시로 보이는 교차점에 순간적으로 추상화된 형상이다. 그 형상은 이미지를 담고 있는 기표이다. 라캉의 상상계에서 유아가 거울에 비친 자신의 모습과 형상이 다른 오브제를 동일시하여 형상의 의미로써 유사성은 사라진다.

결국 보이는 유사성은 다른 형상으로서 동일시된 오브제의 의미를 왜곡시킨다. 이것은 실존적으로 일치되지 않는 두 개의 기표일 뿐이다. 따라서 형상이 다른 두 개의 기표가 동일시될 수 없다.

그러나 상상계는 유아가 거울에 비친 상을 보고 만족하는 것처럼 실재화한 경험과 관계없이 상상적 인식에서 비롯된다. 서로 다른 형상으로서 각각의 기표를 인식하지 못함으로써 상상적 인식으로 인한 오인을 만들어 낸다.

이러한 오인은 실재계에서 서로 다른 기표 간에 유사성을 통해서만 상상계로 보이는 은유가 가능한 추상이 가능한 것임을 말해준다.

회화에서 그 실재계는 라캉의 미술이론(라캉의 "해석의 네 방위")에서 알 수 없는 가정과 그 대상의 주체를 소외시키는 욕망의 원인을 말한다.

라캉의 실재는 억압된 무의식에서 드러난 것으로 “실재계는 인간에게 알려지지 않고 오직 가정될 수 있을 뿐이다.(É=Jacques Marie Émile Lacan, Écrits, Seuil, 1977, 137)”

이것은 현실에서 의미로써 드러난 실재와는 다른 것이다. 실재계에서 욕망은 실재와 만나기 위해 주체의 불충분함에서 오브제ɑ를 드러내려고 한다.

즉 주체를 구성하고자 오브제ɑ를 드러냄은 욕망과 타자사이에서의 환영을 주체에 결합하는 것이다. 여기서 타자의 욕망을 통한 오브제ɑ로의 접근은 대상에서 분리된 오브제ɑ의 결핍된 주체 형상을 가역적 빛으로 한 음영의 구조로서의 욕망이 메워주기 때문이다.

따라서 욕망의 주체로서의 이미지는 자신과의 분열되어서 욕망 구조가 있음을 확인한다. 이것은 욕망 개념 이미지의 오브제가 결핍된 욕망의 주체로서 상상계로 형상된 하나의 이미지가 다른 이미지로 디자인을 반복하여서 욕망 이미지의 주체를 순간적 형상으로 드러내고 가역적 빛으로 한 음영의 구조가 주체의 욕망이 타자의 욕망을 개념하는 형상을 원인한다 / 글. 미술평론가 최철주 (추상 화가 & 문화디자인박사)

contemporary abstract artist Louis Choi Chul-joo

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Review of Contemporary Artist

Art Critic Choi Chul-joo Art Criticism 14

Critique of artist & Contemporary Art Criticism [14] Contemporary Art Critic Louis Choi Chul-joo Design of Contemporary Art : Desire Conceptual Abstract Art Design & Art Critic Louis Choi Chul-joo Abstract Art Theory of Conceptual Abstract Painting, Concept Abstract Art Installation & Contemporary Artist Louis Choi Chul-joo Abstract Art Design Criticism: Contemporary artist & Media Artist Chul-joo Choi's Individual Exhibition Media Art Video Exhibition: <Morning glory by Louis>, <Disappeared pond>, <Bamboo Forest>, <"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do"=“Song·Ha·Sun·In·-Chui·Saeng·Do” by Louis Chul-joo Choi>, 20201126-20201210, Minoo Media Art Museum

Conceptualization of Desire: Conceptualization of Desire Art is a visualization of progress and results as objects of imagination and existence, facing artistic ideas and portraying the desires of others as objects of imagination and existence. Louis Choi Chuljoo's Conceptual Abstract Art faces artistic ideas and visualizes progressive phenomena and consequences as objects of Desire's imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 Louis Choi Chul-joo' theory of abstract art)

Shape image as a conceptual semantic structure: It refers to another image of the background of a real concept that represents a real morning glory by repeating the color of the shadow on the object image of desire, and it is the object of the concept of desire that depicts the shadow structure created from non-real images with reversible light.

The object is abstraction as a contemporary desire concept artwork, which is repeated by symbolizing and overlapping the desires of others with reversible shades of light in "morning glory" the background design concept of contemporary desire concept artwork.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Louis' Conceptual Art Theory on Realistic Abstract Painting)

Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.

As a background of culture, shape abstracts the concept of a realistic structure and determines its shape by reversible shading of light, but the background in which the shape disappeared as the whole is covered according to its shape time is summarized as contemporary light.

(Louis' Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)

Louis Chul-joo Choi’s morning glory 108 - poster image

Realistic structures are reflected in the shape of shadow colors by light. It's the contours and shadows that are determined by the reversible shades of light that reveal that shape. This is the concept of desire, the art of realistic abstraction, which actually forms an abstract image of the concept of desire.

Louis Chul-joo Choi, "The morning glory-Still image

In the media art video of the Minoo Media Art Museum, Louis Chul-joo Choi's "The morning glory" not only depicts the process of dismantling and combining the completed works, but also depicts the image and process of media art by drawing thread painting.

The morning glory designed the flower's place and set the place for leaves and stems that depend on its shape. The position aligns the stem with the flower as the composition of the flower.

Unlike Media Art of Qi Baishi's "The morning glory" which shows the process of drawing flowers in the structure of stems and leaves in the entire image, the media art that designed the rest of the structure, starting with the flower of the morning glory, is "The morning glory" by Louis Chul-joo Choi, a doctor of design.

Louis designs a flower's spot that relies on a set being, an ephemeral coincidence.

This is realized without explanation of the atmosphere in media art and painting. It is thread painting in the process of producing the original media art, which is mechanically reproduced here, in response to the desire of the others.

Designing the thread painting is to apply Lacan's metonymy and metaphors to painting work.

As metaphorical images replace one symbolic image with another, the original painting becomes thread painting as a symbol of the desire of the others.

This painting embodies the volume of light in the process of facing an object and ideologically depicts the shadow of an object.

In addition, he said in thread painting, "The structure of the form is a structure of pictorial thread painting in which the formative meaning is retroactive as a series of threads become a formative structure without explaining the object of the thread that formed the shape."

The color of the structure gives a distance of time, so that it is regarded as a formative structure of a faded original structure without marking it, showing the aesthetic value hidden as seen.

And beyond the literary character of conceptual art, painting a thread painting is a new type of structure that describes the shape of the thread, thereby raising the formality and ending it with color.

Construct a shape in which the color of the linear structure exists so that the shape as a knot that hides the color by inserting the structure of the color into the thread so that it can adapt to a particular color.

Therefore, "Thread Painting" is a painting of yarn and paint on a cloth seeking linear aesthetics that denies the excessive literary nature of conceptual art.

This painting is a multi-faceted painting that does not distinguish between top and bottom, front and back. The image is represented by the actual shape and the visible aspect that matches the subject.

Painting here as a subject of change in customs is another image that appears to be a subject. It is hidden and disappears as a material of a subject drawn in small pieces invisible from space.

In the actual space transmitted through the ritual movement, a symbolic image converted into the actual image of the object is a small piece of the object.

This refers to the meaning of a certain shape, and the small piece defines the space that can actually be reversible and refers to the meaning of the shape, which is obscured by the actual changed movement of the feature.

It is the color of shape and light, the embodiment of material such as cloth, and the location of the object is determined by the inevitability of the space that can hide the position of the object.

Instead of the media art exhibition space, the reversible timeliness of physical assets is to create a place with the color of light and recognize the position of the object in the color of light.

The space of abstract light gives a glimpse into the structure of a material object, but its position becomes the margin of space in which the subject of the object follows the change in its temporality.

The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the space hidden in the margin. This is an object position determined by the inevitability of symmetrical space, which matches the image of light in space for objects with pictures.

And the space of the image tailored to the target creates a separate space that connects a gap to a cloth in the form of a margin, and the color of the image is decorated with the actual color of the traditional universality facing the object.

Louis Chul-joo Choi, Media-art "Disappeared pond", Still image, 2020

The media art "Disappeared pond" is a digital art of painting designed in monochrome and contours of objects, separating images of photographs in media art into conditions of light.

It is a reproduction of the digital pond of the Minoo Media Art Museum, incorporating impressionist paintings into the concept of pop culture and designing a photo of the pond as a painting.

A fish made of media art is the main body of a fish that moves with an alternative image of a real pond, and the design image of a virtual pond is a form of appreciating timeliness consisting of optical media art.

The form of performance as an object symbolically digitizes the actual pond of the media, but the interactive configuration appears in the non-realistic design image.

In fact, the digital pond is given a hypothetical meaning, so the fish there always sit in the pond, even if they imitate it. The pond effect imaginable here is a realistic representation of the image of the pond separated from the lotus flower, unlike the fish.

Another symbol is the verbal meaning of fish, an image that shows the process of repeating the association with lotus flowers and meeting the meaning associated with the design of fish symbols in ponds.

This is the meaning of the symbol interpreting the "Disappeared pond" designed as a simplification process.

Here, the design of lotus flowers with impressionistic images visualizes the characteristics of symbols so that "Disappeared pond" can interact, but the impressionist painting style emphasizes the circular color of light except black, which defines the form

The symbolic symbol hides the imitative nature of the painting composed of fish symbols, centering on some outward form of fact that it cannot be a fish due to the intervention of light.

In linguistic acts imitating pictorial symbols, the subject of imitability is revealed in the Lacan image and homogeneity.

This is an imitative image, because as the subject divides, meaning simultaneously reveals unconsciousness as a pictorial image. These subjects are the subjects of unconsciousness resulting from the serialization of imitative images by cogito.

In "Disappeared pond" the fish forms in white to distinguish light, and the pond designs lotus flowers by imitating impressionist paintings.

The design of the pond, in which fish symbols appear in "Disappeared pond" represents the linguistic meaning as a real being. Here the design of the essential elements of fish and ponds is abstracted into white fish and black ponds contrasted with the illumination of the conceptual lotus flower.

And the visual design image of the fish as a symbol by metaphor of the fragmented meaning is a white fish as a sign. The abstract design, which replaced the black pond intertwined with the fish with other meanings, expresses the meaning of the disappeared pond.

This dictates the meaning of symbolic action that characterizes the design, which is a repeated combination of distorted pieces of image in the course of pictorial imitation.

The meaning is symbolic language that symbolizes the image imitated. Here the image is a piece of symbolic meaning in an unrealistic space.

Louis Choi Chul-joo, Media-art; Bamboo Forest, Still-image

"The Forest of Bamboo" is a parody of existing bamboo photographs, and is an inevitable composition conscious of the exact composition and light space calculated like that of Edgar Degas.

As a realistic encounter, the images of rain and wind are depicted in a bamboo forest tailored to aesthetic timeliness and the photographic image that takes place at that time. Unlike the limited photo frame of bamboo, it is a media art called “the Bamboo Forest”, which depicts 347 painting styles of bamboo forests in design and shape.

The subject of the bamboo grove is subordinate to the desires of others and hides the fact that it is the subject of the image. To reveal the subject, the other's desire as a separate subject from the image of the bamboo forest is realized in painting the bamboo forest.

In media art, the meaning and effect of the image are object's material for that space with different temporality due to the time that the image does not affect the space within the surface area. In this way, the meaning and effect of the image affecting the space becomes the subject of the space in terms of its timeliness.

Therefore, the "bamboo forest" is distorted by reproducing photographic images.

As a result, the aesthetic value of the bamboo forest is the media art, "The Bamboo Forest," which reveals the connection between the unformed form and the subject of timeliness hidden in the image as a non-existent painting.

The timeliness of "Bamboo Forest" creates a virtual space for media users and the visual continuity of the media art "Bamboo Forest," which is a photograph of a virtual image drawn by a series of interventions of another time. And the media art "Bamboo Forest", which is a painting of virtual images drawn in a series of interventions of time, shows visual continuity.

This imprints the light and darkness of bamboo overlapped in the invisible bamboo forest, and objectifies the reality of the bamboo painting away from the photo. Here the impression represents the relationship between the object of the image and the symbolic expression of the painting, and as a target, the structuralist form of the bamboo becomes irreparably stationary symbolic photograph.

So the picture gives a static and symbolic impression on the subject of bamboo as a photographic structure. The impression represents the relationship between the subject of the object and the symbolic expression of the photograph, and as the subject, the structuralist sound as an image of bamboo becomes irrevocably stationary symbolic photograph.

However, the painting of bamboo distorts the meaning of the bamboo photograph, which is identified differently from what it looks like. This is just a token of photographs and paintings that are not realistically matched.

Therefore, take a photo to draw a different painting from the photo and make the same image as the picture.

The meaning of the Bamboo Forest, painted by Chul-joo Choi, is metaphorical, such as the structure of language, so it is not the same as the shape of bamboo. As a reality that owns instantaneous time, it is an unexistent painting that overlaps rain and wind with other forms and images.

And he replaces the virtual image drawn by the lack of self-created location of the true form of the bamboo forest with other media art and decorates the actuality of the inner image of the bamboo forest.

Louis Chul-joo Choi, Media-art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do=Song·Ha·Sun·In·Chui·Saeng·Do by Chul-joo Choi", Still image, 2020

Media art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is a cartoon image of a cartoonist Louis Choi Chul-joo, who reconstructed Shin Yun-bok's folk painting after seeing Kim Hong-do's “Song·Ha·Sun·In·Chui·Saeng·Do”

Therefore, another proposition of Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is "Song·Ha·

Sun·In·Chui·Saeng·Do". This is a general reflection of the scene where men and women secretly go out to meet to express their love on windy days. Here, the cartoon image expresses affection, but the cartoon images are not involved in the symbolic image.

Thus, the boat play and bath scenes were reconstructed into cartoons that express the affection between men and women in the same way as the original painting by Shin Yun-bok, which depicts the daily lives of women in the Joseon Dynasty.

Considering the fact that Shin Yun-bok's paintings, which satirizes daily life, is similar to that of a cartoon, the cartoon composition of "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" was partially drawn and matched with a close-up scene like the one-cut series of "Roy Lichtenstein.“

Thus, as a cartoon media art of popular art, "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is seen as a series of cartoon cuts aimed at satirizing the status quo of Joseon Dynasty society with cartoon images.

In line with the scene of boat play and bathing by the river as a cartoon image, the sound is the Vivaldi's "summer" of the four seasons, giving a glimpse of the positive contemporary image.

As such, cartoon media art is carried out in a popular art way rather than in a media that reveals social problems.

In the middle of the summer, boat play, gisaeng, men who peeked at women bathing by the river, and boats were drawn in several cartoons to move boats playing in the river. The surrounding figures harmoniously reconstructed the relaxed light and shadow of the gisaeng, men, and landscape.

"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is shown in the media space as a media with cartoon images of the realistic representation of social mannerism, such as Manet's "The Luncheon on the Grass".

It balances the real customs with media art reproduced in animated images. Although the appearance of a woman in the Joseon Dynasty, where Shin Yun-bok bathes, shows sociality, but "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" which were reborn as unrealistic cartoons, focus on the pictorial cartoon characteristics of painting style.

The Manwha painting style of the Joseon Dynasty, which emphasizes media art by moving the cartoon image, was seen as a cartoon so as not to deviate from the relationship between the real landscape and the characters.

And to express the characteristics of media art, Sin Yun-bok's paintings were reconstructed to create a series of cartoon images based on the play culture of the Joseon. / Writing. Louis Chul-joo Choi, head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Contemporary artist & media art painter)

Contemporary Art Critic Choi Chul-joo

media art morning glory by Louis Chul-joo Choi :

In the media art video of the Minoo Media Art Museum, Louis Chul-joo Choi's "The morning glory" not only depicts the process of dismantling and combining the completed works, but also depicts the image and process of media art by drawing thread painting.

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Review of Contemporary Artist

Art Critic Choi Chul-joo Art Criticism 15

Critique of artist & Contemporary Art Criticism [15] Contemporary Art Critic Louis Choi Chul-joo Design of Contemporary Art : Desire Conceptual Abstract Art Design & Art Critic Louis Choi Chul-joo Abstract Art Theory of Conceptual Abstract Painting, Concept Abstract Art Installation & Contemporary Artist Louis Choi Chul-joo Abstract Art Design Criticism: Art Critique/ Louis Choi Chuljoo Dorsent: Abstract Painting Art Theory Presentation of the Concept of Desire & Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory Woman' pop art abstraction design: contemporary abstract art movement examples / The Story of Contemporary Art: Abstract Painting Review & Art Docent [6] Example of contemporary artwork: Abstract Design of Korean Painters [11] Contemporary Concepts Art Review: Korean Painting Abstract Works <morning glory window p106-3> & <morning glory woman> Design Review

Louis, Chul-joo Choi, a morning glory woman, 113X180 cm, acrylic and composite materials on cloth, 2023

Conceptualization of Desire: Conceptualization of Desire Art is a visualization of progress and results as objects of imagination and existence, facing artistic ideas and portraying the desires of others as objects of imagination and existence. Louis Choi Chuljoo's Conceptual Abstract Art faces artistic ideas and visualizes progressive phenomena and consequences as objects of Desire's imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 Louis Choi Chul-joo' theory of abstract art)

Shape image as a conceptual semantic structure: It refers to another image of the background of a real concept that represents a real morning glory by repeating the color of the shadow on the object image of desire, and it is the object of the concept of desire that depicts the shadow structure created from non-real images with reversible light.

The object is abstraction as a contemporary desire concept artwork, which is repeated by symbolizing and overlapping the desires of others with reversible shades of light in "morning glory" the background design concept of contemporary desire concept artwork.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Louis' Conceptual Art Theory on Realistic Abstract Painting)

Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.

As a background of culture, shape abstracts the concept of a realistic structure and determines its shape by reversible shading of light, but the background in which the shape disappeared as the whole is covered according to its shape time is summarized as contemporary light.

(Louis' Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)

Louis Choi chuljoo "morning glory Window" Exhibition poster An image of desire based on the cartoon review concept as an object ɑ of the concept of desire, 20230704~20230714 Haeundae-gu Office Gallery, Busan.

Realistic structures are reflected in the shape of shadow colors by light. It's the contours and shadows that are determined by the reversible shades of light that reveal that shape. This is the concept of desire, the art of realistic abstraction, which actually forms an abstract image of the concept of desire.

Louis, morning glory p106-3, a hand-painted picture on a computer, 2023

<morning glory Window p106-3> abstracts the concept of desire, which depicts images produced by amorphous images, meaning the reality of morning glory, in the shade of reversible light.

It is a modern abstract painting that symbolizes the design of the shape, that is, the exhibition poster image of the painting, by producing a poster of modern art related to the Busan solo exhibition (Haeundae-gu Office Gallery) of Korean artist and pop artist Louis Choi Chuljoo.

The object (Louis Choi Chuljoo 2023 Busan exhibition morning glory p106-3), which depicts the meaning of the shape seen in the meaning space created by reversible light, is an object ɑ of abstract desire concept images that reveal the place of others' unconscious desires as a virtual non-realization of cartoon review.

The object ɑ, which depicts the meaning of the event shape seen in the space of the meaning created by reversible light, is an abstract space that can turn objects into real shapes by structuring the meaning of the shape in the shade of reversible light, and means an exhibition poster (morning glory p34) as an artistic movement of the concept of desire that has actually changed from the background image to the cartoon shape (like "Have a wonderful Chuseok like the stars in the fall night").

Louis, morning glory p34, a hand-painted picture on a computer, 2022

The conceptual art of desire <morning glory p34> is an image that shows the desire of others functioning visually in the landscape in the abstract area of painting where certain effects of the concept of desire occur in the meaning of the exhibition poster.

This is a dwarf planarity that seems to consistently mean morning glory in painting. The morning glory is the same as the reality reflected in the mirror, but the shape of the background is not the same. Abstraction as a conceptual semantic structure with a non-realistic shape that has the same meaning as the conceptual semantic structure, but abstraction as the same meaning with different shapes is real non-realistic as an ideological non-realistic being of different color and size.

Its existence means the abstract meaning of exhibition poster concept art, which defines abstract space as a real reversible image, and whose image is obscured by real changes in the shadow of reversible light.

2023 <morning glory Window> Busan Exhibition Abstract Poster Works & Contemporary Art Works: Contemporary Abstract Artist Louis Choi Chuljoo Desire Conceptual Art Abstracts: <morning glory Window p106-5>

Chul-joo Choi, <Have a wonderful Chuseok like the stars in the fall night>, a hand-painted picture on a computer

The object (Louis Choi Chuljoo Busan morning glory poster 106-3), which depicts the meaning of the shape visible in the meaning space created by reversible light, means a momentally distorted desire concept image object ɑ based on desire by structuring the meaning of "<Have a wonderful Chuseok like the stars in the fall night>" in the shade of reversible light.

Modern conceptual design by Choi Chuljoo, a contemporary art critic and conceptual artist, is the return of painting as a concept of early conceptual art, that is, a conceptual art design created by paintings, so his contemporary conceptual art criticizes phenomenal images such as current events and mentions design value in terms of painting.

On the other hand, Choi Chuljoo's conceptual art abstract design, based on the illusion of infant imagination in Lacan art theory, contains the meaning of the concept in the conceptual art abstract image of desire, and expresses the value of life through critical perspective and desire conceptual art abstract design, combining the concept of desire with the scene photograph of the event.

Here, desire concept art abstraction design refers to abstract design that can momentarily perceive the desires of others as a gaze rather than arbitrary philosophy. (ACN · October 7, 2022 2:33 Choi Chul-joo Conceptual Art Abstract Design Interpretation)

Desire for Painting Design Concept Docent: Design Critic & Contemporary Artist Choi Chul-joo's Desire Concept Design Methodology: Modern Art Abstract Korean Painting by Applying the concept of desire to <morning glory p34>, overlapping the painting <Have a wonderful cookie like the stars in the fall night> created with reversible light. In addition, by re-applying Lacan's conversion formula by linking verbal metaphor images, the phenomenal position of "Have a wonderful Chuseok like the stars in the fall night" is set in another place in one space as a reversible shade of light to show the concept of desire based on "morning glory p34". This means that the poster designed as the conceptual art of desire in Louis Choi Chul-joo's exhibition in Busan is an abstract painting that actualizes the object of the concept of desire.

2023 <The Woman in morning glory> Korean Painting Modern Art Works: A Modern Korean Painter Louis Choi Chul-joo Conceptual Art Abstract Painting

Modern and Contemporary art realistic Abstraction: Louis, Chul-joo Choi, a morning glory woman, 113X180 cm, acrylic and composite materials on cloth, 2023

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 "morning glory woman" concept of desire is a realistic abstraction of treacherous conceptual art, and the concept of desire sets "morning glory" as the background of desire, disturbing and overlapping realistic images, allowing the concept of desire to emerge in the photographic image of the event.

Desire Concept Art abstraction reveals reality through mirror theory, starting with the imaginary world in which infants identify symbolic images reflected in the mirror with imaginary imagesⓐ Recognizing that the symbolic image is not itself as a subject, it is transferred to an abstraction that interprets A(utre) as a symbolic world through separation from the symbolic image of symbols and reality. Abstract images and reality meet reality through division. As a reality, the concept of desire image is revealed as a dwarf image, but as a non-reality, the concept of desire with reality, that is, abstraction.(ACN. Oct. 14, 2022, interpretation of Choi Chul-joo's 'Four Defense of Lacan Interpretation')

If abstract desire art <morning glory window p106-3> is applied to Lacan's ((É=Jacques Marie Émile Lacan, Écrits, Seuil, 1977, 53)), the imageⓐ('utre) The work of the painting is placed as a symbolic system at a diagonal position crossing the line and S(Es) of the interpretation A(utre) to interpret the interpretation A(utre) and S(Es) as a 'quadruple of interpretation'.

Here, the concept of abstraction of desire art reveals reality through mirror theory, starting with the imaginary world in which infants identify symbolic images reflected in the mirror with imaginary images.ⓐ('utre) Recognizing that the symbolic image is not itself as a subject, it is transferred to an abstract painting that interprets A(utre) as a symbolic world through separation from the symbolic image of sign and reality Abstract images and reality meet reality through division. The concept of desire as a reality is revealed as a dwarf image, but as an unrealistic reality, the concept of desire with reality, that is, abstraction. (ACN. Oct. 14, 2022, Choi Chul-joo's interpretation of 'The four quadruple of Lacan Interpretation')

Louis, Chul-joo Choi, a morning glory woman, 113X180 cm, acrylic and composite materials on cloth, 2023

In the perspective of desire of the perspective visual system, which reproduces abstract objects with the object ɑ "Luis Choi Chuljoo Busan Exhibition Morning glory Window p106-3", the visual system is concealed, but it is a ɑ of objects that is viewed from the perspective of desire that is revealed unconsciously through a momentary gaze.

The object ɑ <morning glory Window 106-3> forms a dwarf image expressed through the desire revealed in the other's repressed unconscious as a picture, and creates a target ɑ as a being to reveal the artistry of the momentarily distorted image as a semantic structure.

Here, the artistry that appeared in the ɑ of things transforms the image of things into a structure of meaning with a dwarf image from the other's desire point of view, revealing the ɑ of things as another being of things.

And the little sculpture as the other's desire hidden in the background of the painterly "morning glory woman" really shows a reversible real abstract space <morning glory Window> through symbolic art movements that actually change shape.

Therefore, object ɑ as a conceptual image of desire is an image of desire and a structure of desire that emerged from the image of an event. What reveals reality as a result is to reveal the relationship between the representation of the object ɑ and the reality of the concept of desire. In addition, the representation of hidden desire concept object ɑ in painting works is an abstract concept of desire in the background of abstract objects pointing to abstract space and abstract landscape shapes in which the reality of the shape is obscured by abstract other's desire as the background of the reversible desire concept image of reality. / Writing. Art critic Choi Chul-joo (Korean Painter & Ph.D. of Cultural Design)

Contemporary Art Critic Louis Choi Chul-joo

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Review of Contemporary Artist

Art Critic Choi Chul-joo Art Criticism 16

Critique of artist & Contemporary Art Criticism [16] Contemporary Art Critic Louis Choi Chul-joo Design of Contemporary Art : Desire Conceptual Abstract Art Design & Art Critic Louis Choi Chul-joo Abstract Art Theory of Conceptual Abstract Painting, Concept Abstract Art Installation & Contemporary Artist Louis Choi Chul-joo Abstract Art Design Criticism: Art Critique/ Louis Choi Chuljoo Dorsent: Abstract Painting Art Theory Presentation of the Concept of Desire & Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory Woman' pop art abstraction design: Cartoon news as a treacherous concept of modern realistic abstraction [7] News cartoon review & Contemporary Abstract Artist Louis Choi Chul-joo's Artwork with Other's Desire Abstract Concept : Art Review: Modern painter & Cartoonist Louis Choi Chul-joo's Pop Art Artist Abstract Art Work = The Story of Contemporary Art: Art Review: Modern painter & Cartoonist Louis Choi Chul-joo's Pop Art Artist Abstract Art Work = Contemporary Art Sketch Abstract Painting [29] Contemporary pop artist Louis Choi Chul-joo, Pop Art Abstract Painting & Cartoon, Korea News Cartoon Review with Contemporary Artist Choi Chul-joo's treacherous conceptual art [164] Have a wonderful Chuseok like the stars in the fall night. (ACN・ 2023. 9. 28. 11:58 ) Reporter Choi Chul-joo’s Cartoon Review

Art Review: Media Artist Louis Chul-joo Choi's Individual Exhibition Media Art Video Exhibition (*Extended exhibition period 2020.12.11- 2021.1.29) : Contemporary artist Louis Chul-joo Choi' <"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do"=“Song·Ha·Sun·In·-Chui·Saeng·Do” by Chul-joo Choi>, 20201126-20210129, Minoo Media Art Museum

Louis Chul-joo Choi, Media-art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do=Song·Ha·Sun·In·Chui· Saeng·Do by Chul-joo Choi", Still image, 2020

Media Art "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is a cartoon abstract painting that is a realistic parody of the concept of desire of cartoonist Louis Choi Chul-joo, who reconstructed Shin Yun Bok folk painting

It generally reflects the scene where men and women secretly meet and express love on a windy day, where cartoon images express affection, but cartoon images are abstract paintings that realistically depict the concept of Joseon women's desires, although they are not involved in symbolic images.

The boat play and bath scenes were reconstructed into cartoons that express the affection between men and women in the same way as the original painting by Shin Yun-bok, which depicts the daily lives of women in the Joseon Dynasty.

Considering the fact that Shin Yun-bok's paintings, which satirizes daily life, is similar to that of a cartoon, the cartoon composition of "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" was partially drawn and matched with a close-up scene like the one-cut series of "Roy Lichtenstein.“

Thus, as a cartoon media art of popular art, "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is seen as a series of cartoon cuts aimed at satirizing the status quo of Joseon Dynasty society with cartoon images.

In line with the scene of boat play and bathing by the river as a cartoon image, the sound is the Vivaldi's "summer" of the four seasons, giving a glimpse of the positive contemporary image.

As such, cartoon media art is carried out in a popular art way rather than in a media that reveals social problems.

In the middle of the summer, boat play, gisaeng, men who peeked at women bathing by the river, and boats were drawn in several cartoons to move boats playing in the river. The surrounding figures harmoniously reconstructed the relaxed light and shadow of the gisaeng, men, and landscape.

"Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" is shown in the media space as a media with cartoon images of the realistic representation of social mannerism, such as Manet's "The Luncheon on the Grass".

It balances the real customs with media art reproduced in animated images. Although the appearance of a woman in the Joseon Dynasty, where Shin Yun-bok bathes, shows sociality, but "Shin•Yun•Bok•Poong•Ju•Mil•Hoe•Do" which were reborn as unrealistic cartoons, focus on the pictorial cartoon characteristics of painting style.

The Manwha painting style of the Joseon Dynasty, which emphasizes media art by moving the cartoon image, was seen as a cartoon so as not to deviate from the relationship between the real landscape and the characters.

And to express the characteristics of media art, Sin Yun-bok's paintings were reconstructed to create a series of cartoon images based on the play culture of the Joseon.

Media Art Video: Louis Chul-joo Choi, a boat game

Louis Chul-joo Choi, a boat game still image-59, a hand-painted picture on a computer

Modern realistic Abstraction: Louis Choi chuljoo, morning glory p106-7-Have a wonderful Chuseok like the stars in the fall night, 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' 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)

Choi Chul-joo, Have a wonderful Chuseok like the stars in the fall night, 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 review news

■ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review:

. Have a wonderful Chuseok like the stars in the fall night

. Ayez un merveilleux Chuseok comme les étoiles dans la nuit d'automne

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, In front of the bamboo forest 101-Have a wonderful Chuseok like the stars in the fall night, 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: Louis Choi chuljoo, morning glory p106-8-Have a wonderful Chuseok like the stars in the fall night : Lacan's imaginary world and metamorphic formula f(S...)... By repeatedly applying S'S=˜S(-)s, formability is embodied in a reversible shade of light to the image of the work to acquire aesthetic value and its meaning appears / 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 p105-7-Have a wonderful Chuseok like the stars in the fall night: Lacan's imaginary world and metamorphic formula f(S...)... By repeatedly applying S'S=˜S(-)s, formability is embodied in a reversible shade of light to the image of the work to acquire aesthetic value and its meaning appears / 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 2022-h> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Corona mutant viruses 6> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory 45-03> becomes a non-real abstraction of reality.

By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

■ Choi Chul-joo's Concept of Desire 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)

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 101, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, a boat game still image-12, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, a boat game still image-59, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest 101, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p105, a hand-painted picture on a computer

Modern realistic Abstraction: Louis, Chul-joo Choi, a morning glory woman, 113X180 cm, acrylic and composite materials on cloth, 2023

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 "morning glory woman" concept of desire is a realistic abstraction of treacherous conceptual art, and the concept of desire sets "morning glory" as the background of desire, disturbing and overlapping realistic images, allowing the concept of desire to emerge in the photographic image of the event.

Louis, Chul-joo Choi, a morning glory woman, 34.5X138 cm, acrylic and composite materials on cloth, 2023

Louis Choi chuljoo, Have a wonderful Chuseok like the stars in the fall night [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korea news Cartoon review of the cartoon review concept [164] Have a wonderful Chuseok like the stars in the fall night. / 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. ▶Have a wonderful Chuseok._ Ayez un merveilleux Chuseok