Modern Art and Cultural Design
Choi Chul-joo's Culture Design Review 1
Modern Art and Cultural Design [1] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Contemporary Artist Art Activity Exhibition Art Review: Imagination Action Painting 20211222 Contemporary Artist's Performance Art, Gwangan Gallery, Korean Artist & Abstract Artist Louis Choi Chul-joo
Louis Chul-joo Choi's "morning glory B-00-2-2": 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 / Performance of Louis Chul-joo Choi's "morning glory" with the image of Lacan's object ɑ and Picasso's Anamorphosis, 22. Dec.2021 Gwangan Gallery in Busan.
Louis Choi Chuljoo, morning glory B-00-2-1
Desire Concept Art Abstract Painting Performance 1: <morning glory B-00-2-1> Realistic abstraction of the concept of desire as an art act on the back, formed by a reversible shaded structure of light
Image of desire concept = Visualized image as progression phenomenon and result by facing artistic idea and drawing object of real imagination and existence.
Painting docent as Lacan conceptual art: Lacan conceptual art faces artistic ideas. It visualizes the phenomenon of progressive phenomenon and results as painting objects of Lacan's an imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 라캉적 도슨트/ 루이 최철주)
When the sculpture is not a drawing or painting that is regularized by the elevation, the whole appears to be created as a three-dimensional at the intersection with a distorted gaze. This is a single perceptive sign image that appears to be light in a certain direction.
In the sculpture, the desire of the other lies in the light hidden in the sky, but the place where the light forms is on the fixed ground. If the sky and the earth without a shape are real in that place, the structure of desire is now an abstraction of the factual structure that existed in that place.
The representative of the abstract is <Choi Chul-joo morning glory & Bamboo Forest>. This is a structure of desire created by reversible shades of light, which is not a fixed sculpture, but a realistic, non-real figure that makes the existence of a concept recognized. By distorting the pattern hidden in the same image and shadow of the sculpture and lighting it in a real color through a reversible shade of light so that the pattern can be seen, the shape of the reality can be recognized as a being. (Louis Choi Chul-joo Painting and Sculpture Installation Performance Concept)
Realize in media art and painting without description of space. Here, thread painting "morning glory B-00-2-1" is a format drawn by others as a gaze in the process of producing mechanically reproduced real images and phenomenal structures into original media art.
The image as a result of the performance of thread painting is < morning glory B-00-2>, which draws this thread painting <morning glory B-00-2> on the form of an Aaction painting created to Process Art by hand to the shape of a cloth whose back side is reflected. In other words, Choi Chul-joo, a contemporary artist, performed Aaction painting at Gwangan Gallery on December 22, 2021, which is a performance of Choi Chul-joo's <morning glory>, which is a picture of a shape shaded in a crossed threaded cloth and a reflective light in the real abstraction of Desire's object image and Picasso's three-dimensional structure.
Louis Choi Chuljoo, morning glory B-00-2-2
The image and color of thread painting in that form give a distance of time and show the aesthetic value of the hidden shape by forming an imaginary formative structure of the faded origin without marking it.
This is beyond the literary nature of conceptual art, which is based on the abstract art theory of Choi Chul-joo's concept of desire, and the colors left behind after acting formality as a painting are drawn in the structure of thread painting as a new form. This is a reconstruction of the shape with a linear structure so that the structure of the color can be put into the thread to cover the color and adjust the shape as a knot to a specific color.
Therefore, it is a painting painted on the structure of fabric and thread that pursues a linear aesthetic as the artistry of conceptual art of "thread painting" with added structure of thread.
Thread painting <morning glory B-00-2-2> is an image drawn on the same material as the object created by custom by transferring infants from the abstraction of the concept of desire <morning glory> to chicks' desire.
The <morning glory B-00-2-2> is drawn by constructing a shape that looks like an object like a desire image in a fabric-like material to create an image that is reversed left and right. So his painting is a two-sided painting that doesn't distinguish the front from the back. Here, a new picture emerges when the image on the back is converted to the front
Louis Choi Chul-joo, morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth, 2022 : The new picture that appeared on the front is <morning glory 2022-c>. This is a realistic abstraction thread painting <morning glory> as a treacherous conceptual art that realizes the desires of one other with an image structured in a reversible shade of light on the back.
Louis Chul-joo Choi, morning glory 2020-l-0, 148X175cm, acrylic and composite materials on cloth, 2021
Desire Concept Art Painting Performance 2: A realistic abstraction production with a desire concept as an art act in <morning glory 2020-l-0>
Substituting the desire concept formula into reality, the subject as an image of inconsistent reality becomes a realistic abstraction in the sense of the desire of others.
And the image, which has lost its subject through the desire formula, survives as another real-world deceptive effect (object ɑ) that provides a place that constitutes a space where a consistent and meaningful shape exists as reversible light.
(ACN · October 01, 2022, Lacan Fantasy Formula Choi Chul-joo Abstract Painting Interpretation)
<morning glory 2021-l> is a painting drawn by creating a shadow image by reversibly shining light on the fabric.
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 <morning glory 2021-l> of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
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 2021-h-back', 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 2021-g-back>, 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).
Chul-joo Choi, morning glory-2021-l, 148X175cm, acrylic and composite materials on cloth, 2021
With Choi Chul-joo's concept of desire as the theme of abstract art theory, the image is represented in a superficial aspect that matches the shape of actual and imaginary gaze. Here, drawing a chicken as an object of change in customs is another image that appears to be an object, revealing the infant existence of a chick. This is an object drawn as a small piece invisible in the space, where the chicken hides the desire of the other and disappears in the shadow of the background.
The small piece as the other's desire hidden in the chicken's background shows a reversible real space through the thought movement of the image that actually changes the shape. This refers to the meaning of a shape, and the small piece object defines a space that can be actually reversible and refers to the meaning of a shape that is obscured by the actual changed movement of the shape. It realises the abstract position of an object that sets the other's desire as the inevitability of an impressive space where chickens and chicks exist, as the color of light and shapes that are positioned in materials such as cloth./ Writing. Choi Chul-joo, art critic (Contemporary Artist, Ph.D. of Culture Design)
Contemporary Artist Louis Choi Chul-joo-----------------------------------------------------------
Modern Art and Cultural Design 11
Choi Chul-joo's Culture Design Review 11
Modern Art and Cultural Design [11] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Culture Column: Art critic, contemporary concept installation artist, abstract artist, current affairs critic, cultural critic, cultural columnist Choi Chul-joo's art and culture design criticism / (1) Young voters want to watch Black Pink's The Show on YouTube rather than campaigning
Choi Chul-joo, morning glory p48-3, a hand-painted picture on a computer
Culture Column: Culture critic Choi Chul-joo Contemporary Art Culture Column: Young voters want to watch Black Pink's "The Show" rather than campaign broadcast on YouTube
[1] Culture Column: Young voters want to watch Black Pink's "The Show" rather than campaign broadcast on YouTube
Choi Chul-joo's Culture Column: Choi Chul-joo's Cultural Column is a cultural review of contemporary art with a visual medium centered on contemporary art is a visual medium. This realistically abstracts desire as a medium for events and performance images by transferring painting with a conceptual structure to the concept of desire.
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)
Chul-joo Choi, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas· The Maids 7>, a hand-painted picture on a computer/ 최철주 문화디자인박사의 시사만평 (Dr. Chul-joo Choi’s an editorial cartoon) Chul-joo Choi’s an editorial cartoon©blog.naver.com cartoon©blog.naver. com/c7manwha All rights reserved
[1] Young voters want to watch Black Pink's "The Show" rather than campaign broadcast on YouTube
Choi Chul-joo Culture Column [1] "Young voters would rather watch Black Pink's The Show than do election broadcasts on YouTube. The Culture Column interprets Velazquez's "maids" as a double image.
Diego Rodríguez de Silva y Velázquez painted The Handmaids<Las Meninas> of 1656 with an ideological and stereotyped image of the 17th century Baroque absolute monarchy.
Visualize characters from gaze point of view to screen composition, reducing time to exclude symbolism from space and highlighting the realistic presence of objects as objects.
In other words, it's identified so that you can look at the king and the queen from a different perspective on the screen.
In Choi Chul-joo's cartoon review No. 12, the space is identified from a different perspective as candidates for the mayor of Seoul in 2021 on behalf of the king and queen. It shows contemporary phenomena and human presence in the same way as the maids in <Las Meninas>. In addition, it emphasizes its presence as a real subject that young voters stare at by gazing at its position in the space with candidates for Seoul mayor who replaced the king and queen,
In <Las Meninas>, the object reflected in the mirror is an illusion, but in Sisa Manpyeong No. 12, the object of fantasy in the mirror shows actual candidates for Seoul mayor.
This illusion is that the subject of the object reflected in the mirror is the object of illusion, and the subject is cut by the linguistic meaning (signifiant).
Reality as an illusion forms an image reflected into a circular structure through an optical illusion object of a mirror and black pink in which candidates are inserted in the mirror's non-real objects, where the semantic action takes on a meaningful symbol by accepting the virtual image as a new subject of linguistic meaning (signifiant).
Choi Chul-joo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas· The Maids 6-1>, a hand-painted picture on a computer
In this way, the linguistic meaning (signifiant) is a reality in which the space reflected in the mirror in the cartoon is cut to accept the new subject as an image of a picture frame, showing the upper bodies of candidates that cannot be seen at the time of viewing the entire scene of the cartoon in another physical space revealed in the scene of <Las Meninas>.
In order to insert the reality seen as such a gaze, the artist's brush is put in to stare at the material reflected in the mirror.
Like <Las Meninas>, cartoon review No. 12 is a real representation of the time and space of Black Pink and candidates in the contemporary space that Velazquez saw through the mirror.
The image reflected in the mirror is an invisible space and is a shape in the time that Velázquez saw in <Las Meninas>. Just as his gaze and the other's gaze are identified and shown again in the mirror as king, queen, and princess, it shows the reproducibility and gaze that symbolically reveals the situation of Black Pink and candidates.
In <Las Meninas>, Velázquez looked at himself as an object reflected in a mirror and drew it. Another mirror in the painting shows King Felipe IV (Philip IV) and his wife, Maria Anna. This mirror reflects Velazquez, the king and queen outside the painting, but only the king and queen are reflected in the mirror in the painting. What the maids existing in between are invisible is an image that cannot be interpreted with a perspective visual system.
Choi Chul-joo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas· The Maids 9>, a hand-painted picture on a computer
The images of candidates and the faces of the two maids are drawn on images that do not exist in <Las Meninas> to represent the fantastic image that Velázquez revealed as the unconscious desire of the other.
This is because it is an image that is not revealed in <Las Meninas> and is shown as a non-realistic image in the perspective visual system. It reveals the reality of Velázquez by contrasting Princess Margarita, who is the subject as the other, and the king and queen, who are the subject as an absence. And the figure reflected in the mirror is not a figure of the king and queen as an invisible 'appreciation' that deviates from the entire point of view, but a metaphorical image as an inner entity looking at Princess Margarita.
Therefore, the rest of the characters are virtual images as non-realists. Revealing the neutral image seen by this gaze is the real situation of the conceptual image, which means eliminating the area of space and the form of a mannerist society that "The Show" and the Seoul mayoral candidate election have. In other words, "Young voters try to watch Black Pink's The Show rather than election broadcasts on YouTube."
In <Las Meninas>, Velázquez appears as an object as a painter and reproduces images of reality and non-realism in the same space. But Picasso interprets Cubist images that cannot be represented in the same plane. This was trying to find a connection to Velázquez's hypothetical visionary image, but Picasso combines multiple images from the same screen gaze.
Therefore, in <Las Meninas>, the place revealed by Lacan's gaze is the position of a man standing at the door that appears at the point where it disappears from the entire virtual image, so the man is the object that Velázquez revealed from the perspective of the other's desire, that is, from the perspective of reality. Velázquez reveals himself as a painter in <Las Meninas> and the subject cannot be a cognitive subject, but Picasso, who reproduces real and non-real images in the same space, superimposes non-real images that do not look like mirror images on one screen.
Object, the conceptual image of desire to reveal reality is an aesthetic result of a distorted image. / Writing. Choi Chul-joo, cultural columnist (cultural critic and Ph.D. in cultural design)
Choi Chul-joo, cultural columnist-----------------------------------------------------------
Modern Art and Cultural Design 12
Choi Chul-joo's Culture Design Review 12
Modern Art and Cultural Design [12] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Louis Choi Chul-joo Contemporary Art Critic and Contemporary Art History Cartoonist Louis Choi Chul-joo Abstract Work Criticism on Contemporary Art = Contemporary Art Concept Cartoonist Louis Choi Chul-joo describes realistic pop art cartoons as conceptual art through the series "Bamboo Forest" of morning glory. And "The Missing Pond" / "The Desire Conceptual Abstract Design of Contemporary Art": abstract artist Louis Choi Chul-joo. A realistic abstraction of cartoon art and the conceptual abstract of contemporary desire based on the concept of desire of others: Abstract contemporary art that designed modern art abstract painting [11] Abstract painter Louis Choi Chuljoo Abstract art work: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory" and "Bamboo Forest." / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: Art Review: Media Art's Qí Báishí's "morning glory" and Media Art's Thread Painting; Contemporary artist Louis Chul-joo Choi’s "morning glory", 20201126-20201210, Minoo Media Art Museum
Louis Chul-joo Choi, morning glory 2021-d-2, 136X168cm, acrylic and composite materials on cloth, 2021
Modern painting failed to overcome the representation of light by romantic painters, so at the moment when time stopped, the shadows of bright light were aligned, setting the object as a shade with a simple, straight form of light.
Chinese painters, who focused differently on shapes in romantic styles, applied realistic images of flowers, fish, etc. to abstract spaces with the sensibility of spreading ink.
Through repetitive work, aesthetic results that affect humans were collected and the object was symbolized so as not to deviate from the actual shape. This is an aesthetic impression effect that has no boundaries in the space that humans can understand through objects composed of ink-and-joke effects. In addition, the shape was designed and constructed so that the background of modern culture could depend on the shape of the object.
Qí Báishí's Media-art "morning glory", Still image(4, 10, 23, 30, 39sec), Collection of Minoo Media Art Museum,
Qí Báishí's "morning glory" is a simple, linear form that aligns the bright shade of light with the leaves and stems. He collects aesthetic results that affect humans so that the morning glory does not deviate from its actual shape. His paintings, "morning glory" consists of the effect of ink-and-washy tea, which sets flowers straight to the top of the stem. He gives a humorous touch to the difference in brightness, allowing the morning glory to be distinguished as a living object. He added the movements of the flowers in an anomalous way to his painting of the morning glory. His painting of the morning glory is arranged with leaves, and the stem forms the entire composition. He equates the leaves and stems with the appearance of the morning glory tailored to the flowers, thus establishing a position that humans can understand. The joint of the stem falls into black ink and the stem connected to it is thin and cloudy, and overlaps with the space as an impression effect of black ink with no boundary line with the morning glory. And the shape of the leaves drawn by the difference in brightness of black ink is shaped and structured so that humans can rely on the shape of the morning glory.
Media art at the Minoo Media Art Museum has cast doubt on the production process by showing the process of dismantling and combining the completed works. Accordingly, Chul-joo Choi, a doctor of design at the Museum of Minoo media art museum redesigned the media art work and its image in the process of creating media art. Chul-joo Choi's media art <the morning glory> designs the place of flowers and sets the place of leaves and stems that depend on the shape of the flowers. Unlike the media art Qí Báishí's <the morning glory> which shows the process of painting 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 Chul-joo Choi, a doctor of design. He designs a flower that relies on a set being as a coincidence that black ink spreads. This is realised in the media art form of a computer and painting without the perspective of space.
Chul-joo Choi, Media-art; morning glory, Still-image (morning glory-4, -7, -15, -25, -35, -65, -75, -85, -95, -105)
abstract artist Louis Choi Chuljoo "morning glory", 2020.
In the process of producing the original media art, which is mechanically reproduced here, the picture format is thread painting. This painting embroidery the volume of light in the process of facing objects and ideally depicts the shadow of objects. It is a linear art that emphasizes "one line" in a new painting process combining oriental embroidery and ink painting. In other words, the image of the line, which was stopped during the process of drawing the media art <morning glory> was drawn with thread and paint.
In Kim Hong-seok's <Open and Closed> art review, art critic Louis Chul-joo Choi said the definition of a thread painting is "a trace of paint and yarn equivalent to the time remaining in the fabric, and it is exposed parts and margins."
Also, the structure of the shape was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things.”
and the aesthetic value was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things. The color of the shape reveals a hidden aesthetic value by giving time, not by marking, but by being considered the structure of the discoloured body.” in Thread Painting.
This is different from the aesthetics of M-Duchamp conceptual art that does not decorate materials.
Thread painting is a form of self-consciousness that has been implemented before realizing how things are perceived. The color of the shape does not indicate the distance of time, but shows the hidden aesthetic value as seen by the faded original formative structure. And beyond the literary character of conceptual art, it raises the formalities as a painting, paints the colors left behind, and ties them together with threads in a new formative structure.
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.
Qí Báishí's Media-art/ morning glory, Still image(39sec)/ Chul-joo Choi, Media-art: morning glory,
Thread Painting; <the morning glory> is an image drawn on a cloth-like material of an object made by custom. <the morning glory> is a method of drawing an image that is reversed from left to right by constructing a shape that looks like an image of the Lacan's objet on a cloth-like material.
Therefore, his painting is a two-sided painting that does not distinguish the front and the back. To represent an image in terms of practical and cursory features to suit the subject. Here, painting as a object of change in customs is another image that appears to be a object. It disappears as a substance of a subject that is hidden and drawn in small pieces invisible from space.
A small object shows a space that can actually be reversed through the shape's thought movement. This refers to the meaning of a shape in which, a small object defines a space that can actually be reversible and refers to the meaning of a feature that is obscured by the actual changed movement of the feature.
Chul-joo Choi, morning glory e-002, a hand-painted picture on a computer, 2020
It is the color of light and the shape of a material such as cloth, and the inevitability of an impressionable space determines the position of a object. And by stopping the light and the object of the place, it forms a structure of conventional painting. This is a space where you can stay with the inevitability of a stopped structure. Thus, the meaning of the actual structure of the picture where the shape has stopped is formed by the reverse idea movement. Its conscious meaning as a structure is just a small piece of space that finds its place properties of matter. This small piece coexists as a properties of matter in numerous spaces when it is a similar object. The position is inserted into several spaces by the meaning of the thought movement, where one phenomenon and other meanings intersect. This is a thread painting, <the morning glory> which was created by repeating another space as an thought movement in the space of positioning.
The space here disappears and the morning glory turns into the color of light.
However, as a painting's meaning effect, it chooses a painting as the color of light on a fabric-like material or thread that has disappeared from the past space. Here, the painting distorts the image by changing the light into a line within a space that connects the surface of the morning glory with light.
Therefore, since the composition of the invisible preceding space cannot draw flowers, the beginning screen of the Media Art: <Qí Báishí, the morning glory> of Minoo Media Art Museum distinguishes the leading space by sketching stems and leaves and drawing flowers because the intro space is not the actual structure. Thread painting is a thread that depicts the shape of light that distinguishes objects in stationary media art. This is a thread painting limited to fabric in an empty space and the more you limit the habitual object to the shape, the more empty the space becomes, rather than the actual place, so it decorates the inner surface of the hidden cloth to find the meaning of the space as a small piece of artistic shape. As such, <the morning glory> is painted on cloth-like materials, forming an abstract spot with the inevitable spatiality of the object, thus gaining aesthetic value as a real habitual painting art.
Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2021/ *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum
Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2020
Louis Chul-joo Choi’s thread painting: morning glory B-06
In addition, thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.
The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.
The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze.
A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place.
However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space. / Writing. Louis Chul-joo Choi, former head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Contemporary artist & doctor of cultural design)
Contemporary artist Louis Chul-joo Choi’s "morning glory": Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum
Contemporary artist Louis Chul-joo Choi’s "morning glory": Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum
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Modern Art and Cultural Design 13
Choi Chul-joo's Culture Design Review 13
Modern Art and Cultural Design [13] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Abstract contemporary art that designed modern art abstract painting & Louis Choi Chul-joo Contemporary Art Critic and Contemporary Art History Cartoonist Louis Choi Chul-joo Abstract Work Criticism on Contemporary Art = Contemporary Art Concept Cartoonist Louis Choi Chul-joo describes realistic pop art cartoons as conceptual art through the series "Bamboo Forest" of morning glory. And "The Missing Pond" / "The Desire Conceptual Abstract Design of Contemporary Art": abstract artist Louis Choi Chul-joo. A realistic abstraction of cartoon art and the conceptual abstract of contemporary desire based on the concept of desire of others: Art Review-Reading the New Works: Choi Chul-joo Art Review: Work posted on Facebook: Louis Choi Chuljoo, a morning glory outside the window 2023-1
Louis Choi Chuljoo, a morning glory outside the window 2023-1, 151X178cm, acrylic and composite materials on cloth, 2023
"morning glory window" repeats the concept of desire to cover the shadow image of others' desires and collects images of desire in which external light overlaps with timeliness.
In "morning glory window", a person dancing against the backdrop of morning glory overlaps like a small pillar to cover and hide the shade.
It gives reversible time sensitivity to shades, becoming the desire of others, and has the effect of setting phenomenal positions so that images of light do not overlap.
Louis Choi Chul-joo's "morning glory window" absorbs temporal light and removes symbolic representation on the image surface.
In this way, it creates an image of desire and is obscured by reversible light, leading to the concept of desire in the shadow.
The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.
Combined with images of reality with reversible light, including a desire for abstraction.
The image of desire repeats the process of directly acquiring the concept of the aesthetic structure of the real world that is subordinate to the concept, a reality that embodies the abstraction of desire as an event and facilitates performance.
The fact that the concept of desire cannot overlap with the image of reality is that factual abstraction is a treacherous conceptual art.
Abstracted realistic concepts reveal realistic figures similar to reality, but they momentarily pause space-time with the light of a conceptualized landscape like clouds.
Abstracting from the back of the morning glory landscape undermines timeliness, realizes the past time-adjusted traces of desire and the present overlapping landscape of color, and transfers images of desire into the painting.
It also doesn't represent the symbolic ideas abstracted from the image in a hidden form of color, but it gathers the image in shades of light in several directions.
In this way, the painting becomes a desire concept as a result of desire, dismantling abstract images interacting in real space
It shows a differentiated impression with a realistic abstraction that transforms the situation of desire in abstraction into a real world.
It shows aesthetic value by shading bright and dark parts in a distorted landscape and drawing a desireful meaning with a realistic expression.
Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time.
It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.
Desire concept superimposes abstractions on morning glory and bamboo forests with dual landscapes, leaving fragmented real space in the gaps of light without disassembling and unifying symbolic images, and then repeatedly portraying reality over the present representation and the gap in between.
In this way, he creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality. / Writing. Art critic Choi Chul-joo (Ph.D. in cultural design)
Contemporary Artist Louis Choi Chul-joo-----------------------------------------------------------
Modern Art and Cultural Design 14
Choi Chul-joo's Culture Design Review 14
Modern Art and Cultural Design [14] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Abstract contemporary art that designed modern art abstract painting & Louis Choi Chul-joo Contemporary Art Critic and Contemporary Art History Cartoonist Louis Choi Chul-joo Abstract Work Criticism on Contemporary Art = Contemporary Art Concept Cartoonist Louis Choi Chul-joo describes realistic pop art cartoons as conceptual art through the series "Bamboo Forest" of morning glory. And "The Missing Pond" / "The Desire Conceptual Abstract Design of Contemporary Art": abstract artist Louis Choi Chul-joo. A realistic abstraction of cartoon art and the conceptual abstract of contemporary desire based on the concept of desire of others: Art Review-Reading the New Works: Modern Art Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the abstract design form and real image of pop art. This is his concept of desire, that is, contemporary art, in which a painting that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light produces a dramatic event image with artificial lighting. [30] Contemporary art critic Louis Choi Chul-joo is a contemporary art critic who examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of a work with the theory of visual art. Picture-speaking language structure is a gaze reality image in which the image of abstract desire seems to be the semantic structure of the concept of desire. Art critic Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with the concept of desire abstract design along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of a work in the language structure and criticizes the reality of the concept of desire./ Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art/ Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of Conceptual Abstract Desire Artwork: 잭슨 폴락의 드리핑 기법과 액션 페인팅 Jackson Pollock's Dripping Techniques and Action Painting
Jackson Pollock, by MoMA
Jackson Pollock's Dripping Techniques and Action Painting
Jackson Pollock's dripping technique and action painting are the traces of abstract realism of the concept of paint dripped as a substance that lacks linguistic meaning as a concept of unconscious desire. This is a trace of abstraction that expresses the deficient desire in which the reality in which the subject has disappeared by dripping the other's desire into a conceptual abstract realism image.
The trace is a material image of conceptual abstract realism, interpreting the separation of signifiers and signifiers, i.e., the absence of meaning, as an abstract device that constructs images in accordance with the rules of symbolic desire structures that show traces before meaning is created.
The absolute meaning of the symbolic form of the visible image cannot cross the category of imitative painting as a metaphor visible from the painting. Abstract expressionism different from conceptual abstract realism images enters the symbolic world as a given correlation between abstract and expressive images, while abstractly accepting differences between abstract and expressive images in the imagination.
The symbolic metaphor for the visible signifier image of the symbolic world includes signifiers on the canvas in the category of imitation in painting, and painting up to modern times is free from the social constraints that are acceptable in religious practices. The meaning of an image as a linguistic meaning hides the figurative reality in painting and becomes a signifier image as a non-real object whose abstract expressionist meaning transcends the symbolic meaning.
His dribbling develops a structure of desire in which the subject is divided into unrealities on the canvas, leaving traces of nonverbal reality in the shadow of reversible light whose linguistic meaning is ambiguous and thus unimaginable.
In the real world as an invisible non-verbal reality, the symbolic signifier image of the invisible metaphor represents expressionism as a signifier image of abstract meaning. Abstract expressionist painting is a signifier image, which is a substantial shape, and the substance of the shape disappears and is a metamorphic fixation as a signifier of an imaginary symbol. In other words, in abstract expressionist painting, the figurative meaning embodied in the absence of desire is transformed into a symbolic form. This breaks down pictorial symbolism by showing traces of desire that are not linguized with abstract images, away from the categories of realistic forms and traditional subjectivity that show the stages of light and darkness.
Abstract expressionist painting is only a continuous symbol of an object and cannot form a pictorial composition. This structure creates an image of a transcendent symbol of abstract reality and becomes a reality as an abstract material separated from the symbolic domain that abstract expressionism does not accept. It is an abstract object that shows dripping techniques and action painting separated from the realm of existential virtual images contained in realism. The symbolic image of the virtual image consistent with the metaphorical subject is no longer covered up, and it is a material object wrapped in a non-verbal sense.
Therefore, action painting before non-verbal meaning is a map image that tracks the object of desire of the cause of failure to express the desire of others as a trace of desire that is not verbalized and drifts the deficient desire to find the original desire of conceptual abstract realism.
The subjectivity of the abstract meaning of finding original desires in conceptual abstract realism paintings rejects the pictorial meaning and reveals the reality of illusions hidden in conventional reason by expressing the other's desire to recognize the concept of desire and identify it with the image of linguistic meaning in a new sense. This is an absolute non-verbal image fixation phenomenon that cannot reveal reality in symbolism as an invisible reality.
As a non-verbal image, it abstractly shows the reality of all stages of linguistic ambiguity, which symbolizes abstract metaphor. Its meaning does not equate the unconscious with language like Freud's unconsciousness, but, like Samuel Beckett's theater stage, expresses an abstract structure in which time and space lose reality and lack of linguistic meaning as an absurd image in which insufficient desire disappeared from the place of existence.
Abstract expressionism, although it cannot reveal abstract reality through mirror theory, originates from the imagined world of recognizing signifiant images in mirrors. Abstract representation is formed by recognizing that the abstract signifiant image as the subject differs from the mirror image, through the separation between the symbolic representation of the signifiant image and the abstract reality. Here, the abstract image and reality are shifted through division, and the encounter with reality takes place. As an abstract reality, the signifier image is revealed through action painting, but as a non-reality, it is a meeting with reality in a non-verbal sense.
An image in a non-verbal sense is a pre-stage of hieroglyphics and is a non-verbal structure without a symbolic image. This is another language of the unconscious that lacks linguistic meaning in the unconscious, fragmented reality that cannot form a real structure with a dripping image.
The desires of others who have stopped from themselves reflect obscene reality in the mirror, repeatedly drifting the self of divided desires into conceptual abstract realist images, but never leading to the meaning of linguistic desires and encountering abstractions away from fragmented reality./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, a contemporary artist