현대미술 디자이너 최철주｜Designer Louis C
Contemporary Art Designer Choi Chuljoo 3
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [3/ 17~19] Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./
Art Design Review of Contemporary Art works [3] Abstract Artist Louis Choi Chuljoo Desire Conceptual Art Abstract Painting <Morning glory> Art Review & Conceptual Art Pop Art Abstract Painting Design / Contemporary art examples of Abstraction Review : Treacherous Contemporary Art Abstract Painter Louis Choi Chul-joo Pop Art Abstract Art Works & Art Reviews / 추상화 디자인 abstraction design: 배반적 개념미술 의미 구조의 이미지를 설치한 한국화 추상 디자인한팝아트 현대미술 작품 <나팔꽃 추상화 p44-4> 한국화가 루이 최철주 뉴욕 전시 포스터100 이미지로 한 한국화 추상 디자인2 = 유명 현대 개념 미술가, 현대미술 작가, 현대 추상미술 한국화가 작품 / 추상 화가 그림 최철주 개인전: 2022 루이 최철주 뉴욕 전시 나팔꽃 추상화 p44 유명한 현대 미술가 작품 현대 화가 추상 화가 루이 최철주 / Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' pop art abstraction design / 현대 개념미술 한국화 추상화 작품 <morning glory p44-4> 디자인 평론
Design review: the New York Contemporary Art Exhibition of "Morning glory" abstract painting(Poster): an exhibition of the desires of others seen by a chick as an infant." a contemporary art work that applies artist Louis Chul-joo Choi's Lacan art theory. 20220301
~20220308 Flushing Town Hall, New York.
현대미술 팝아트 한국화 추상화 작품: 루이 최철주 뉴욕 전시 나팔꽃 포스터44
Louis Chul-joo Choi, morning glory 2022-k, 131X167cm, acrylic and composite materials on cloth, 2022, 2022/ 현대미술 회화 디자인: 개념적 의미 구조로서 형상 이미지를 기호화한 오브제 디자인
개념적 의미 구조로서 추상 이미지 디자인: 이미지를 오브제로 디자인한 라캉의 오브제ɑ
<morning glory>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로 디자인한 배면이 비춰지는 교직된 천의 형태에 그리진 라캉의 오브제ɑ다.
그 오브제ɑ의 형상은 뉴욕(Flushing Town Hall & Yeomyeong Hall)에서 루이 <나팔꽃>개인전 관련 현대미술 추상화 작품으로서 디자인 컨셉으로 한 포스터<morning glory poster>를 제작하여서 이것을 라캉적 의미 구조로서 형상의 디자인 즉 회화의 전시 이미지를 기호화하여서 연쇄한 현대 개념미술을 추상화했다.
Louis Choi Chul-joo, Morning glory p44-1, a hand-painted picture on a computer
사실적 추상화의 개념미술이란 사실적 구조는 빛의 왜곡을 받아서 형태를 반사한다. 그 형태를 드러내는 것은 빛의 음영으로 확정되는 윤곽과 그림자다. 배반적 개념미술로 한 사실적 추상화는 이것에 주목하여서 사실적 개념을 형상화한다. (사실적 추상화에 관한 최철주 개념미술이론)
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
따라서 배반적 개념미술로 한 사실적 추상화는 일상의 사건에서 사실적 구조를 왜곡하는 빛의 음영으로 형상을 빛의 음영으로 그 형성을 확정하여서 사실적 개념을 추상화한다.
Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.
형상은 현실적인 구조의 개념을 추상화하고 가역적인 빛의 음영에 의해 그 형상을 결정하지만, 전체 형상이 가려짐에 따라 형상은 모노톤으로 요약된다.
A shape abstracts the concept of a realistic structure and determines its shape by a reversible shade of light, but as the entire shape is obscured, the shape is summed up in monotone.
Louis Choi Chul-joo, Morning glory p44-4, a hand-painted picture on a computer
가역적 빛으로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 뉴욕 전시 포스터-44)는 병아리가 타자의 욕망을 시간성에 감춘 이미지를 가역적 빛의 음영으로 <a riot over the death of a black man 9>을 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 형상의 실제 변화된 움직임에 의해 가려지는 개념적 추상의 의미 즉 거울속의 이미지는 가상적인 비실재의 이미지로서 타자의 무의식적 욕망에서 드러낸 추상적 이미지의 순간적 왜곡된 상 오브제ɑ<Morning glory p44-4>를 보인다.
현대 미술평론가 & 개념미술가 최철주의 현대 개념 디자인은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 회화 작품으로 생성하는 개념미술 디자인이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 디자인적 가치를 말한다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다.
반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로 한 최철주의 개념미술 추상화 디자인은 시사만평으로 개념의 의미를 라캉적 개념미술 추상화 이미지에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 개념미술 추상화 디자인을 통해서 삶적 가치를 교합시킨다.
여기서 라캉적 개념미술 추상화 디자인은 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 추상성 디자인을 말한다. (ACN ・ 2022. 10. 7. 2:33 최철주 개념미술 추상화 디자인 해석)
현대미술 팝아트 한국화 추상화 작품: 루이 최철주 뉴욕 전시 나팔꽃 p44-4
라캉의 오브제ɑ<루이 최철주 뉴욕 전시 Morning glory p44-4>로서 추상적 오브제를 재현하는 원근법적 시각체계의 기학적 도식에서는 시각체계는 은폐하고 있으나, 무의식에서 드러난 욕망적 관점의 순간적인 응시로서의 오브제ɑ다.
회화로서 오브제ɑ<Chick Rages Over Black Death>는 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 디자인으로 형성하고 존재로서 오브제ɑ를 생성하여서 타자의 무의식적 욕망에서 드러낸 추상적 이미지의 순간적 왜곡된 이미지를 의미적 구조으로 한 개념성을 드러내는 것이다.
여기서의 오브제ɑ에서 출현한 개념적 예술성은 타자의 욕망적 관점에서 왜상적 이미지<Chick Rages Over Black Death>로 오브제의 이미지를 의미의 구조로 변형<나팔꽃 포스터-44> 함으로써 오브제의 또 다른 존재로서의 오브제ɑ를 드러내어서 오브제ɑ<Morning glory p44-4>가 창조성과 타자의 욕망의 자율성으로 한 예술적 의미를 담고 있다. 그리고 회화적으로 육화된 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각<Chick Rages Over Black Death>는 그 형상의 실제로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 추상적 공간<나팔꽃 포스터-44>를 보인다. 이것은 추상적 오브제의 의미를 가리키며, 그 오브제는 실제 가역할 수 있는 추상 공간을 말하며 형상의 실제가 추상된 타자의 욕망에 가려지는 추상적 풍경 형상의 의미<Morning glory p44-4>를 비실재의 사실적 형상을 추상한다.
추상화 디자인: 드러나지 않는 은폐의 존재로서의 실재로서 개념 미술의 추상적 의미는
"병아리가 거울에 비친 기표적 이미지를 동일시하는 상상계에서부터 시작된다. 주체로써 기표적 이미지가 닭이 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 상징계로 전이한다. 여기서 상징적 이미지와 실재가 분열을 통해 실재와의 만남이 이루어진다. 실재로서 기표적 이미지는 왜상적 이미지로 드러나지만 가역적 빛으로 생성된 이미지는 비실재로서 의미와의 만남이다.( 유아로서 병아리가 닭이 되려는 욕망: ACN 2022.06.06)" 그 병아리가 육화하여서 흑인의 죽음에 대한 폭동에 대한 분노를 폭발한다.
현대 미술평론가 & 개념미술가 최철주의 현대 개념미술은 초기 개념미술의 개념으로 한 회화성의 복귀다.
즉 회화 작품으로 생성하는 개념미술이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 의미적 가치를 보인다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다. 반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로서 최철주의 개념미술은 시사만평으로 개념의 의미를 라캉적 회화속에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 여기서 라캉적 회화는 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 회화성을 말한다.
라캉적 디자인방법론(Lacan's design methodology)으로 한 회화 디자인에 대한 라캉적 도슨트: 라캉적 디자이너, 디자인평론가 & 현대미술가 최철주 라캉적 디자인방법론: 현대미술 추상 한국화 작품으로서 <morning glory 2022-k>에 라캉의 환유공식 f(S...S')S=˜ S (-)s 적용하여서 가역적 빛으로 생성한 페인팅 <a riot over the death of a black man 9>을 중첩한다. 그리고 언어적 은유 이미지를 연쇄하여서 라캉의 환유공식을 재적용하여서 가역적 빛의 음영으로 한 공간의 또 다른 자리에 <Chick Rages Over Black Death>의 현상적 자리를 정하여 <morning glory 포스터44>로 보인다.
배반적 개념미술로서의 추상화는 미술에서 사실적 구조물로서의 추상화를 말한다. 사실적 형상의 자리에 존재하는 개념적 의미들은 카툰 만평 이미지로 구분될 수 있으므로, 추상화는 타인의 추상적 욕망을 카툰 만평 이미지로 해석하는 가역적인 빛의 음영을 통해 그려진다.
Abstract painting as a precarious conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, abstraction is drawn through reversible light shading that interprets others' abstract desires as cartoon review images. (*Cartoon rib image, that is, an image that emphasizes the hidden meaning of the cartoon)
Louis Choi Chul-joo, <a riot over the death of a black man 9>, a hand-painted picture on a computer
Louis Choi Chul-joo, <Chick Rages Over Black Death>, a hand-painted picture on a computer
라캉적 실재는 사건의 실재와 은폐된 존재의 실재와는 다르다. 상징계로서 <a riot over the death of a black man 9>에서 전이된 존재에서 분리된 드러나지 않는 진실을 은폐한 실재다. 마네가 <풀밭위의 점심식사>에서 누드의 여인을 통해 드러나지 않는 은폐를 도출한 것처럼 <a riot over the death of a black man 9>은 미국의 백인 경찰이 과잉 진압으로 한 흑인의 죽음은 미국사회의 인종차별을 실체화한 실재다.
이러한 공시적 영역의 실재는 사건에 은폐된 곳에서 사건의 주체가 출현한다.
마네가 사유에 의한 실재로서 <풀밭위에 점심식사>에서 주체의 존재를 드러내는 행위로서 누드의 여인과 정장한 남자를 동시에 보임으로써 환영적 비실재를 없애고 사유를 통한 실재를 그려낸다.
상징계에서의 <a riot over the death of a black man 9>은 사건에 대한 계속적인 이미지로서 강제진압과 항의 그리고 시위로 한 상징적 존재의 이미지다. 여기서의 존재는 라캉의 초월적 기표(Signifiant)다.
마네는 동시대에서는 수용될 수 없는 상징계의 영역에서 분리된 영역인 실재를 <풀밭위의 점심식사>에 그렸지만 <a riot over the death of a black man 9>는 미국 사회의 민주주의에 담긴 허상의 영역에서 분리된다. 그리고 실체적인 주체로인종차별의 실재를 보인다. 은유적 사건으로 일관된 인종차별적 주체의 이미지는 실재에 존재하고 민주주의적 규범으로 감싸인 주체가 아닌 것을 말한다.
실재의 누드를 <풀밭위의 점심식사>에 그려서 신화의 여신으로써 누드화의 절대적 의미를 부정하고 어색하고 낯선 실재 여인의 누드화라는 의미가 실재다.
반면에 <a riot over the death of a black man 9>은 타자의 욕망을 대신하는 은유적인 상징성은 존재하지 않는다는 것을 보여줌으로써 그림을 보는 이에게 미국 사회의 인종차별의 이념적 가치관에 대한 혼란을 야기 시킨다.
이것은 라캉적 상상계에서의 허상에 만족하지 않고 자신의 욕망을 타자를 통해 보여줌으로써 상징계에서 탈출을 시도한 실재다.
이렇게 <a riot over the death of a black man 9>은 동시대의 실존적 이미지를 보임으로써 상징계에서 오브제의 은유적 주체를 보이는 이미지로 주채의 실체적 의미와 형상이 출현한다. 즉 보이는 은폐는 상징으로써 의미와 허상의 형상은 소거한다.
실재로서 <a riot over the death of a black man 9>은 회화에서 또 다른 실재로서의 인종차별적 미국 사회적 욕망을 상징하는 상징성을 드러낸다.
비실재 사실적 추상화로서 <a riot over the death of a black man 9>에서 문자로 한 언어적 표현도 은유성을 띠지만 그것이 비재현적 이미지라고 가정할 때 실재는 상사적으로 실재를 재현한 가상적 이미지에서 존재한다.
라캉의 거울이론을 통해 실재를 드러내는 것은 유아가 거울에 비친 기표적 이미지를 동일시하는 상상계에서부터 시작된다. <a riot over the death of a black man 9>에서 주체로써 인종차별적 이미지가 미국 사회가 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 상징계로 전이한다.
여기서 분노한 병아리가 상징적 실재가 분열을 통해 실재와의 만남이 <Chick Rages Over Black Death>에 이루어진다. 그 실재로서 미국 사회의 인종차별적 이미지<a riot over the death of a black man 9>는 가역적 빛의 왜상적 음영으로 드러난 비실재로서 실재와의 어긋난 만남을 이룬다.
/ 글. 추상 디자인평론가 최철주 (한국 화가 & 문화디자인박사)
Abstract Painter Louis Choi Chul-joo------------------------------------------------------------
Contemporary art designer Louis Choi
Contemporary art designer Louis Choi Chul-joo art work 17
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [17] Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./ Contemporary Art Design / Designer Criticism, Contemporary Art Cultural Design Criticism [6] Contemporary Art Cultural Design Designer Choi Chul-joo's Contemporary Art Cultural Design Criticism: Abstract Painting Design Methodology is a new art movement in abstract painting that approaches modern images of an event and performance as desire concept art as realistic abstract painting. & Contemporary Art Movement Now: A New Abstract Methodology for Drawing Abstracts from Uninterpretable Modern Abstracts to Images of Modern Events into Desire Concept = Louis Chul-joo Choi, morning glory window 2024-8-Installing an image of a firm desire, 150X112cm, acrylic and composite materials on cloth, 2024 & Cartoon, Korea News Cartoon Review with Contemporary Art Critic Choi Chul-joo's Review of Korean News Cartoon [184] "Trump Sex scandal Muzzling" Conviction. (2024-6-3) / Reporter Choi Chul-joo’s Cartoon Review
Louis Chul-joo Choi, morning glory window 2024-8-Installing an image of a firm desire, 150X112cm, acrylic and composite materials on cloth, 2024
확고한 욕망의 시선 이미지 설치
욕망 이미지의 설치는 언어적 대상의 표상을 실재화하여서 현전하지 않는 대상의 주관적 추상 이미지의 오류를 통해 마음에 있는 유의적 회화 이미지를 드러내는 것이다.
이것은 언어적 욕망 개념을 회화로서 모사(模寫)하여서 욕망으로 지각하는 표상을 실재 이미지로 디스플레이 한다. 즉 언어적 욕망을 그림 이미지로 표출하는 것은 T. S. 엘리엇(Eliot)처럼 객관적 상관관계를 지닌 실제 그림 이미지로서 욕망을 구현한다. 즉 욕망의 개념으로서 언어적 이미지를 추상화하지만 은유적으로는 그 개념의 실제 이미지로서 추상화한다.
실재 이미지는 존재 의미로서 대상을 관리하고 추상적으로 규정한다.
따라서 언어적 추상에서 실재 이미지로서 존재의 의미를 취한다. 그 의미를 실재로서 대상이 아닌 이미지로 존재를 보여서 대상의 주체를 초월한 추상성에서 실재화한다. 이렇게 존재는 현상적 시선으로 확고한 주체로서 대상의 일반화한다.
확고한 욕망의 이미지의 설치는 확고한 존재의 주체로서의 이미지의 설치이며, 이는 존재 욕망의 시선을 통해 보는 것이다.
실제 대상의 빛은 밝더라도 하늘의 빛에는 미치지 못하고 구름은 존재의 이미지의 설치에 따라 공간을 나눈다. 따라서 욕망의 대상에 영향을 주지 않는 형이상학을 가역적인 빛으로 거부함으로써 대상의 존재를 빛의 그림자를 통해 이미지로 인식한다.
그 이미지는 상상으로 한 지각된 실재 이미지가 무의식으로 욕망 개념으로 추상하여서 연출한다.
여기서 상상적 욕망이 언어적 인상 개념으로 추상적 조형 색조를 실재 이미지로 재구성하려고 의미 유형을 반복적으로 디자인하여서 객관적 상관물로서 실재의 외면을 현상한다.
이렇게 확고한 욕망의 시선 이미지는 실재의 외면으로 설치하여서 실재의 외면을 욕망 개념으로 실재의 상관물로서 추상하는 것이 최철주 욕망 개념 추상미술의 디자인 프로세스 다.
이것은 현상적 실재 이미지의 상관물로 역추상하기 때문에 사건이나 공연 이미지로 한 카툰만평으로서의 욕망을 해석하는 개념의 상관적 실재 이미지를 보이도록 욕망 개념의 이미지 디자인을 반복하여서 사건과 공연 이미지로 한 실재 이미지를 현상적 지각으로 그려서 그 이미지의 행위가 의도하는 생각속에서 상관적 이미지로 설치하여 보인다.
여기서 도출된 비시각적 이미지를 언어적 추상 만화평론으로 환원시키는 우연으로 작용한다. 이미지의 상징적 현상을 이미지의 의미를 상징하는 실재로 대체하는 이미지 상관성은 단일한 의미의 인과관계를 전제하는 것이 아니라 비실재성의 구조를 벗어난 추상적 개념과 실재의 상관관계로서 욕망의 개념과 연결되는 이미지로 귀결된다.
그 이미지는 타자의 욕망이 추상적 의미와 공간적 제한이 없는 욕망 개념으로서 실재와의 상관 관계가 있는 주체로 동일시 된다.
그 주체에 은폐된 미적 구조는 구름으로 구분되는 하늘이 대상의 음영 빛으로 추상 개념을 실재 이미지에 멈춰선다. 그리고 그 개념과의 상관적 실재 이미지를 음영으로 한 크기를 생략하고 빛으로 보이는 범위로 자리한다. 이것은 실재가 하나의 단상으로서 자리에 조응된 미적 가치를 가지며 그 자리를 풍습에 어울리는 보편적 실재의 색으로 대상을 꾸민다. 이것이 최철주의 욕망 개념 이미지 설치의 개념이다.
실재의 대상은 풍습에 존재한 언어적 의미에서 색으로 머물었던 형상에 지난 시간의 빛과 대비되는 그림자 공간을 타자의 욕망적 단상으로 구성한다. 그 단상은 욕망에 멈춘 형상을 갖추어 그 형상의 제자리에 존재했던 실재의 이미지를 보인다.
이미지가 하나의 욕망 이미지일 때 형상의 주체에 영향을 받지 않고 타인의 욕망에 따라 하나의 주체로서 시각적으로 추상화된다. 따라서 욕망 시선에 의해 재현되는 추상적 효과는 확고한 욕망의 시선 이미지가 설치됨에 따라 욕망 이미지가 중첩된 실제 이미지로부터의 추상화로 환원된다. / 글. 미술평론가 최철주 (추상화가 & 문화디자인박사)
Installing an image of a firm desire
The installation of the desire image is to reveal a significant painting image in the mind through an error in the subjective abstract image of an object that does not exist by realizing the representation of a linguistic object.
It simulates (模寫) the concept of linguistic desire as a painting and displays the representation perceived as desire as a real image. In other words, displaying linguistic desire as a painting image embodies desire as an actual painting image with an objective correlation, like T. S Eliot. In other words, it abstracts the linguistic image as a concept of desire, but metaphorically as a real image of the concept.
The real image manages and abstractly defines the object as the meaning of existence.
Therefore, in linguistic abstraction, the meaning of existence is taken as a real image. By showing existence as an image rather than an object as reality, it becomes a reality in abstraction that transcends the subject of the object. In this way, existence generalizes the object as a firm subject with a phenomenal gaze.
The installation of an image of firm desire is the installation of an image as a subject of firm existence, which is viewed through the gaze of the desire for existence.
Even if the actual object's light is bright, it does not reach the light in the sky, and the cloud divides the space according to the installation of the image of existence. Therefore, by rejecting metaphysics that do not affect the object of desire with reversible light, the existence of an object is recognized as an image through the shadow of light.
Here, imaginary desire is a linguistic impression concept, and the image of meaning is repeatedly designed to reconstruct the abstract formative color into a real image, and the outer surface of reality is developed as an objective correlation.
Louis Chul-joo Choi, morning glory window 2024-8-Installing an image of a firm desire, 150X112cm, acrylic and composite materials on cloth, 2024
The design process of Choi Chul-joo's concept of desire abstract art is to install such a firm gaze image as the outer surface of reality and abstract the outer surface of reality as a correlation of reality as a concept of desire.
Since this is reversely abstracted as a correlation of a phenomenal real image, the image design of the concept of desire is repeated to show the correlated real image of the concept of interpreting desire as a cartoon cartoon only as an event or performance image, and the real image as an event and performance image is drawn as a phenomenal perception and installed as a correlated image in the thought intended by the action of the image.
It acts as a coincidence to reduce the non-visual image derived from this to a linguistic abstraction cartoon review. Image correlation, which replaces the symbolic phenomenon of an image with a reality that symbolizes the meaning of the image, does not presuppose a causal relationship with a single meaning, but results in an image that is connected to the concept of desire as a correlation between an abstract concept that deviates from the structure of non-realism and reality.
Image is a concept of desire without abstract meaning and spatial constraints and grasps the desires of others as subjects related to reality.
In the aesthetic structure concealed by the subject, the sky divided by clouds is the shaded light of the object and stops the abstract concept in real life. And the size of the image of a correlated reality as a shade is omitted and it is positioned as a range that appears to be light. This is a place where reality has an aesthetic value adapted to the place as an image, and decorates the place with the colors of universal reality that fit the custom. This is Choi Chul-joo's concept of installing an image of desire.
The object of reality is a shape that has remained as a color in the linguistic sense that existed conventionally, and is composed of a single image of the desire of the other in contrast to the light of the past. The image shows the image of reality that existed in the original place of the image with a shape stopped by desire.
When an image is a desire image, it is not affected by the subject of the shape and is visually abstracted as a subject according to the desires of others. Therefore, the abstract effect reproduced by the desire gaze is reduced to abstraction from the actual image in which the desire image is superimposed as the gaze image of a firm desire is installed. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
Cartoon, Korea News Cartoon Review with Contemporary Art Critic Choi Chul-joo's Review of Korean News Cartoon [184] "Trump Sex scandal Muzzling" Conviction. (2024-6-3) / Reporter Choi Chul-joo’s Cartoon Review
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)
Louis Choi Chul-joo's Cartoon review: "Trump Sex scandal Muzzling" Conviction, a hand-painted picture on a computer, 2024
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:
. "Trump Sex scandal Muzzling" Conviction
. "Trump Sex scandale Muzzling" Condamnation
Choi Chul-joo, "Trump Sex scandal Muzzling" Conviction, a hand-painted picture on a computer
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 181-"Trump Sex scandal Muzzling" Conviction, 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, In front of the bamboo forest b181-"Trump Sex scandal Muzzling" Conviction-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p116-2-"Trump Sex scandal Muzzling" Conviction: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p116-2> 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 <pond-"Trump Sex scandal Muzzling" Conviction> 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 p116-2-"Trump Sex scandal Muzzling" Conviction> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 181, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest b181, a hand-painted picture on a computer
Final image superimposed on the artist's work: Louis Choi Chul-joo, pond s3, a hand-painted picture on a computer
Louis Choi Chul-joo, morning glory p116, a hand-painted picture on a computer, 2024
Louis Choi chuljoo, "Trump Sex scandal Muzzling" Conviction 4 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Review of Korean News Cartoon [184] "Trump Sex scandal Muzzling" Conviction. (2024-6-3) / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ▶Conviction._ Condamnation.
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Contemporary art designer Louis Choi
Contemporary art designer Louis Choi Chul-joo art work 18
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [18] Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./ Contemporary Art Today Choi Chul-joo's Art Criticism, Contemporary Art Design/Designer Criticism, Contemporary Art Cultural Design Criticism [5] Contemporary Art Cultural Design Designer Choi Chul-joo's Contemporary Art Cultural Design Criticism: 쓰레드 페인팅의 제작과정, 정의 & 형상적 의미: 최철주의 쓰레드 페인팅 디자인 & "나팔꽃" Contemporary Art Abstract Artist Louis Choi Chul-joo's Thread Painting Design & 'morning glory' From 2020 to 2022
쓰레드 페인팅의 제작과정, 정의 & 형상적 의미: 최철주의 쓰레드 페인팅 (Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting)
* 쓰레드 페인팅(thread painting)의 제작과정은 정해진 대상의 자리에서 발묵(潑墨)적 정해진 존재, 즉 순간적인 우연의 일치에 의존하는 대상의 자리를 디자인한다. 그 대상의 자리를 자수로 그 형상의 이미지를 쓰레드의 자리를 만들어서 교직된 천의 이미지를 자수로 확장하거나 평면적 형태를 드로잉하여서 천의 자리를 넓힌다.
▲ [ cartoon news/ 쓰레드 페인팅(thread painting = 자수: 장혜숙, 페인팅: 최철주] 쓰레드 페인팅의 제작과정은 정해진 대상의 자리에서 발묵(潑墨)적 정해진 존재, 즉 순간적인 우연의 일치에 의존하는 대상의 자리를 디자인한다. 그 대상의 자리를 자수로 그 형상의 이미지를 쓰레드의 자리를 만들어서 교직된 천의 이미지를 자수로 확장하거나 평면적 형태를 드로잉하여서 천의 자리를 넓힌다.
이것은 대기의 묘사 없는 미디어아트와 페인팅에 실제화한다. 여기서 기계적으로 재현되는 오리지널 미디어아트를 제작하는 과정에서의 타자의 응시로써 그려낸 형식이 쓰레드 페인팅(thread painting)이다.
▲ [최철주 <나팔꽃B-00-2-1>] 쓰레드 페인팅(정의): 미디어아트 <나팔꽃>으로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리는 (형태를 추가로 자수할 수 있는) 형식이 쓰레드 페인팅이다.
* 쓰레드 페인팅(정의): 미디어아트 <나팔꽃>으로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리는 (형태를 추가로 자수할 수 있는) 형식이 쓰레드 페인팅이다. 즉 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 넓힌 그림이다.
▲ [ 미술가 프로모션/ 최철주 로그타입 디자인1= 자수: 장혜숙, 미술가 로그타입 디자인: 최철주] 미술가 프로모션을 위한 로그타입 디자인: 현대미술 디자이너 최철주가 미술작가의 작품을 모디프로 현대미술 디자인으로 한 로그타입의 사례
▲ [ 미술가 프로모션/ 최철주 로그타입 디자인2= 자수: 장혜숙, 미술가 로그타입 디자인: 최철주] 미술가 프로모션을 위한 로그타입 디자인
* 미술가 이미지 프로모션을 위한 로그타입 디자인은 쓰레드 페인팅 작품에서 회화의 자리를 넓힌 이미지 디자인이다. 이것은 미술가의 프로모션으로 로그타입을 적용한 명함과 서류 봉투 등에 미술가의 작품 이미지를 프로모션한다.
▲ [ 미술가 프로모션 / 최철주 로그타입 디자인3= 미술가 로그타입 디자이너: 최철주] 미술가 로그타입
* 이 로그형은 장혜숙 미술연구소장으로 계약하는 과정에서 설계된 것으로 장혜숙 작가의 사정으로 계약이 취소됐다.
▲ [Chul-joo Choi, morning glory-2020, 148X175cm, acrylic and composite materials on cloth, 2021] 쓰레드 페인팅으로 한 미디어아트 <나팔꽃>의 형상적 의미는 그 의미의 색깔은 대상과 마주했던 풍습적 보편성의 실제를 빛의 색깔로 꾸민다.
Choi Chul-joo Choi, Media-art: morning glory, Still image (morning glory-108): a hand-painted picture on a computer
제백석의 <나팔꽃>은 선형적 디자인으로 한 간결한 형태적 구성에 빛의 엷은 농담을 잎과 줄기에 맞춘다. 그는 <나팔꽃>이 관념적 공간에 실제적 디자인의 주체로써 미치는 미적 결과를 모아서 실제적 형상과 어긋남이 없도록 보이게 한다. 그의 그림에서 <나팔꽃>은 줄기의 꼭대기에 바로 세우는 수묵의 농담 구성된 디자인 효과다. 이것은 그 농담에 해학(諧謔)적인 감도(感掉)를 주어서 <나팔꽃>을 생동하는 대상으로 구별하는 랜드스케이프 디자인이다. 중국화에서 풍경의 배경이 빈 공간으로 보이듯 그는 꽃의 거동을 두루 덧보태어 변법(變法)에 맞춘 나팔꽃을 빈 공간에 그렸다.
그 빈 공간에 나팔꽃 그림은 잎으로 자리를 정하고서 줄기로 공간을 채워서 구도를 이룬다. 그는 잎과 줄기의 부분들을 꽃에 맞춘 나팔꽃의 외형을 디자인하여서 타자가 납득할 수 있는 관념적 빈 공간에 나팔꽃으로 디자인되었다는 인식의 자리를 정립한다. 제백석의 중국화로서의 랜스스케이프 디자인은 줄기의 마디를 진하게 파묵(破墨)하고 이어진 줄기를 엷고 흐리게 하는 바림(渲染) 선은 나팔꽃과의 경계선 없이 묵(墨)의 수운(水暈)적 인상 효과로써 배경의 빈 공간과 중첩된다. 그리고 묵선으로 잎을 모양을 지탱하는 줄기를 이루고 묵의 농담으로 나팔꽃 모양에 의존하여 중국화적 디자인을 구조화한다.
반면에 최철주의 미어어아트 <나팔꽃>은 꽃의 자리를 디자인하고서 그 꽃의 형태에 의존하는 잎과 줄기의 자리를 정한다. 따라서 꽃의 구도로서의 줄기를 꽃에 맞춘다. 전체 이미지에서 줄기와 잎의 구조로 꽃을 그리는 과정을 보여주는 미디어아트 제백석의 <나팔꽃>과 달리 나팔꽃의 꽃을 시작으로 나머지 구조를 디자인한 미디어아트는 디자인박사 최철주의 <나팔꽃>이다. 이것은 발묵(潑墨)적 우연성으로한 정해진 존재에 의존하는 꽃의 자리를 디자인한다. 이것은 대기(大氣)의 묘사 없는 미디어아트와 페인팅에 실제화한다. 여기서 기계적으로 재현되는 오리지널 미디어아트를 제작하기 위한 그림 즉 미디어아트 <나팔꽃>으로 생성된 이미지를 수작업으로 배면이 비춰지는 교직된 천의 형태에 그린 형식이 쓰레드 페인팅(thread painting)이다.
즉 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 넓힌 그림이다.
Choi Chul-joo, Media-art: morning glory B-00-2-1, a hand-painted picture on a computer,
미디어아트 <나팔꽃> 제작을 위한 모티브 페인팅 <쓰레드 페인팅 B-00-2-1> 사진이미지, 미누현대미술관, 2020.8.23)
* 쓰레드 페인팅(thread painting): 미디어아트 <나팔꽃>으로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리는 (형태를 추가로 자수할 수 있는) 형식이 쓰레드 페인팅이다. 즉 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 넓힌 그림이다. 이 그림(나팔꽃B-00-2)은 물체를 마주보는 과정에서 빛의 부피를 자수하고 물체의 그림자를 관념적으로 묘사하고 있다. 이것은 동양적 자수와 수묵화를 결합한 새로운 회화적 프로세스에서 '한 획'을 강조하는 선형예술이다. 즉 미디어아트 “나팔꽃”이 그려지는 과정의 동영상에서의 정지된 ‘한 획’을 천에 실과 페인트로 그려낸 것과 같다. 미술평론가 최철주는 김홍석 “개폐”에 대한 미술평론에서 쓰레드 페인팅에 대한 정의를 “시간에 조응된 물감과 실이 드러남과 여백을 천에 남긴 흔적이다.”라고 했다.
또한, 쓰레드 페인팅에서 조형의 구조를 “형상을 구성한 실은 대상을 설명하지 않고 연쇄된 실이 조형적 구조가 되면서 조형적 의미의 효과를 보인다. 이것은 색의 의미가 소급되어서 실에 색이 교직된 회화적 구조다.”라고 했고, 그것의 미적 가치는 “사물을 지각하는 방법을 그가 깨닫기 전에 구체화한 선관(先觀)적 자의식의 한 형태다.
그 조형의 색은 시간의 거리를 주어서 표식하지 않고 퇴색된 본디의 조형의 구조로 간주되어 보임으로서 숨겨져 있는 미적 가치를 드러낸다.”라고 했다. 이것은 M.뒤샹의 물질을 치장하지 않는 개념미술의 미학과는 다르다. 쓰레드 페인팅은 사물을 지각하는 방법을 깨닫기 전에 구체화한 선관(先觀)적 자의식의 한 형태다.
Choi Chul-joo, morning glory B-00-1-1, a hand-painted picture on a computer
그 형태의 색은 시간의 거리를 주어서 표식하지 않고 퇴색된 본디의 조형 구조로 간주하여 보임으로서 숨겨져 있는 미적 가치를 보인다. 그리고 개념미술의 문학성을 넘어서 회화로서 조형성을 비등(沸騰)하고서 남겨진 색을 그려서 새로운 조형의 구조로서 실로 매듭한다. 그 색의 구조를 실에 넣어서 색을 가려 막는 매듭으로서의 조형을 특정한 색에 조응할 수 있도록 선형적 구조의 색이 존재한 조형을 구성한다. 따라서 ‘쓰레드 페인팅’은 개념미술의 지나친 문학성을 부정하는 선형적 미학을 추구하는 천에 실과 페인트를 칠한 그림이다.
쓰레드 페인팅 <나팔꽃>은 풍습에 의해 만들어진 대상의 천과 같은 재료에 그려진 이미지다.
그 <나팔꽃>은 라캉적 이미지처럼 대상이 보이는 형상을 천과 같은 재료에 구성하여 좌우가 역전된 이미지를 그리는 방식이다. 따라서 그의 그림은 앞면과 뒷면을 구분하지 않는 양면의 그림이다.
실제적 형상과 응시적 형상에서 주제에 어울리는 피상(皮相)적 면으로 이미지를 표상한다. 여기서 풍습의 변화 대상으로 그림을 그리는 것은 하나의 대상으로 보이는 또 다른 이미지다. 그것은 공간에서 보이지 않는 작은 조각으로 그려진 대상의 물질로 감추어지고 사라진다. 대상의 작은 조각은 그 형상의 실제로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 공간을 보인다. 이것은 어떤 형상의 의미를 가리키며, 그 작은 대상은 실제 가역할 수 있는 공간을 정의하고 형상의 실제 변화된 움직임에 의해 가려지는 형상의 의미를 가리킨다. 그것은 천과 같은 재료에 주재(主材)된 형상과 빛의 색깔로서 인상적 공간의 필연성으로 한 대상의 자리를 정한다.
그리고 그 자리의 빛과 대상을 멈추게 하여서 풍습 된 페인팅의 구조를 이룬다. 이것은 순간적으로 멈추어선 그 구조의 필연성으로 한 주재적 공간이다. 따라서 그림의 실제적 구조로서 형상이 멈추었던 자리에서의 의미가 가역적 사고 운동으로 형성된다. 이것의 구조로서 의식되는 의미가 공간의 자리를 찾아가는 작은 조각일 뿐이다. 그 작은 조각은 유사한 대상일 때 많은 공간의 자리에서 현상적 물성으로 공존한다. 그 자리 하나의 현상과 다른 의미가 교차하는 의중 운동으로 여러 개의 공간 속으로 그 자리가 끼워진다. 이것은 자리의 공간 안에서 의중 운동으로 또 다른 자리를 연쇄하여서 만들어낸 쓰레드 페인팅 <나팔꽃>이다. 여기서 공간의 자리는 사라지고 그곳에 자리했던 나팔꽃은 빛의 색깔로 변신한다.
그러나 빛의 형상이 그림의 의미 효과로써 지난 공간에서 사라진 천과 같은 재료에 빛의 색깔로 그림 선택한다. 여기서 그림은 나팔꽃의 표면을 빛과 연결하는 공간 안에서 그 빛을 선으로 바꾸어 이미지를 왜곡시킨다. 따라서 보이지 않는 선 공간의 구성은 꽃을 그릴 수 없으므로, 미누현대미술관 미디어아트<제백석, 나팔꽃>의 시작 화면은 도입부 공간으로서의 실제 구조가 아니므로 줄기와 잎을 스케치하고 꽃을 그려가며 선 공간을 구별한다.
정지된 미디어아트에서 대상을 구별하는 빛의 모양을 실로 그려낸 것이 쓰레드 페인팅이다. 이것은 풍습 된 대상을 구도로 한정할수록 공간을 이어주는 대상의 자리가 빈자리가 되기 때문에 스케치 위에 시침질 선으로 한정된 구조로서 자리에 숨겨진 천의 내면을 치장하여서 예술적 형상의 작은 조각으로 공간의 의미를 찾는다. 이렇게 <나팔꽃>은 천과 같은 재료에 그린 그림으로써 대상의 필연적 공간성으로 한 추상적 자리를 구성함으로써 실제의 풍습 된 회화 예술로서의 미적 가치를 획득한다.
또한, 회화성에 기반을 둔 원본성과 프로세스 미디어아트의 형상성을 가지고 미디어아트 이미지로서의 스틸 영상을 시간성에 맞추어 그려내는 쓰레드 페인팅은 원작의 또 다른 독창성을 가진다. 이것은 모니터로 보이는 콘텍스트(con·text)로써 정지된 각각의 영상 이미지를 쓰레드 페인팅으로 그려낸 원화이기 때문이다. 그것은 페인팅과 같은 예술적 의미가 있는 조형적 쓰레드 이미지로서 다양한 전시성을 가진다.
전시 공간의 자리에서의 물리성에서 가역된 시간성은 빛의 색깔로써 자리를 만들고 그 자리의 빛의 색으로 인식된다. 추상적 빛의 공간은 물질적 대상의 구조를 엿볼 수 있지만, 그 자리는 대상의 주체가 그 시간성의 변화에 따르는 공간의 여백이 된다. 그 여백은 추상적 공간이지만 페인팅의 주체가 말하는 가역된 빛의 색깔로 그려짐에 따라 그 여백에 숨겨진 대상의 자리를 만든다. 이것은 페인팅이 대상에 대하여 공간의 빛을 형상화한 이미지와 일치되도록 대칭적인 공간의 필연성에 따라서 정해진 대상이 자리다.
대상에 맞춘 이미지의 공간은 여백의 형식으로 한 간극을 천으로 이어진 분리된 공간을 만들고 그 천의 위에 그려진 색채가 여러 개의 빈 공간을 하나의 그림 구조로 교직 된 천과 같은 재료에 그려진 그림의 구조다. 그 이미지는 대상의 자리가 정한 색채와 형상에 따른다. 따라서 그 이미지의 색깔은 대상과 마주했던 풍습적 보편성의 실제를 빛의 색깔로 꾸민다. 이렇게 꾸며진 형상의 빛과 대비되는 어두운 여백의 공간은 주재(駐在)로 만들어낸 그림자다. 여기서 실제의 대상적 존재로서 색깔은 응시로 보이는 풍교된 풍습의 단상이다.
일상적 삶의 장소에서 멈춘 깨달은 물체의 형상을 빛의 색깔로써 형식을 갖추고 분간하기 어려운 반사적 여백의 색깔을 천과 같은 재료에 그린 그림을 연쇄하여서 하나의 그림을 그려낸 것이다. 여기서 색칠된 그림은 관습에 의해 깨우치거나 제자리에 있을 때 색의 형상으로 현실의 존재를 풀어낸다.
그러나 여백의 빈 공간은 시간성을 재현할 수 없어서 대상의 주체에 어울리는 색깔로 보인다. 그리고 그 색깔에 대비된 색점으로 천과 같은 실에 형상의 윤곽을 정한 <나팔꽃>은 지난 공간의 필연성으로 풍습의 친숙함을 포착한다.
<나팔꽃>의 형상적 의미는 그 의미의 색깔은 대상과 마주했던 풍습적 보편성의 실제를 빛의 색깔로 꾸민다. 이렇게 꾸며진 형상의 빛과 대비되는 어두운 여백의 공간은 주재(駐在)로 만들어낸 그림자다. 여기서 실제의 대상적 존재로서 색깔은 응시로 보이는 풍교된 풍습의 단상적 이미지다. 이것은 그 의미는 모방한 꽃을 상징하는 기호적 언어다. 여기서 나팔꽃 이미지는 라캉적 의미의 결과로써 비실재 공간에 기호화된 의미의 조각이다.
미디어아트 영상展: 현대 이미지 설치 미술가 & 미디어아티스트 최철주 개인전
Media Art conceptual artist Louis Chul-joo Choi’s Media Art Video Display: <최철주 나팔꽃>, <사라진 연못>, <대나무 숲>, <신윤복풍주밀회도(申潤福風晝密會圖)=최철주의 송하선인취생도>, 20201126-20201210, Minoo Media Art Museum
현대 설치 미술가, 이미지 개념 설치 미술가, 미디어 아티스트 & 개념 미술가 최철주의 현대 개념미술 은 초기 개념미술의 이미지 개념으로 한 회화성의 복귀다. 즉 미디어아트 회화 작품으로 생성하는 개념미술이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 의미적 가치를 말한다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다. 반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로서 최철주의 개념미술은 시사만평으로 개념의 의미를 라캉적 회화속에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 여기서 라캉적 회화는 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 회화성을 말한다.
미누현대미술관의 미디어아트 영상 전시에서 루이의 <나팔꽃>은 완성된 작품을 해체하고 결합하는 과정뿐만아니라 쓰레드 페인팅까지 그려내며 미디어아트와 그 과정을 담은 이미지를 만들어내고 있다.
<나팔꽃>은 꽃의 자리를 디자인하고서 그 꽃의 형태에 의존하는 잎과 줄기의 자리를 정했다. 그 자리는 꽃의 구도로서의 줄기를 꽃에 맞춘다.
전체 이미지에서 줄기와 잎의 구조로 꽃을 그리는 과정을 보여주는 미디어아트 제백석의 <나팔꽃>과 달리 나팔꽃의 꽃을 시작으로 나머지 구조를 디자인한 미디어아트는 미디어아티스트 최철주의 <나팔꽃>이다. 그는 정해진 존재, 즉 순간적인 우연의 일치에 의존하는 꽃의 자리를 디자인한다. 이것은 대기(大氣)의 묘사 없는 미디어아트와 페인팅에 실제화한다. 여기서 기계적으로 재현되는 오리지널 미디어아트를 제작하는 과정에서의 타자의 응시로써 그려낸 형식이 쓰레드 페인팅(thread painting)이다. 그 쓰레트 페인팅을 디자인하는 것은 라캉적 환유와 은유로서의 페인팅 과정에 적용하는 것이다.
이렇게 은유적 이미지가 하나의 기표가 다른 이미지로 대치되면서 원래 페인팅이 타자의 욕망을 기호화된 의미로서의 쓰레드 페인팅이 된다. 이 페인팅은 물체를 마주보는 과정에서 빛의 부피를 형상화하고 물체의 그림자를 관념적으로 묘사하고 있다.
또한, 그는 쓰레드 페인팅에서 조형의 구조를 “형상을 구성한 실은 대상을 설명하지 않고 연쇄된 실이 조형적 구조가 되면서 조형적 의미가 소급되어서 실에 색이 교직된 회화적 쓰레트 페인팅의 구조”라고 했다. 그 구조의 색은 시간의 거리를 주어서 표식하지 않고 퇴색된 본디의 조형 구조로 간주하여 보임으로서 숨겨져 있는 미적 가치를 보인다. 그리고 개념미술의 문학성을 넘어서 쓰레드 페인팅으로써 조형성을 비등(沸騰)하고서 남겨진 실을 그려서 새로운 조형의 구조로서 색으로 매듭한다.
선형의 구조가 특정한 색에 적응할 수 있도록 실에 그 색의 구조를 실에 넣어서 색을 가려 막는 매듭으로서의 조형을 특정한 색에 조응할 수 있도록 선형적 구조의 색이 존재한 조형을 구성한다.
따라서 ‘쓰레드 페인팅’은 개념미술의 지나친 문학성을 부정하는 선형적 미학을 추구하는 천에 실과 페인트를 칠한 그림이다. 그림은 위아래와 앞뒷면을 구분하지 않는 다면화다. 그 이미지는 실제 모양과 피사체와 일치하는 가시적인 측면으로 표현된다.
여기서 풍습의 변화 대상으로 그림을 그리는 것은 하나의 대상으로 보이는 또 다른 이미지다. 그것은 공간에서 보이지 않는 작은 조각으로 그려진 대상의 물질로 감추어지고 사라진다.
대상의 작은 조각은 의식 운동을 통해 전달되는 실제 공간에서는 사물의 실제 이미지로 변환된 상징적인 이미지로 보인다. 이것은 어떤 형상의 의미를 말하는데, 작은 조각은 실제로 되돌릴 수 있는 공간을 정의하고 형상의 의미를 말하는데, 형상의 실제 변화된 움직임에 의해 가려진다. 그것은 천과 같은 재료에 주재(主材)된 형상과 빛의 색깔로서 대상의 자리는 그 대상의 자리를 숨길 수 있는 공간의 필연성에 의해 대상의 자리가 결정된다.
미디어아트 전시 공간의 자리에서의 물리성이 갖는 가역적 적시성은 빛의 색으로 공간을 만들고 빛의 색으로 대상의 자리를 인식하는 것이다.
추상적 빛의 공간은 물질적 대상의 구조를 엿볼 수 있지만, 그 자리는 대상의 주체가 그 시간성의 변화에 따르는 공간의 여백이 된다. 그 여백은 추상적 공간이지만 페인팅의 주체가 말하는 가역된 빛의 색깔로 그려짐에 따라 그 여백에 숨겨진 대상의 자리를 만든다. 이것은 페인팅이 대상에 대하여 공간의 빛을 형상화한 이미지와 일치되도록 대칭적인 공간의 필연성에 따라서 정해진 대상이 자리다. 그리고 대상에 맞춘 이미지의 공간은 여백의 형식으로 한 간극을 천으로 이어진 분리된 공간을 만들고 그 이미지의 색깔은 대상과 마주했던 풍습적 보편성의 실제를 빛의 색깔로 꾸민다.
▲ Choi Chul-joo, a thread painting with a modified embroidery structure (embroidery: Jang Hea-sook)
Louis Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting
* The thread painting process designs a fixed place of existence where ink spreads from a fixed place of an object, that is, a place of an object that relies on instantaneous coincidence. This is implemented without describing the atmosphere in media art and painting. Here, in the process of producing an abstract image reproduced by the concept of desire, it is a picture in the form of a thread painting drawn from the perspective of another person's desire.
▲ [Artist Promotion/ Choi Chul-joo Log-type Design 1 = Embroidery: Jang Hea-sook, Artist Log-type Design: Choi Chul-joo] Log-type Design for Artist Promotion: An Example of a Log-type Design in which Contemporary Art Designer Choi Chul-joo used the work of an artist as a Contemporary Art Design : A Log-type Design Case Using Contemporary Art Design with the motif of artist's work]
▲ [Artist PR/Choi Chul-joo Log-type Design 2 = Embroidery: Jang Hea-sook, Writer Log-type Design: Choi Chul-joo] Log-type Design for Artist PR
* The log-type design for promoting the artist's image is an image design that expands the position of the painting in the actual work of painting. As a promotion for the artist, the image of the artist's work is promoted on business cards and document envelopes applied with a log type.
▲ [Artist promotion / Choi Chul-joo Log-type Design 3 = Contemporary art Artist Log-type Designer: Choi Chul-joo] Installation Art Artist Log-type
* This log type was designed in the process of signing a contract as the head of the Art Institute Jang Hea-sook, and the contract was canceled due to the circumstances of artist Jang Hea-sook.
* The definition of a thread painting is a method of manually drawing the image created by the desire art 'morning glory' on the shape of the cloth reflected on the back, and additionally embroidering the shape to repeatedly draw the picture. In other words, it is a picture that broadens the position of a structure of unrealistic desire that appears to be shaded in a thread, and illuminates the desire with reversible light reflected from a small hole in the fabric.
* The figurative meaning of 'morning glory' in thread painting is that the color of its meaning is the desire color of light, and the reality of universality in looking at the object is decorated with the color of light. The space in the light, in contrast to the light in this decorated shape, is a shadow drawn so that the desires of others stay. Here, as a real object being, color is a single-phase image of stylized desire viewed through the gaze. Its meaning is a symbolic language symbolizing an imitated flower. Here, the morning glory image is a piece of desire meaning symbolized in an unrealistic space as a result of the desired meaning.
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.
Choi Chul-joo, morning glory, 135X156cm, acrylic and composite materials on cloth, 2022
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, <morning glory> which was created by repeating another space as an thought movement in the space of positioning.
<morning glory> painted on a cloth composed of thread
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.
Louis Chul-joo Choi’s thread painting: morning glory e-002 still image / *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum
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 Choi Chul-joo, 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 desire'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.
media-art painting; Louis Chul-joo Choi's "The morning glory e", a hand-painted picture on a computer, 2020.
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, morning glory 2022-c-back, 135X156cm, acrylic and composite materials on cloth, 2022
The meaning of a desire object generates meaning as a thought movement that combines and replaces the effects that emerged from the chain of desire languages.
In other words, after creating an image of a desired object <thread painting: morning glory 2022-c-back>, the design is repeated to create a connection structure between the image and the image drawn with another shade of light, revealing the deficiency structure of the desired object, and allowing desire to appear through semantic action instead of not acting as a lack of meaning, that is, resistance to semantic action.
The image formed by the deficiency is the same as what the infant saw in front of the mirror, and the image of the object and the image of the object identified in the imaginary world are identified internally as the same subject, and the subject forms a transformed image of itself. This <morning glory 2022-c-back> is a phenomenal image, and the shadow of the real object and the desire object brightens or disappears in a reversible shade of light in an empty space.
It is an image that is lacking as an object as an image that is satisfied as a child in the image of an object of reality.
By confirming the structure of the phenomenal reality that does not exist in empty space on the back of the object, the reality of the object is an image of reality reflected in the mirror. In other words, the image of the phenomenal reality may be an image of the image of the reality as a metaphor reflected in the mirror or an image that appears as a virtual shade as another image.
Therefore, in the concept of desire that Choi Chul-joo refers to, the metaphor does not compare an object, but as one image is replaced with another, the original image becomes the meaning of reality. Like Cézanne, a similar form can be seen after revealing a public form rather than an imitative painting attributes an object to a form.
The place where its meaning is fixed becomes a fixed point where desire and reality intersect as a divided subject by repeating the image of desire from unconscious desire to the divided subject.
The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.
And by simplifying the opposing forms in the painting into a landscape of desire, the object is divided into planes, and the desire to hide reversible light at the intersection of light and shade is adjusted by color.
There, the space composed of reversible shadow light disappears, and the morning glory in the painting turns the color of light.
However, due to the meaning effect of the picture, the picture is selected with the same material as the color of light or the fabric that disappeared from the past space. Here, the picture distorts the image by converting light into a line within the space connecting the surface of the morning glory and 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 still image / *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 Choi Chul-joo, former head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Doctor of Cultural Design)
contemporary conceptual artist Louis Choi Chul-joo
▲ Choi Chul-joo, a thread painting with a modified embroidery structure (embroidery: Jang Hea-sook)
Louis Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting
* The thread painting process designs a fixed place of existence where ink spreads from a fixed place of an object, that is, a place of an object that relies on instantaneous coincidence. This is implemented without describing the atmosphere in media art and painting. Here, in the process of producing an abstract image reproduced by the concept of desire, it is a picture in the form of a thread painting drawn from the perspective of another person's desire.
* The definition of a thread painting is a method of manually drawing the image created by the desire art 'morning glory' on the shape of the cloth reflected on the back, and additionally embroidering the shape to repeatedly draw the picture. In other words, it is a picture that broadens the position of a structure of unrealistic desire that appears to be shaded in a thread, and illuminates the desire with reversible light reflected from a small hole in the fabric.
* The figurative meaning of 'morning glory' in thread painting is that the color of its meaning is the desire color of light, and the reality of universality in looking at the object is decorated with the color of light. The space in the light, in contrast to the light in this decorated shape, is a shadow drawn so that the desires of others stay. Here, as a real object being, color is a single-phase image of stylized desire viewed through the gaze. Its meaning is a symbolic language symbolizing an imitated flower. Here, the morning glory image is a piece of desire meaning symbolized in an unrealistic space as a result of the desired meaning.
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.
Choi Chul-joo, morning glory, 135X156cm, acrylic and composite materials on cloth, 2022
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, <morning glory> which was created by repeating another space as an thought movement in the space of positioning.
<morning glory> painted on a cloth composed of thread
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.
Louis Chul-joo Choi’s thread painting: morning glory e-002 still image / *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum
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 Choi Chul-joo, 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 desire'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.
media-art painting; Louis Chul-joo Choi's "The morning glory e", a hand-painted picture on a computer, 2020.
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, morning glory 2022-c-back, 135X156cm, acrylic and composite materials on cloth, 2022
The meaning of a desire object generates meaning as a thought movement that combines and replaces the effects that emerged from the chain of desire languages.
In other words, after creating an image of a desired object <thread painting: morning glory 2022-c-back>, the design is repeated to create a connection structure between the image and the image drawn with another shade of light, revealing the deficiency structure of the desired object, and allowing desire to appear through semantic action instead of not acting as a lack of meaning, that is, resistance to semantic action.
The image formed by the deficiency is the same as what the infant saw in front of the mirror, and the image of the object and the image of the object identified in the imaginary world are identified internally as the same subject, and the subject forms a transformed image of itself. This <morning glory 2022-c-back> is a phenomenal image, and the shadow of the real object and the desire object brightens or disappears in a reversible shade of light in an empty space.
It is an image that is lacking as an object as an image that is satisfied as a child in the image of an object of reality.
By confirming the structure of the phenomenal reality that does not exist in empty space on the back of the object, the reality of the object is an image of reality reflected in the mirror. In other words, the image of the phenomenal reality may be an image of the image of the reality as a metaphor reflected in the mirror or an image that appears as a virtual shade as another image.
Therefore, in the concept of desire that Choi Chul-joo refers to, the metaphor does not compare an object, but as one image is replaced with another, the original image becomes the meaning of reality. Like Cézanne, a similar form can be seen after revealing a public form rather than an imitative painting attributes an object to a form.
The place where its meaning is fixed becomes a fixed point where desire and reality intersect as a divided subject by repeating the image of desire from unconscious desire to the divided subject.
The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.
And by simplifying the opposing forms in the painting into a landscape of desire, the object is divided into planes, and the desire to hide reversible light at the intersection of light and shade is adjusted by color.
There, the space composed of reversible shadow light disappears, and the morning glory in the painting turns the color of light.
However, due to the meaning effect of the picture, the picture is selected with the same material as the color of light or the fabric that disappeared from the past space. Here, the picture distorts the image by converting light into a line within the space connecting the surface of the morning glory and 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 still image / *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 Choi Chul-joo, former head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Doctor of Cultural Design)
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Contemporary art designer Louis Choi
Contemporary art designer Louis Choi Chul-joo art work 19
현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [19] Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./ Contemporary Art & modern artist news abstraction [16] Contemporary Artist Choi Chul-joo's Korean News Cartoon Review & Abstract Painter Conceptual Art Abstract Painting Art Review / Dr. Chul-joo Choi's editorial cartoon line news Review of Korean News Cartoon: K-pop star [7] TV (SBS)'s popular, Rocket Punch's exciting "bimbamboom". (2019.8.18.) / Reporter Choi Chul-joo’s Cartoon Review
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, Rocket Punch's exciting "bimbamboom", 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
■ Dr. Chul-joo Choi's editorial cartoon line news Review of Korean News Cartoon: K-pop star
. TV(SBS)'s popular, Rocket Punch's exciting "bimbamboom."
. La télévision(SBS), populaire, le « bimbamboom » de Rocket Punch.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest169-Rocket Punch's exciting "bimbamboom", 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, In front of the bamboo forest b169 -Rocket Punch's exciting "bimbamboom": By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest b169 -Rocket Punch's exciting "bimbamboom"-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light./ Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p117-4> 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 <Rocket Punch's exciting "bimbamboom"-pond> 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.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p117-4-Rocket Punch's exciting "bimbamboom" : By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p117-4> 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 <Rocket Punch's exciting "bimbamboom"> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Final image superimposed on the artist's work: Louis Choi Chul-joo, pond s3, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 169, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest b169, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p117, a hand-painted picture on a computer
Louis Chul-joo Choi, morning glory window 2024-9-the gaze of desire, 160X113cm, acrylic and composite materials on cloth, 2024
The gaze of desire appears as an image that affects abstract values from the universal perspective of desire as a subject. The image of the subject is the image that meets the morphological criteria that the desire of the abstract concept constitutes. The image adjusts the compositional form to reversible temporality by adding abstract desire to the concept and compositional form of desire.
This represents an image in an abstract sense as a correlation of facts intuitively designed by abstract desires.
According to the process of Choi Chul-joo's concept of desire, the image defines the abstract meaning as a real image by determining the object that exists in the meaning and embodying the abstract formative element. In other words, it takes the meaning of existence by inductively inferring the meaning of abstraction as a real image from verbal abstraction.
In addition, the concept of desire is abstracted from the perspective of an image to the outside of real, and the image of reality as an object of abstraction is designed as the correlation between real and real. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire.
In this way, Choi Chul-joo's Desire Concept Design Process 1 does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with the real image to escape the misunderstanding that transfers from the abstract concept to the real structure.
The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as the shade of the concept of desire resulting from the real image. In addition, the conceptual process 2 of Choi Chul-joo's desire follows the process of decorating the object with the color of universal reality suitable for custom in order to have an aesthetic value suitable for its position as a single image.
The aesthetic structures obscured by realistic colors are distinguished by clouds and obscured by shaded light, obscuring abstract concepts in real images.
In "Gaze of Desire", the morning glory background and the woman of desire abstracts the morning glory background as a stage of desire and creates an abstraction that contrasts with the past and desire that stopped with the color of desire.
The abstraction takes on the form of women in the past and present stopped by desire, and is a form of desire for women in the same linguistic sense as the female abstraction of the past and the female reality of the present. The background of the morning glory that existed in place of its appearance seems to be a viewpoint shot of desire.
The politician's perspective practices ethics in the public interest in the name of the interests of voters seeking power, but girl group singers have musical talent first. Their YouTube views are higher than those of politicians. Nevertheless, politicians broadcast on YouTube to increase their value by contacting voters as Internet users.
The force in the direction acting on the YouTube screen is a vector.
In the politician broadcast screen, a vector in which shorts in a certain direction are connected only shows continuity, but does not reveal the concept of desire. On the other hand, the girl group broadcast screen can visualize the concept of desire in vectors in multiple directions by shorts in opposite directions. The vector is a motion vector as a force in which a line of desire's gaze is connected to the subject changes the dynamic direction between the subject and another object. It symbolizes the concept of desire as a visual vector as a movement in various directions.
Therefore, YouTube videos of girl groups with high motion vectors get more favorable responses than those of candidates for Seoul mayor.
Here, the image of the concept of desire is a psychological vector, and the involuntary desire is another gaze, staring at the concept image.
Recognizing the image as abstraction is the result of an image based on the correlation with desire as an object of reality in the process of representing a subject of a desire structure created in a social environment as a being in the past.
In other words, the subject who painted abstraction implements the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image.
Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is the design process 3 of the concept of desire abstract art that repeatedly designs desires that combine lines and colors in thoughts but are not conscious as unconscious actions.
The unconsciously abstract concept of desire is a sculpture image of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image.
The image is the design process 4 of the concept of desire abstract art that constitutes a space of desire by combining it into a reversible light structure through conscious movement of flat monochromatic painting carved from reality.
This is Choi Chul-joo's concept of desire Abstraction. The concept of desire Abstraction created by the design process of art reveals a desire object as another skewed reality in the perspective visual system.
Until modern times, Cartesian consciousness recognizes objects that have been identified as verbal meanings through conscious action and correlations between meanings and objects, but Choi Cheol-joo's concept of desire expresses verbal abstraction as a real image as a semantic correlation. Therefore, the real image of the concept of desire is regarded as an abstraction independent of the phenomenon.
Here, the "desire gaze" creates a metaphysical image in which the object of a desired existence generates the subject of that existence, and creates a structure of unconscious desire with the image in a reversible shade of light. And it faces the gaze of looking at the abstraction in which the structure is painted.
Abstraction drawn in this way is a linguistic meaning, and an abstract object that deviates from generality abstracts the image expressed through the desire revealed in the unconscious of the other into a structure of meaning. And it gains aesthetic value by autonomously choosing the desires of others as beings and creating a desire object as another structure of a desired form.
The structure of unconscious desire and the image created by another form of desire are the structure of the subject's desire unconsciously expressed by the image that appears to be an object of the desires of others.
As the abstraction of the concept of desire that embodies the structure as an image is repeatedly drawn, abstraction is separated from the object of desire and exists as a real image by connecting reality to the abstraction drawn by impulsing the desire that is lacking as the subject of desire.
The image is identified with the real image as the subject of desire and forms the meaning of the other abstracted from the concept of desire. This is the imagination enjoyed in the realm of motherhood as an infantile imagination. Here, the correlation with objects seen in infants is achieved through a shared relationship with the desires of others in the realm of protection. This is where a politician who hides desire and wears a false mask expresses the linguistic meaning of the imagination of reality.
Therefore, by viewing the imagination as a metaphor as an object reflected in a mirror, infants abstract from the linguistic semantic structure to create an object of desire as an image that satisfies the image of an actual object and an image as an infant.
Politicians are the users who cover their faces, hide their misaligned desires, and reveal heroic aspects. They embody social desires by wearing masks that represent the desires of others.
This is a direct effect that mediates the desires of others who embody the desires of politicians as an object of social desire, and as a result of the concept of desire, abstracts the representational real image of the object indicated by experience.
In other words, it interprets the actual image in which the concept of desire affects behavior as an abstraction as a correlated action. This interprets the concept of desire as an allegory that goes beyond abstract symbols in reality with similar linguistic meanings.
However, for politicians, masks only reveal images of faces tailored to voters' desires, like ornaments on election grounds that avoid voters' eyes.
This is a symbolic impression of a politician as a still mask image with the desires of others as the subject.
As a symbolic correlation with the voter's subject, the desire of the other is specified as an abstract reality structure transferred from an irreversible and still symbolic image. Then, an abstract space suspended in the shadow of reversible light is created, and the sound of desire is abstracted from the movement of light that forms that abstraction.
The sound of desire is clearly conceptualized as a text, and the concept is inductively visualized as an abstract image of desire as a universal sphere. This is similar to the meaning of desire delivered as a text image.
This recognizes only the concept of desire, excludes the image, embodies the concept, and instantaneously meets and imitates the abstract image as reality through the distinction between meaning and reality. And through the realistic image, the momentary encounter with reality is achieved, and the abstract image as reality is modeled.
In cartoons that have satirized politics since modern times, the sound has been expressed with oval speech balloons
Comic sound expression uses speech balloons to convey the subject's intention through text. Therefore, visualizing the concept of desire shows meaning through abstraction.
The abstraction is a real image that avoids decomposing shape into lines and colors.
This does not separate the shape components like cubism, but creates a place of desire separated by the shadow of reversible light and is fixed as an abstraction of a real image as a conceptual art of desire. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)
Louis Choi chuljoo, Rocket Punch's exciting "bimbamboom" 5 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Dr. Chul-joo Choi's editorial cartoon line news Review of Korean News Cartoon: K-pop star [7] TV (SBS)'s popular, Rocket Punch's exciting "bimbamboom". (2019.8.18.) / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory ' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality. ▶TV(SBS)'s popular ._ La télévision(SBS), populaire
