Contemporary art work review examples [2/ 16~20] Contemporary Art Critic Lo

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Contemporary art work review examples [2/ 16~20] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Picture speaking language structure is a gaze reality image in which the image of abstract desire appears to be the semantic structure of the concept of desire. Modern art critic Louis Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with his desire conceptual abstract design along with contemporary art criticism. His criticism is a visual art abstract art theory in which the artistry of photography, cartoons, art, and design approaches the meaning of the work in language structure and criticizes the reality of the concept of desire. Pop Art Cartoon Abstract Painting & Art Review Modern Painter Work : Contemporary art review: Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism [2] Modern Painter Artworks Art Review : 'Morning Glory' by Contemporary Abstract Artist Louis Choi Chul-joo / Realistic Abstract Design Review with Desire Conceptual Art as a Realistic Structure and Treacherous Conceptual Art : Pop Cartoon Review/ Cartoon designer Choi Chul-joo, Contemporary Art, abstract painting & Webtoon Design Art Works newsmanwha K-Pop Song illustratoin [15] SSAK / Art trend & review: Media artist and contemporary artist Choi Chul-joo's New York exhibition / Modern abstract artist Chuljoo Choi's <Morning glory p42-2> 2022 Exhibition in New York

Louis Chul-joo Choi, morning glory p42-2-What's the point of playing!, a hand-painted picture on a computer

Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to eval‎uate the value of life.

It's a work of art as a treacherous conceptual art called realistic abstraction, the cartoon news of modern art abstraction.

Abstract painting as a treacherous 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 rib images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon rib image as an image. (*Cartoon rib image, that is, an image that emphasizes the hidden meaning of the cartoon)

Chul-joo Choi, SSAK6, a hand-painted picture on a computer, 2021

Treacherous Conceptual Artworks : Chul-joo Choi, morning glory p42-10-What's the point of playing!, a hand-painted picture on a computer, 2022

▒ Cartoon designer Choi Chul-joo's cartoon design news: cartoon design of cartoon review one sentence news

Chul-joo Choi, SSAK1, a hand-painted picture on a computer, 2021

Chul-joo Choi, SSAK4, a hand-painted picture on a computer, 2021

■ Manwha Designer Choi Chul-joo’s Cartoon News

- Chul-joo Choi’s Manwha(cartoon) Review: one sentence news & news manwha design

. What's the point of playing!

. Quel est l'intérêt de jouer ?

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, morning glory p42-10-What's the point of playing!, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, morning glory p42-10-What's the point of playing!, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p42-10-What's the point of playing!: By repeatedly applying the concpept 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 p42-10-What's the point of playing!> 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 <Louis Chul-joo Choi, morning glory p133-1-37-Time goes by, and Only the mind is urgent, a hand-painted picture on a computer, 2025> 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 <Louis Chul-joo Choi, morning glory p138-9-What's the point of playing!, a hand-painted picture on a computer, 2025> 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.

Louis Chul-joo Choi, morning glory p138-9-What's the point of playing!, a hand-painted picture on a computer, 2025

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, morning glory p42-2-What's the point of playing!, a hand-painted picture on a computer

■ Contemporary Artist Painting Review [2] Contemporary Art Review & Realistic Abstract Design Review with Desire Conceptual Art as a Realistic Structure and Treacherous Conceptual Art : What's the point of playing! / 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. ▶playing._ Joue

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[Additional writings and Paintings]

미술평론 뉴스-신작읽기/Art Review News- Reading New Works: 현대미술 회화 디자인: 개념적 의미 구조의 추상화로 디자인된 현대미술 작품 11 - 현대 추상화가 루이 최철주 나팔꽃 뉴욕 전시/ Modern abstract artist Chuljoo Choi's <Morning glory p42-2> Exhibition in New York

현대 미술평론: 유명한 화가, 한국 화가, 현대 화가, 현대미술가 & 한국 현대 미술평론가 최철주 현대미술 작품 신작읽기 The artwork posted on Facebook: 미디어 아티스트, 현대미술가, 개념미술가, 현대미술 작가 & 한국 화가 루이 최철주 2022 뉴욕 전시 라캉적 미술평론

루이 최철주의 배반적 개념미술 추상화 ■ 구상 형태를 선과 색에 맞추는 개념미술에 배반적이다. ■ 최철주의 추상화 디자인 프로세스/ 추상화 <나팔꽃>에서 라캉의 미술 이론을 그 추상화에 연쇄하여서 기표 이미지를 기의 이미지로 전환하고자 라캉의 미술 이론을 형식화한다. 이것은 라캉의 상상계와 환유공식을 반복 적용하여서 타자의 욕망을 회화에 발현하는 의미를 가지며,

여기서 생성된 이미지는 피사체의 입면으로 정시되는 도면을 제외한 형태로 왜곡된 시선으로의 교차점에서 전체 피사체가 일정한 방향의 빛으로 보이는 하나의 형상이다. 그 형상에 라캉 미술이론을 적용한 결과로서 타자의 욕망을 조형미에 접근한다. 이것은 타자의 욕망이 하늘에 감춰진 빛에 있지만 피사체의 자리가 땅위에 있다. 따라서 형상이 없는 하늘과 땅이 실재라면 사실적 욕망의 구조는 지잔 시간에 존재했던 사건의 현장을 그린 존재적 추상이다. 그 추상의 대리자로서 가역적 빛의 음영으로 생성된 <나팔꽃>은 욕망의 구조로서 정해진 형태가 개념의 존재를 인식하게 만드는 사실적 비실재의 이미지로서 미적 가치를 얻는다.

■ 최철주 <나팔꽃 윈도우>는 주제의 대상이 아니고 타자의 욕망 공간적 배경이다. 가역적 빛의 셀재를 맞추고 그 빛의 실재를 감추는 흰색을 통해서 비실재의 구름을 만들고 실재의 음영을 가린다. 그 음영에 틀로서 윈도우는 음영에 숨긴 무늬를 볼 수 있도록 그림자를 통해서 실재의 색조를 조명하고 그 실재의 형상을 존재로서 인식하게 한다.

존재로서 형상을 보는 것은 하늘처럼 일관된 삶의 공간을 보는 것과 동일하다. 그 삶의 공간을 대리하는 만평과 연결하지만 비평하고 판단하지 않고, 사건의 사진으로 실재를 재현하여서 상징하는 대상의 실재를 배반적 개념미술로 구조화하여서 그 개념을 추상한다.

(배반적 개념미술 추상화 최철주미술이론 ACN ・ 2022. 12. 24. 17:11)

Louis, morning glory p42-2, a hand-painted picture on a computer, 2022

배반적 개념미술 추상화 루이 최철주 <나팔꽃> 미술 평론

라캉적 주체를 드러내는 것은 결여된 주체로서 오브제ɑ를 드러냄이다. 이것은 추상화 <나팔꽃>에서 타자의 욕망을 주체로 한 형상에서 재구성된 결여를 대리하는 피사체 다. 그 피사체에 음페된 결여를 상징하는 주체의 이미지를 드러내는 프레임을 구성하고 유아가 비존재에서 벗어나 주체로서 실재를 선택하려고 그 프레임 속에 가역적 빛의 음영으로 오브제ɑ를 생성한 것이 <나팔꽃 윈도우> 다.

이것은 사실적인 실재로 귀결한 욕망의 물리적 구조다. 그 구조는 입체적 형태에서 여러 개의 왜상적 단면을 갖고서 개념미술로 한 회화적 이미지를 하나의 개념에서의 오브제로서 의미 구조의 다면적 이미지로 추상한다. ( ACN ・ 2023. 6. 22. 23:13 <나팔꽃 윈도우> 주체 이미지: 최철주추상개념미술이론)

<morning glory p42-2>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 라캉의 오브제ɑ다.

뉴욕(Flushing Town Hall & Yeomyeong Hall)에서 한국 확가 루이 <나팔꽃>개인전 관련 현대미술 추상화 작품으로서 디자인 컨셉으로 한 포스터를 제작하여서 이것을 라캉적 의미 구조로서 형상의 디자인 즉 회화의 전시 포스터 이미지를 기호화한 현대 추상화다.

이미지를 재구성한 형태로서 <morning glory p42-2>의 이미지와 색은 시간의 거리를 주어서 표식하지 않고 가역된 빛의 음영의 상상적 조형 구조로 형상하여서 함으로서 숨겨져 있는 형상의 미적 가치를 보인다.

그 형상의 구조를 가역적 빛의 음영으로서의 조형을 형상적 구조에 개념만평으로 존재한 조형을 재구성한 그림이다.

이것은 회화적 비실재성과는 다른 존재성과 실재성의 이중적 개념이다. 이러한 기표 이미지는 실재적 이미지들의 조합에 의하여 형성된 라캉적 이미지와 실재로서의 오브제ɑ가 전체적 이미지에서 동일관계를 형성한다. 그것은 응시로써 드러난 오브제ɑ는 실재로서의 조형물로 만들어진 것이지만 시각적 형상의 이미지는 가상적인 비실재이다. 즉 전시공간에서 라캉적 디자인으로 설치된 이미지가 평면적으로 시각화되는 추상화를 말한다. 이것은 퍼스펙티브 이미지를 사진이미지로 이해하고 그 이미지에 재현시킨 것과 같은 추상이기 때문이다.

따라서 사진적 이미지를 개념만평의 미술성으로 한 형상적 미학을 추구하는 퍼스펙티브 구조에 페인트한 추상화 다. 그 추상화는 라캉의 미술이론에 등장하는 유아를 병아리로 전이하여서 풍습에 의해 만들어진 대상의 실제 형상을 배경으로 그려진 이미지다.

그 이미지의 의미를 드러내는 것을 라캉은 말한다 “기표화 연쇄 속에서 환유(métonymie)와 은유(métaphore)라는 두 가지 기표들의 결합방식을 따른다. 환유는 기표를 다른 기표가 대체하여 발생한다.

(E IL= Jacques Marie Émile Lacan, "L'instance de lalettre dans l'inconscient oh laraison depuis Freud", in, Ecrits, Seuil, 1966., 507)

환유된 추상은 상상계처럼 기표의 형태가 갖는 절대적인 의미를 보이는 은유로서 모방적 회화의 범주를 넘지 못하고 사실적 이미지로 추상한다.

사실적 이미지로서 기표가 갖고 있는 의미의 형태는 기표의 차이성을 동일한 의미로 추상하여서 의미를 실재화한 상상적 추상화 다. 그 추상화는 실재에서 벗어난 새로운 개념의 도입을 통해 실재에서 분리된 또 다른 실재를 이미지화 한다

비사실적 실제의 형상을 가역적 빛으로 생성된 배경의 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 2022 뉴욕 전시 나팔꽃 포스터 42-2)는 타자의 욕망을 시간성에 감춘 이미지를 가역적 빛의 음영으로 배경의 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화한다. 여기서 형상의 실제 변화된 움직임에 의해 가려지는 개념적 추상의 의미 즉 거울속의 이미지는 가상적인 비실제의 이미지로서 타자의 무의식적 욕망의 자리를 추상적 이미지로서 실재화한 오브제ɑ 다.

이것은 그 이미지의 의미를 드러내는 것을 라캉의 환유공식으로 한 “기표화 연쇄 속에서 환유와 은유라는 두 가지 기표들의 결합방식을 따른다. 환유는 기표를 다른 기표가 대체하여 발생한다.(E IL, 507)"

보이지 않는 실재로서의 추상은 보이는 은유의 형태적 기표가 상징적 의미로 한 추상화로 실체적 형상 이미지의 기의가 타자의 욕망으로 실체화된 형상적 의미를 말한다. 그 의미는 사실적 구조를 이루고, 왜상적 배경으로 한 가역적 빛의 음영으로 의미를 구상화한다.

현대미술 작품: 한국 화가 루이 최철주 2022 뉴욕 <나팔꽃> 포스터 42-2

보이지 않는 실재로서의 추상이미지를 개념만평으로 한 <나팔꽃 p42-2>는 전시 포스터 의미로서의 라캉적 특정효과가 발생하는 회화의 추상적 영역은 풍경속에서 응시적으로 기능하는 타자의 욕망을 순간적으로 볼 수있는 이미지다. 그 이미지는 나팔꽃 추상화라는 일관된 의미로 보이게 있는 왜상적 평면성을 가진다. 나팔꽃 추상화는 구상적 형태로서 동일한 의미의 구조로 한 비실재의 사실적 형상을 개념적 의미 구조로서 추상이지만 그 형상이 다른 동일한 의미로서의 추상화된 유사한 색깔과 크기가 다른 사실적 형상의 존재로서 실재한다.

배반적 개념미술로서의 추상화는 미술에서 사실적 구조물로서의 추상화를 말한다. 사실적 형상의 자리에 존재하는 개념적 의미들은 만화 리브 이미지로 구분될 수 있으므로, 추상화는 타인의 추상적 욕망을 만화 리브 이미지로 해석하는 가역적인 빛의 음영을 통해 그려진다.

Abstract painting as a treacherous 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 rib images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon rib image as an image. (*Cartoon rib image, that is, an image that emphasizes the hidden meaning of the cartoon)

Choi Chul-joo, <SSAK-7>, a hand-painted picture on a computer

Louis Choi Chul-joo, morning glory 2021-j, 145X183cm, acrylic and composite materials on cloth, 2021

라캉의 욕망 그래프에서 의미작용의 저항으로한 의미작용을 안하는 것을 대신하여 의미작용으로 욕망이 등장하게 한다.

이것은 라캉 환유의 공식 f(S...S')S=˜ S (-)s 에 따라서 기표<SSAK-7>와 다른 기표를 연결해주는 의미작용의 효과로서 의미가 합동한다.

그것은 라캉 은유의 공식 f(S/S') S =˜ S (+) s 에 따라서 하나의 기표<SSAK-7>와 기표<나팔꽃 2021-j> 가 다른 기표로 대치되면서 원래의 기표로서 <나팔꽃 p42>가 기의가 된다 즉 개념만평으로 한 기표<SSAK-7> 가 다른 기표로 치환한다는 의미를 가진다.

그 의미는 타자의 욕망<morning glory p42-2> 을 모방한 <나팔꽃> 의미를 상징하는 기호적 언어로 추상된 <나팔꽃>으로 디자인된다.

2022 <나팔꽃> 뉴욕 전시/전시작품 & 현대미술 작품: 라캉의 오브제ɑ와 피카소의 아나몰포시스 이미지로 한 현대 추상화가 루이 최철주 개념 미술 추상화: <morning glory p42-2>

비실재로서 개념만평<SSAK-7>의 욕망적 형상이 실재와의 어긋난 만남은 응시로 이루어진 형상의 실제가 추상된 타자의 욕망에 가려지는 추상적 풍경<나팔꽃> 형상의 의미를 대리하는 비실재의 사실적 형상<morning glory p42-2> 을 보인다.

그 형상은 억압된 무의식에서 응시로써 실재를 만나기 위해 주체의 불충분함에서 오브제ɑ를 드러내려고 기대하는 것이다.

즉 주체를 구성하고자 오브제ɑ를 드러냄은 욕망과 타자와의 환영을 주체에 결합하는 것이 응시가 주체로서의 회화에서 빛이 들어나는 점은 응시점이다. 이것을 개념만평 이미지로 매개하여서 회화를 추상한다.

그 추상은 상상계처럼 기표의 형태가 갖는 절대적인 의미를 보이는 은유로써 모방적 회화의 범주를 넘지 못하고 사실적 이미지로서 추상화를 대리한다.

그 추상화에서 라캉적 디자인은 오브제에 대한 시점을 타자의 응시적 시점에서 본 욕망적 관점에서의 시점이다. 이렇게 타자의 욕망에서 응시적 시점으로 드러난 이미지<morning glory p42-2> 는 사실적 비실재의 이미지이다.

그 이미지의 의미를 드러내는 것을 라캉처럼 “기표화 연쇄 속에서 환유(métonymie)와 은유(métaphore)라는 두 가지 기표들의 결합방식을 따른다. 환유는 기표를 다른 기표가 대체하여 발생한다(E IL, 507).”고 했다.

여기서 그 환유는 기표와 기표의 연결구조에서 연쇄화 후 결핍이 드러나게 되고 그 결핍 즉 의미작용의 저항으로한 의미작용을 안하는 것을 대신하여 의미작용으로 은유된 욕망(오브제ɑ) 이 등장하게 한다.

환유의 은유적 대상을 기표로 한 개념만평이 다른 기표로서 <나팔꽃>로 대체된 또 다른 기표가 은유의 대리자 기표로서 추상화와 결합하여서 드러난 이미지 즉 개념적 의미 구조로 한 실재를 추상한다.

실재를 추상적으로 재현하는 추상화는 실재에서 벗어난 새로운 개념의 도입을 통해 실재에서 분리된 또 다른 실재의 의미를 이미지화 한다. 그 추상화에서 원근법적 시각체계에서 인지할 수 있는 형상인데 반해 실재의 의미는 왜상적 배경으로 대조를 이룬다. 여기서 원근법적 이미지는 사실적 구조를 이루고, 왜상적 배경은 가역적 빛의 음영으로 이룬 형상으로서 의미를 구상화한다.

따라서 의미를 사실적 구조로 추상화하는 것은 배반적 개념미술의 구조다. 사실적 추상 구조로 한 왜상적 이미지는 타자의 욕망을 형상화하는 원인이기 때문에 오브제로서의 사실적 구조의 추상화는 배반적 개념미술로 한 실재다.

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.

Modern painter Louis Choi Chul-joo

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Contemporary Artworks Review 16

Art Critique & Contemporary Art Review 16

Contemporary artist Louis Choi Chul-joo, Contemporary art work review examples [16] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Picture speaking language structure is a gaze reality image in which the image of abstract desire appears to be the semantic structure of the concept of desire. Modern art critic Louis Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with his desire conceptual abstract design along with contemporary art criticism. His criticism is a visual art abstract art theory in which the artistry of photography, cartoons, art, and design approaches the meaning of the work in language structure and criticizes the reality of the concept of desire. Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire./ Pop Art Cartoon Abstract Painting & Art Review Modern Painter Work : Aaction painting - Artistic act: Contemporary image installation artist & contemporary abstract painter Louis Choi Chuljoo's process art installation Aaction painting, Haeundae-gu Office Gallery 20230703

Abstract painting <Morning glory Window> painting installation performance with treacherous conceptual art as Lacan's object, July 3rd, 2023 Haeundae-gu Office Gallery in Busan.

The Meaning of Louis Choi Chul-joo's Abstract Painting of Treacherous Conceptual Art: As a conceptual form, the realistic shape of non-realism with the same structure of meaning is abstract as a conceptual meaning structure, but abstraction with the same meaning with different shapes is a non-realistic existence with different colors and sizes.

Its existence refers to abstraction as a treacherous conceptual art with a realistic structure because it defines abstract space as an actual reversible form and the window shape in front of the morning glory can be abstracted by actual changed movements by the shade of reversible light.

Louis Chul-joo Choi, morning glory 2022-i, 147.5X183.5cm, acrylic and composite materials on cloth, 2022

The entire sculpture appears to be created in three dimensions at the intersection of distorted gaze when it is not a drawing or painting that is fixed on the elevation. This is one perspective indicator image that appears to be light in a certain direction.

In the sculpture, the other's desire is in the light hidden in the sky, but the place where the light forms is on the designated land. If the sky and earth without shapes are real in the place, the structure of desire is the realistic structure that existed in the place is now abstract.

This is a structure of desire created by the shadow of reversible light, and it is not a designated sculpture, but it is a realistic non-realistic shape that makes the existence of the concept recognized. By distorting the image hidden in the shade of the same image and sculpture and illuminating it with a real color through the shade of reversible light so that the image can be seen, the actual shape can be recognized as being.

(Louis Choi Chul-joo Painting and Sculpture Installation Performance Concept)

Louis Choi Chul-joo, <Morning glory Window> Installation Aaction painting, Haeundae-gu Office Gallery, 2023.7.3.

Louis Chul-joo Choi, morning glory window 5, 147.5X183.5cm, acrylic and composite materials on cloth, 2023

The image created by Louis Choi Chul-joo's painting acting in line with the performance of "Morning Glory" is "Morning Glory Window."

In other words, Choi Chul-joo's <Morning glory Window> is a painting that expands the place of non-real paintings with reversible light reflected from a small hole in a cloth made of crossed threads and an image of Lacan.

On July 3, 2023, The day before the exhibition of "Morning glory Window" Haeundae-gu Office Gallery, modern image installation artist & abstract painter Louis Choi Chul-joo installed an action painting.

Louis Chul-joo Choi, morning glory 2022-i, 147.5X183.5cm, acrylic and composite materials on cloth, 2022

As a painting, morning glory 2022-i reveals the artistry of a semantic structure by forming an image expressed through the desire revealed in the other's suppressed unconsciousness in design and creating an object as a being to acquire artistry beyond generality.

The artistry that emerged in the object here reveals the object as another being by transforming the image of the object into a meaningful structure from the perspective of other people's desires, thereby containing the artistic meaning of the object as creativity and autonomy of others' desires.

And the small piece as the desire of the other hidden in the background of the painting shows a reversible real abstract space through the target intention movement that actually changes the shape.

This refers to the meaning of an abstract object, and the object refers to the meaning of an abstract landscape shape in which the actual reality of the shape is hidden by the desire of the other person, showing an abstract space that can be actually reversible.

Louis Choi Chul-joo, <Morning glory Window> Installation Aaction painting, Haeundae-gu Office Gallery, 2023.7.3.

Louis Chul-joo Choi, morning glory window 4, 148X179cm, acrylic and composite materials on cloth, 2023

As a conceptual form, the realistic shape of non-realism with the same structure of meaning is abstract as a conceptual meaning structure, but abstraction with the same meaning with different shapes is a non-realistic existence with different colors and sizes.

Its existence defines an abstract space as an actual reversible shape, and abstracts the image <morning glory> in which the window shape placed in front of the morning glory is covered by the actual changed movement by the shade of reversible light into installation art outside the window./ Writing. Art critic Choi Chul-joo (Installation artist & Doctor of Cultural Design)

Contemporary Artist Louis Choi Chul-joo

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Contemporary Artworks Review 17

Art Critique & Contemporary Art Review 17

Contemporary artist Louis Choi Chul-joo, Contemporary art work review examples [17] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Picture speaking language structure is a gaze reality image in which the image of abstract desire appears to be the semantic structure of the concept of desire. Modern art critic Louis Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with his desire conceptual abstract design along with contemporary art criticism. His criticism is a visual art abstract art theory in which the artistry of photography, cartoons, art, and design approaches the meaning of the work in language structure and criticizes the reality of the concept of desire. Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire./ Pop Art Cartoon Abstract Painting & Art Review Modern Painter Work : Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction exhibition 'Morning Glory', 20.-22. December 2021: Thread painting 'Morning Glory' Picture Action Performance, 23.-25. December 2021: Exhibition of 'Morning Glory' at Gwangan Gallery, Busan.

Louis Chul-joo Choi’s thread painting: morning glory e-002, 55X73cm, acrylic and composite materials on cloth, 2021

Like Cezanne's landscape painting, the color of light reflected in a concise form that matches the background, skylight, and hue is an imitative form of non-realism that distinguishes the color of skylight from the form of pictorial skylight with the entire space as one space.

Like Cezanne, "<morning glory e-002>" is a picture that harmoniously expresses the imitative form of non-realism as a shade color by distinguishing the color of the lighting staring at the sky from the color illuminated on the object.

Chul-joo Choi, morning glory(2021-a-1), 148X175cm, acrylic and composite materials on cloth, 2021

Louis Chul-joo Choi, morning glory-2021-l, 148X175cm, acrylic and composite materials on cloth, 2021

The object to which Lacan's art theory is applied is Louis Chul-joo Choi's morning glory. The object's real is hidden in the margins of the non-real space, depending on the time.

In this way, the reality of the morning glory as a lacan's object becomes the blank space of the non-real space according to the change in time. The trumpet flowers painted there match the image of the light of the space as the target, and the target is set according to the inevitability of the symmetrical unreal space reflected in the mirror, equating the symmetrical real space with the non-real place. This is the space of the image tailored to the object. It is a space of fabric that repeatedly connects one gap and blank, and one picture structure overlaps the color drawn on the fabric with several blanks, square threads.

The image depends on the color and shape determined by the place of the object.

Therefore, the meaning of the image as an object in <morning glory-2021-l> made of thread painting is the color of its meaning, and the reality of the customs universality facing the object is decorated with the color of light.

The dark space in contrast to this decorated light is a shadow created by staying in one place. The object that exists here has a cross-sectional shape that has changed its shape due to the appearance of a staring color and familiarity with customs.

The meaning of "morning glory 2021-l" is an aesthetic structure in which the shape of a realized object stopped in a place of everyday life is shaped as the color of light, and the color of the reflective margin that is difficult to distinguish is repeatedly drawn on a fabric-like material.

Here, the colored picture unravels the value of reality in the shape of color when enlightened by customs or when in place.

However, the material hidden in the margins of the object in the picture is tailored to the color suitable for the object of the time because it cannot reproduce its timeliness.

And "morning glory-2021-l" which sets the outline of the shape on a cloth-like thread as a color line contrasting its color, captures the familiarity of customs with the inevitability of the past space.

This indicates the meaning of the symbolic action that characterizes the design that repeatedly combines pieces of distorted morning glory image in the pictorial imitation process.

The meaning is a symbolic language that symbolizes imitated flowers. Here, the morning glory image is a sculpture of meaning symbolized in non-real space as a result of the lacan's meaning.

The place where the meaning of the morning glory is fixed is an image that leads from unconscious desire to a divided subject, and by repeating the design of the morning glory, the divided subject and the intersection form an image close to the two fixed points.

The semantic function of the image close to the fixed point is simultaneity and synchronicity. The simultaneous function here is the meaning of the sentence, and the image completed by designing the actual object by retroactive effect of the design concept is <morning glory-2021-l>.

The synchronic function of the image is <morning glory 2020-D>, which is a synchronic structure that can be obtained from the source of the design concept hidden in the linguistic sentence, that is, an image of a contrasting metaphor of the image reflected in the mirror.

Chul-joo Choi, morning glory 2021-i, 113X168cm, acrylic and composite materials on cloth, 2021

"morning glory 2021-i" is thread painting in the form of a teaching fabric in which the back is illuminated by manually drawing an image of a misarranged image made from an anamorphosis image of a morning glory.

In other words, it is a shape in which the position of non-realistic painting with reflected light is expanded to the anamorphosis image in a shape of a cloth shaded in a thread and a small hole in the fabric.

The meaning of the shape is decorated with the color of the spatial light of the fabric entangled in a grid of the real of the customary universality facing the morning glory.

The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place.

Here, as a real object, color is a visual image familiar with the custom of sight.

The meaning is a symbolic language that symbolizes the imitated flower.

Here, the morning glory is a sculpture of Lacan's object ɑ, the meaning of hidden aesthetic structure, as a symbol of space rather than reality by the meaning of Lacan.

Realization triggered by naturalism is a computer-made virtual image that is easy to create, duplicate, and convert, creating an unrealistic image without an original.

This is a computer technology that is not related to works of art, so it is different from works of art using the other's desire perspective as a medium.

However, computer-mediated media art makes other virtual images into real images, but also has artistry as a replica of the original virtual image.

Therefore, the way to effectively promote works of art is to use media art, and the technical expression‎ of media art is also artistic.

This is an example of expressing the medium of art as a media art with contemporary media technology.

The difference between art and non-art is distinguished according to the existence of object ɑ as a real formed from the perspective of the desire of the other in a hypothetical shape as a real thing and a virtual shape as a non-existence.

Therefore, it is difficult to reveal the object ɑ in a virtual shape as a non-existence without the original. The condition of a work of art is that the meaning of the hidden aesthetic structure that exists as the original is an object ɑ.

A realistic picture forms a formative structure, but when it is the same form that does not distinguish between the original and the reproduction, it is not a meaningful composition.

This is because its formability can form an image or reform it into the same form through a realistic structure.

Therefore, the anamorphosis image of the desire of the other person who is difficult to replicate is the meaning object ɑ of the concealed aesthetic structure as an existence.

Here, the anamorphosis image is an objectɑ as another real image separated from the real image, although it is not real as an image of the whole.

An image formed as a virtual object by reproducing an object in a painting is a virtual image that conceals reality.

The virtual image is viewed as a virtual image by being recognized as a plane.

Here, by revealing the object ɑ as a being through the Lacan art theory system, the virtual image becomes real.

Lacan's Object ɑ is hidden in the geometric schematic of perspective that reproduces objects and is momentarily revealed by the desires revealed in the unconscious.

The object ɑ form an anamorphosis image expressed through the desire revealed in the repressed unconsciousness of others with a design to obtain artistry beyond generality, and create the real of the object ɑ to reveal artistry.

The artistry here reveals the object ɑ as another being of the object by transforming the image of the object into an anamorphosis image from the perspective of the other's desire.

And the meaning object ɑ, which has become a concealed aesthetic structure as an existence, acquires artistic meaning with creativity and autonomy.

<morning glory 2021-i> depicts an image generated by an anamorphosis image of a trumpet flower, and the form of a picture drawn in the shape of a cloth consisting of a grid in which the back is illuminated is thread painting.

In other words, it is a shape in which the position of non-real painting with reflected light is expanded to an anamorphosis image of a grid hole in which the back is illuminated is thread painting. The meaning of the form is another person's desire decorated with the color of spatial light with thread painting of the real of universality in the customs facing the morning glory. The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place. Here, as a real object being, the color is an image on one side familiar with the custom seen as a gaze. The meaning is a symbolic language that symbolizes the imitated flower. The flower image is a sculpture of the hidden aesthetic structure meaning object ɑ a symbolized being in non-real space as a result of the lacan's meaning.

Object ɑ is an object revealed in Lacan's art theory as a 'gazing' from the perspective of desire and rational thinking from a perspective.

Therefore, the object ɑ as a gaze was revealed as a dot of light in the eyes of the other as the subject.

This is an image that overlaps with the perspective visual system but is momentarily revealed from a desire perspective in an oppressed unconsciousness.

The eyes on the picture see an object drawn on the canvas, but the eyes is like a subject staring at it.

The gaze determines what is seen and what is not seen in a small hole on the screen, such as a cloth, in space, the reflected light determines the image that is shifted according to the coincidence or inconsistency with the gaze.

Therefore, Object ɑ means a concealed aesthetic structure as an entity revealed in the lustful gaze system, not a non-real image in the perspective visual system.

Chul-joo Choi, morning glory 2021-e, 114X169cm, acrylic and composite materials on cloth, 2021

The emergence of linguistic meanings unconsciously in reversible temporality creates an image of the other's inconsistent desire as the place of <morning glory 2021-e> and develops it in a consistent sense.

This shows the meaning of Lacan's unconscious language, which repeatedly indicates that there is no unstable element, and draws an inconsistent image of a "morning glory" representing an incomplete phenomenon representing the unconscious language, like the desire shown by the other's conscious movement.

The structuring of "morning glory" as thread painting is an object that implicitly relies on the existence of a structure, that is, the temporality of a momentary coincidence, at a predetermined object.

The image of the object is structured as a shape of the thread, and the image drawn on the connected fabric is expanded into the shade of light to expand the planar shape of the morning glory in the fabric.

Therefore, the structuring of thread painting is the place of morning glory that depend on the existence of an implicit structure in the designated place of the morning glory, that is, the coincidence of momentary temporality.

The position creates an image of a morning glory in the sky and overlaps the image of the overlapping fabric to expand into a reversible shade of light. And the image describes the atmosphere that has changed to flat morning glory and temporality.

By illuminating the position in several directions, the existing shape of the past time is returned to the unconscious shape, and the images reversible to the real shape cannot be overlapped according to one time, but are overlapped in an integrated meaning.

However, the shape does not appear to be meaningful, and the image background is settled in several shades that are momentarily reversible.

This is a different image in which the position of temporality, that is, the image of the sky, appears to be a stimulus of light set in time at one moment of time, just as clouds, rain, and eyes appear.

The image is the place of infinite and continuous existence that light has achieved over time.

The momentary shape in which abstract phenomena coexist as images with form and meaning is a reversible visual structure. When an painter draws, it is the temporal logic of the image that obtains semantic recognition of the image.

Therefore, the structure of the visual reversible reaction is a momentary image according to the visual reversible reaction in the shape of a morning glory, and a misaligned image in which the morning glory is temporarily obscured by shadow or light or coexists in its original position is the meaning of a momentary image.

The image is a view of another person's desire on a cloth at the moment when the shadowy shape of everyday life intersects the morning glory of the past time.

The structure of the branches and leaves of the trumpet flower shows the meaning in harmony with the trumpet flower that matches the appropriate shade corresponding to the light. It's meaning shows the positional structure of the morning glory exposed to bright light in a symbolic shape according to the shadow light.

Therefore, a morning glory painting is an image method that reveals the morning glory that unconsciously exists in the place of the morning glory. The more you repeat the shading image of the reversible light, the more abstract the morning glory image becomes.

In other words, the more reversible light is repeated over time, the less the area of light is expressed by overlapping the shade of the staring morning glory.

The meaning of the morning glory, which repeatedly combines pieces of distorted morning glory image, represents a symbolic shadow in which the other person's desire is specified.

Here, meaning is a language that symbolizes the conceptual image of a morning glory and a flower that mimics an object that always exists.

Therefore, the morphological language of 'morning glory" decorates the reality of the customary universality faced by objects with the color of light.

The dark space in contrast to the decorated light is a shadow created by staying in one place.

Louis Chul-joo_Choi, morning glory 2021-h-back, 131X167cm, acrylic and composite materials on cloth, 2021

In "morning glory 2021-h-back" actual morning glory, cats, fish colors, and shadows coincide with conventional images. The "morning glory 2021-h-back" is a word that symbolizes the other person's desire by imitating the other person's desire hidden on the back of "morning glory 2021-h" where the cat's movement has stopped.

As that "morning glory 2021-h-back", the cats image is a sculpture of meaning symbolized in non-real space as a lacan's word of meaning generated by visual reversible reaction in its place.

This is because the color of the shade caused by reversible light on the overlapping fabric determines the position of the cat and morning glory, and over time, the distorted desires of the other overlap and develop into an image of fabric.

This is a visible phenomenon, and the morning glory made by the movement of the other's desire appear inconsistent, and the images of the cat that's separated from desire and the morning glory, whose desires are fragmented, overlap with intersecting threads to form a space ahead of them. / Writing. Art critic Louis Chul-joo Choi (Modern Painter & Doctor of Cultural Design)

contemporary abstract artist Louis Choi Chul-joo

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Contemporary Artworks Review 18

Art Critique & Contemporary Art Review 18

Contemporary artist Louis Choi Chul-joo, Contemporary art work review examples [18] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Picture speaking language structure is a gaze reality image in which the image of abstract desire appears to be the semantic structure of the concept of desire. Modern art critic Louis Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with his desire conceptual abstract design along with contemporary art criticism. His criticism is a visual art abstract art theory in which the artistry of photography, cartoons, art, and design approaches the meaning of the work in language structure and criticizes the reality of the concept of desire. Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire./ Pop Art Cartoon Abstract Painting & Art Review Modern Painter Work : Contemporary Art Critic Louis Choi's Desire Art Theory Review : Famous Contemporary Artist Contemporary Painter Abstract Artist Pop Artist & Abstract Design = Art Review: Contemporary Artist & abstract artist Louis, Louis Chul-joo Choi's Chul-joo Choi's "morning glory": Exhibition of Louis Chul-joo Choi's "morning glory" with the image of desire's object ɑ and Picasso's Anamorphosis, 20.-22. Dec.2021 Gwangan Gallery in Busan.

Exhibition of Louis Chul-joo Choi's "morning glory" with the image of Lacan's object ɑ and Picasso's Anamorphosis, 20.-22. Dec.2021 Gwangan Gallery in Busan.

Louis Choi Chuljoo,’s thread painting: morning glory e-002, 55X73cm, acrylic and composite materials on cloth, 2021

Like Cezanne's landscape painting, the color of light reflected in a concise form that matches the background, skylight, and hue is an imitative form of non-realism that distinguishes the color of skylight from the form of pictorial skylight with the entire space as one space.

Like Cezanne, "<morning glory 2021-l-back>" is a picture that harmoniously expresses the imitative form of non-realism as a shade color by distinguishing the color of the lighting staring at the sky from the color illuminated on the object.

Louis Choi Chuljoo, morning glory-2021-l-back, 148X175cm, acrylic and composite materials on cloth, 2021

Louis Choi Chuljoo, morning glory-2021-l, 148X175cm, acrylic and composite materials on cloth, 2021

The object to which Lacan's art theory is applied is Louis Chul-joo Choi's morning glory. The object's real is hidden in the margins of the non-real space, depending on the time.

In this way, the reality of the morning glory as a lacan's object becomes the blank space of the non-real space according to the change in time. The trumpet flowers painted there match the image of the light of the space as the target, and the target is set according to the inevitability of the symmetrical unreal space reflected in the mirror, equating the symmetrical real space with the non-real place. This is the space of the image tailored to the object. It is a space of fabric that repeatedly connects one gap and blank, and one picture structure overlaps the color drawn on the fabric with several blanks, square threads.

The image depends on the color and shape determined by the place of the object.

Therefore, the meaning of the image as an object in <morning glory-2021-l> made of thread painting is the color of its meaning, and the reality of the customs universality facing the object is decorated with the color of light.

The dark space in contrast to this decorated light is a shadow created by staying in one place. The object that exists here has a cross-sectional shape that has changed its shape due to the appearance of a staring color and familiarity with customs.

The meaning of "morning glory 2021-l" is an aesthetic structure in which the shape of a realized object stopped in a place of everyday life is shaped as the color of light, and the color of the reflective margin that is difficult to distinguish is repeatedly drawn on a fabric-like material.

Here, the colored picture unravels the value of reality in the shape of color when enlightened by customs or when in place.

However, the material hidden in the margins of the object in the picture is tailored to the color suitable for the object of the time because it cannot reproduce its timeliness.

And "morning glory-2021-l" which sets the outline of the shape on a cloth-like thread as a color line contrasting its color, captures the familiarity of customs with the inevitability of the past space.

This indicates the meaning of the symbolic action that characterizes the design that repeatedly combines pieces of distorted morning glory image in the pictorial imitation process.

The meaning is a symbolic language that symbolizes imitated flowers. Here, the morning glory image is a sculpture of meaning symbolized in non-real space as a result of the lacan's meaning.

The place where the meaning of the morning glory is fixed is an image that leads from unconscious desire to a divided subject, and by repeating the design of the morning glory, the divided subject and the intersection form an image close to the two fixed points.

The semantic function of the image close to the fixed point is simultaneity and synchronicity. The simultaneous function here is the meaning of the sentence, and the image completed by designing the actual object by retroactive effect of the design concept is <morning glory-2021-l>.

The synchronic function of the image is <morning glory 2021-i-back>, which is a synchronic structure that can be obtained from the source of the design concept hidden in the linguistic sentence, that is, an image of a contrasting metaphor of the image reflected in the mirror.

Louis Choi Chuljoo, morning glory 2021-i-back, 113X168cm, acrylic and composite materials on cloth, 2021

Louis Choi Chuljoo, morning glory 2021-i, 113X168cm, acrylic and composite materials on cloth, 2021

"morning glory 2021-i" is thread painting in the form of a teaching fabric in which the back is illuminated by manually drawing an image of a misarranged image made from an anamorphosis image of a morning glory.

In other words, it is a shape in which the position of non-realistic painting with reflected light is expanded to the anamorphosis image in a shape of a cloth shaded in a thread and a small hole in the fabric.

The meaning of the shape is decorated with the color of the spatial light of the fabric entangled in a grid of the real of the customary universality facing the morning glory.

The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place.

Here, as a real object, color is a visual image familiar with the custom of sight.

The meaning is a symbolic language that symbolizes the imitated flower.

Here, the morning glory is a sculpture of Lacan's object ɑ, the meaning of hidden aesthetic structure, as a symbol of space rather than reality by the meaning of Lacan.

Realization triggered by naturalism is a computer-made virtual image that is easy to create, duplicate, and convert, creating an unrealistic image without an original.

This is a computer technology that is not related to works of art, so it is different from works of art using the other's desire perspective as a medium.

However, computer-mediated media art makes other virtual images into real images, but also has artistry as a replica of the original virtual image.

Therefore, the way to effectively promote works of art is to use media art, and the technical expression‎ of media art is also artistic.

This is an example of expressing the medium of art as a media art with contemporary media technology.

The difference between art and non-art is distinguished according to the existence of object ɑ as a real formed from the perspective of the desire of the other in a hypothetical shape as a real thing and a virtual shape as a non-existence.

Therefore, it is difficult to reveal the object ɑ in a virtual shape as a non-existence without the original. The condition of a work of art is that the meaning of the hidden aesthetic structure that exists as the original is an object ɑ.

A realistic picture forms a formative structure, but when it is the same form that does not distinguish between the original and the reproduction, it is not a meaningful composition.

This is because its formability can form an image or reform it into the same form through a realistic structure.

Therefore, the anamorphosis image of the desire of the other person who is difficult to replicate is the meaning object ɑ of the concealed aesthetic structure as an existence.

Here, the anamorphosis image is an objectɑ as another real image separated from the real image, although it is not real as an image of the whole.

An image formed as a virtual object by reproducing an object in a painting is a virtual image that conceals reality.

The virtual image is viewed as a virtual image by being recognized as a plane.

Here, by revealing the object ɑ as a being through the Lacan art theory system, the virtual image becomes real.

Lacan's Object ɑ is hidden in the geometric schematic of perspective that reproduces objects and is momentarily revealed by the desires revealed in the unconscious.

The object ɑ form an anamorphosis image expressed through the desire revealed in the repressed unconsciousness of others with a design to obtain artistry beyond generality, and create the real of the object ɑ to reveal artistry.

The artistry here reveals the object ɑ as another being of the object by transforming the image of the object into an anamorphosis image from the perspective of the other's desire.

And the meaning object ɑ, which has become a concealed aesthetic structure as an existence, acquires artistic meaning with creativity and autonomy.

<morning glory 2021-i> depicts an image generated by an anamorphosis image of a trumpet flower, and the form of a picture drawn in the shape of a cloth consisting of a grid in which the back is illuminated is thread painting.

In other words, it is a shape in which the position of non-real painting with reflected light is expanded to an anamorphosis image of a grid hole in which the back is illuminated is thread painting. The meaning of the form is another person's desire decorated with the color of spatial light with thread painting of the real of universality in the customs facing the morning glory. The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place. Here, as a real object being, the color is an image on one side familiar with the custom seen as a gaze. The meaning is a symbolic language that symbolizes the imitated flower. The flower image is a sculpture of the hidden aesthetic structure meaning object ɑ a symbolized being in non-real space as a result of the lacan's meaning.

Object ɑ is an object revealed in Lacan's art theory as a 'gazing' from the perspective of desire and rational thinking from a perspective.

Therefore, the object ɑ as a gaze was revealed as a dot of light in the eyes of the other as the subject.

This is an image that overlaps with the perspective visual system but is momentarily revealed from a desire perspective in an oppressed unconsciousness.

The eyes on the picture see an object drawn on the canvas, but the eyes is like a subject staring at it.

The gaze determines what is seen and what is not seen in a small hole on the screen, such as a cloth, in space, the reflected light determines the image that is shifted according to the coincidence or inconsistency with the gaze.

Therefore, Object ɑ means a concealed aesthetic structure as an entity revealed in the lustful gaze system, not a non-real image in the perspective visual system.

Louis Choi Chuljoo, morning glory 2021-f-back, 133X168cm, acrylic and composite materials on cloth, 2021: Desire with the shadowy structure of reversible light at the boundary between consciousness and unconsciousness shows morning glory

Louis Choi Chuljoo, morning glory 2021-f, 133X168cm, acrylic and composite materials on cloth, 2021

The emergence of linguistic meanings unconsciously in reversible temporality creates an image of the other's inconsistent desire as the place of <morning glory 2021-f-back> and develops it in a consistent sense.

This shows the meaning of Lacan's unconscious language, which repeatedly indicates that there is no unstable element, and draws an inconsistent image of a "morning glory" representing an incomplete phenomenon representing the unconscious language, like the desire shown by the other's conscious movement.

The structuring of "morning glory" as thread painting is an object that implicitly relies on the existence of a structure, that is, the temporality of a momentary coincidence, at a predetermined object.

The image of the object is structured as a shape of the thread, and the image drawn on the connected fabric is expanded into the shade of light to expand the planar shape of the morning glory in the fabric.

Therefore, the structuring of thread painting is the place of morning glory that depend on the existence of an implicit structure in the designated place of the morning glory, that is, the coincidence of momentary temporality.

The position creates an image of a morning glory in the sky and overlaps the image of the overlapping fabric to expand into a reversible shade of light. And the image describes the atmosphere that has changed to flat morning glory and temporality.

By illuminating the position in several directions, the existing shape of the past time is returned to the unconscious shape, and the images reversible to the real shape cannot be overlapped according to one time, but are overlapped in an integrated meaning.

However, the shape does not appear to be meaningful, and the image background is settled in several shades that are momentarily reversible.

This is a different image in which the position of temporality, that is, the image of the sky, appears to be a stimulus of light set in time at one moment of time, just as clouds, rain, and eyes appear.

The image is the place of infinite and continuous existence that light has achieved over time.

The momentary shape in which abstract phenomena coexist as images with form and meaning is a reversible visual structure. When an painter draws, it is the temporal logic of the image that obtains semantic recognition of the image.

Therefore, the structure of the visual reversible reaction is a momentary image according to the visual reversible reaction in the shape of a morning glory, and a misaligned image in which the morning glory is temporarily obscured by shadow or light or coexists in its original position is the meaning of a momentary image.

The image is a view of another person's desire on a cloth at the moment when the shadowy shape of everyday life intersects the morning glory of the past time.

The structure of the branches and leaves of the trumpet flower shows the meaning in harmony with the trumpet flower that matches the appropriate shade corresponding to the light. It's meaning shows the positional structure of the morning glory exposed to bright light in a symbolic shape according to the shadow light.

Therefore, a morning glory painting is an image method that reveals the morning glory that unconsciously exists in the place of the morning glory. The more you repeat the shading image of the reversible light, the more abstract the morning glory image becomes.

In other words, the more reversible light is repeated over time, the less the area of light is expressed by overlapping the shade of the staring morning glory.

The meaning of the morning glory, which repeatedly combines pieces of distorted morning glory image, represents a symbolic shadow in which the other person's desire is specified.

Here, meaning is a language that symbolizes the conceptual image of a morning glory and a flower that mimics an object that always exists.

Therefore, the morphological language of 'morning glory" decorates the reality of the customary universality faced by objects with the color of light.

The dark space in contrast to the decorated light is a shadow created by staying in one place.

Louis Choi Chuljoo, morning glory 2021-h-back, 131X167cm, acrylic and composite materials on cloth, 2021

In "morning glory 2021-h-back" actual morning glory, cats, fish colors, and shadows coincide with conventional images. The "morning glory 2021-h" is a word that symbolizes the other person's desire by imitating the other person's desire hidden on the back of "morning glory 2021-h-back" where the cat's movement has stopped.

As that "morning glory 2021-h-back", the cats image is a sculpture of meaning symbolized in non-real space as a lacan's word of meaning generated by visual reversible reaction in its place.

This is because the color of the shade caused by reversible light on the overlapping fabric determines the position of the cat and morning glory, and over time, the distorted desires of the other overlap and develop into an image of fabric.

This is a visible phenomenon, and the morning glory made by the movement of the other's desire appear inconsistent, and the images of the cat that's separated from desire and the morning glory, whose desires are fragmented, overlap with intersecting threads to form a space ahead of them. / Writing. Art critic Louis Chul-joo Choi (Modern Painter & Doctor of Cultural Design)

Contemporary Art Critic Louis Choi Chul-joo

"morning glory" Exhibition Extended Through Dec. 25, 2021

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Contemporary Artworks Review 19

Art Critique & Contemporary Art Review 19

Contemporary artist Louis Choi Chul-joo, Contemporary art work review examples [19] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Picture speaking language structure is a gaze reality image in which the image of abstract desire appears to be the semantic structure of the concept of desire. Modern art critic Louis Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with his desire conceptual abstract design along with contemporary art criticism. His criticism is a visual art abstract art theory in which the artistry of photography, cartoons, art, and design approaches the meaning of the work in language structure and criticizes the reality of the concept of desire. Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire./ Pop Art Cartoon Abstract Painting & Art Review Modern Painter Work : Contemporary Art Critic Louis Choi's Desire Art Theory Review : Famous Contemporary Artist Contemporary Painter Abstract Artist Pop Artist & Abstract Design = Contemporary Art Review with Visual Art of the Story of Contemporary Art [21] A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art : Contemporary Artworks Review & contemporary art sculpture [26] Example of contemporary artwork: Contemporary Art Critic Louis Choi Chul-joo's Art Review of installation artist artwork & Modern Art Review : Contemporary installation artist artwork [1] Contemporary Art Sculpture Symbolic Sculpture : Contemporary Artist Louis Choi Chul-joo Installation Art Review & Abstract Artist Louis Choi Chul-joo Design Review of Painting and Sculpture Design: Famous Installation Artist, Contemporary Artist, Abstract Artist, Conceptual Artist Installation Art Painting and Sculpture / Contemporary installation art work : Design of sculpture at Busan Museum of Art by Louis Choi Chul-joo

Louis Choi Chul-joo's concept of sculpture design: The search for artistic sculpture is based on the design environment of the sculpture and aims at human desire.

Busan Metropolitan City Budget Plan and Installation for the Installation of Sculptures at the Busan Museum of Art: Choi Chul-joo (2009)

Choi Chul-joo (design), Haegeum Advertising (installation/construction), "Busan Museum of Art sculptures", 2009. 2

Sculptures of the Busan Museum of Art

The image that was revealed to be in the unconsciousness of others while commuting to and from the Busan Museum of Art was an image that allowed the Busan Museum to be viewed from the side for a moment. This is a modified and reduced image seen in the perspective visual system. In other words, it is a virtual image of the Busan Museum of Art and a real image as a simplified image without seeing the space between the bars in front of the Busan Museum of Art.

This is an image revealed by desire in the process of repeating Lacan's visual theory, and is formed as a symbolic sculpture as an effect of semantic action as it is replaced by other images according to metaphors. In the sculpture as a work of art, the simplified image of the object is recognized as a quantified visual perception form at the perspective level, so there is a limit to the approach of desire. This is an object in a subjective sense that meets through the alienation process of others. It is because it exists momentarily and disappears into the realm of unconsciousness.

The formation of a missing object with a lacanic design is Lacan's formula "f(S...S')S=˜ S (-)s". The connection structure(S...S') of the image and the image according to "f(S...S')S=˜ S (-)s" is a design deficiency(-), that is, the desire that has disappeared unconsciously after repetition, is rendered from the unconsciousness of others by the effect of design semantic action (fS).

According to the Lacan's metaphorical formula "f(S/S')S = ˜S(+s), rendering as an original image is replaced by an object (S/S') as another image, and meaning (s) 'object ɑ' is converted into an image through rendering as an original image.

This is to convert the modified image from 'Work. 5.4' to 'Fig. 5.3' rendering to 'Object ɑ'.

Work. Symbol type desire design: Rendering of drawing images revealed from a desire perspective

As a curator at the Busan Museum of Art at the time, Choi Chul-joo wanted to reveal the reality of the sculpted autographs and sculptures through the desire design process, assuming that the actual perspective of the painting was applied to the design.

Signs and sculptures that are intended to identify with the natural environment are to cause cognitive changes to occur in the natural environment and re-recognize the changed image as a representative image included in the natural environment.

The image of surreal painting out of reality is an image revealed from the unconscious. Language is an image as a subject through a chain of signs and constructed unconsciousness. This form of desire design is the cognitive form revealed in the sign. The symbolic meaning of the linguistic structure system contained in this sign is meaning of image. This is the result of external design and is a symbolic sign and sculpture.

Signs and sculptures as symbolic signs communicate with viewers as design intentions. Designers create a concept of design intentions, and as symbolic signs, signatures and sculptures communicate cognitively at the place where they are installed. Here, signs and sculptures are symbolic designs in image forms and letters as signs.

This is an image language used as a symbol on a business card as a symbol of the Busan Museum of Art.

The Busan Museum of Art's desire design was symbolized as an image of a symbol and a facade. This is a sign and sculpture that reveals the meaningful concept of the Busan Museum of Art as a reality. Although 10 years have passed since the opening of the Busan Museum of Art, there are no autographs or sculptures around the museum from a gaze perspective. In this case, in order to raise the museum's awareness by examining, symbols and logo types that symbolize the art museum's building shape or art museum image that have become familiar to visitors' eyes are used rather than new autographs and sculptures.

Therefore, the designs of the Busan Museum of Art's autographs and sculptures were designed as sculptures that harmonize with the ext

erior shape of the building and the surrounding environment. The façade of the building illustrates the characteristics of the structural form, but it is flat. In order to produce this into autographs and sculptures, it was designed in harmony with the surrounding environment to reveal the shape of the building in three dimensions and attach new symbols and logo types. The location of the autographs and sculptures is suitable for being visible from the entrance where the user's movement begins or from the parking space on the ground. It is a place where the inner outer side of the ground parking lot faces the road at the entrance on the first floor of the Busan Museum of Art, and is suitable for the location of the Busan Museum of Art's autographs and sculptures.

In addition, the design of the Busan Museum of Art's signboards and sculptures simplified the exterior shape of the museum and considered harmony that matches the surrounding environment. As a desire design in the form of symbols, work 5.3 excludes the left and right forms based on four repeating units (M) in front of the Busan Museum of Art. Considering that the area around the museum is a beach, the existing pine trees behind the installation site were maintained. And it is designed so that the pine trees in the back can be seen well and the wind can flow by giving a gap. The symbol and logo type were attached to the second bar (M) from the center to the right access road.

Photographs: View of the Busan Museum of Art

Symbol Type Desire Design: Work 5.3 View of the Busan Museum of Art, Sign Language (Plan), and Symbol Type of the Busan Museum of Art

In Work 5.3, as sign image (signature language=plane plan) is replaced by another sign image (symbol type=S/S'), the original sign image (S-signature language=plane plan) becomes significant (s=symbol). This states that according to the metaphorical formula f(S/S')S = ˜ S(+) s, the effect (fS) of semantic action in which one sign is replaced by another sign is congruent with crossing the stick (+) (=).

As a reality, by constructing an object ɑ with the desire of the other in the sign and sculpture, the object ɑ captures the spirit of the sign and sculpture as a new sign according to the desire of the other in the relationship between the sign and the sign of the visual system. The object ɑ revealed in the desire of the other is another sign that creates the meaning of the Busan Museum of Art's autographs and sculptures, and combines the symbolic typeface to make the meaning of the Busan Museum of Art a desire for the other.

In addition, the perceptual images of signs and sculptures are symbolic spaces of meaning. Signs and sculptures that symbolize the meaning of the Busan Museum of Art are structural systems that convey the meaning of the museum by repeating the front-shaped image of the Busan Museum of Art. This is the intention of the design contained in the signature and sculpture of the Busan Museum of Art, and is revealed in the connection of the organizational system of image and meaning. Here, the signature and sculpture as images convey the meaning of the exhibition to the user as an art museum image.

As the exhibition is installed, the meaning of space is formed, and a new understanding that is revealed in that meaning is created. Therefore, the external shape of the building in the repeated new exhibition, that is, the exterior of the building, is not directly related. However, the exterior of the building is fixed and is always located in the same place. This is an image of space and is a symbolic meaning that reveals the exterior of the building.

Signs and sculptures depict the exhibition meaning of the Busan Museum of Art as a cognitive element to viewers. Here, the concept, sociality, and artistry of the desire design are contained as meaningful contents. This is because the desire design is a linguistic structural system and has similar signatures, sculptures, and building structural systems, such as the relationship between image and meaning. Therefore, the unconscious has given aesthetic value by exploiting Choi Chul-joo's theory of abstracting desire art so that language can reach the subject.

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, it is linguistic abstraction of the same meaning that realistically embodies the other person's desires in a momentary event.

Verbal abstraction is a conceptual art with a sign sculpture as a cultural background. Abstraction creates a conceptual structure based on concepts created by rendering the shape of subsequent reality fostered by language, hiding the desires of others in momentary events and exhibitions.

The concept in rendering is a symbolic language created by a chain of signs in the unconscious. In other words, it captures what is invisible in the repeated reality of images. This is a linguistic concept in the design process that influences cognitive themes and is created as a subject. This is the effect of applying Choi Chul-joo's theory of abstracting desire art to the structure of desire to have a linguistic symbolic system.

The image revealed by unconscious memory due to a chain of notation in language, that is, a concept, as a subject is an object ɑ. The structuralist image of such a symbolic system is revealed through the process of alienation and division. It acts as a process in the design of the desire structure.

Alienation is a choice that is subordinate to the subject along with the entry into the language that belongs to the regulation of life, the other who chose the symbolic image. This is an image of the subject. Therefore, the design choice of the desire structure has the symbolism of design as a subject while replacing the meaning with another image. This is to select the symbolism of the design from the meaning of the image created by the desire structure to be the subject, that is, the image revealed as an existence in the unconsciousness of the other.

The image revealed as a being in the others unconsciousness was the image of the exterior that allowed a momentary view of the Busan Museum of Art from the side.

Fig. Desire Design of Sculptures.1 Forming an object ɑ by designing a desire image (rendering)

The desire sculpture with symbolism exists in reality as an object ɑ due to the desire of others, and the object ɑ is concealed by leaving the meaning of existence as an image of desire. Here, the repetition process of revealing the object ɑ finds a lost existence that was concealed in the unconsciousness of others through the relationship between the subject and the "object ɑ" that is lacking according to the formula (＄◇a) that emerges an illusion. This repetition process derives an image of a sculpture that reveals a desireful subject within existence.

This is the formula < f(S...S')S=˜ S (-)s> that regenerates the image...The connection structure between the image and another image according to < f(S...S')S=˜ S (-)s> Design deficiency (-), that is, the desire that has disappeared into the unconscious during repetition in S'), is the effect of design meaning action (fS), which renders the image of the desire subject in the other's unconscious to create a desire image.

According to the formula <f(S/S')S = ˜ S (+) s> that adds this meaning, the rendering of the desire subject as the original image is replaced by the object ɑ as another image (S/S') and the sculpture is formed as the object ɑ changed from the rendering of the desire image as the meaning (s) of the image.

According to the repeated process of deriving the image of desire and adding the meaning of the image, the application to the exhibition sculpture design reveals the image of desire <f(S...S')S=˜ S (-)s>. The connection structure between the image and another image according to <f(S...S')S=˜ S (-)s> Repeating it in <f(S...S')S=˜ S (-)s>, rendering is replaced by a sculpture as an image in a different sense (S/S'), and the original image (S-rendering) becomes an imaginary meaning (s-sign).

According to the formula <f(S/S')S = ˜ S (+) s> that reveals meaning, the effect (fS) of semantic action in which rendering changes to a sculpture as another image (S/S') is said to be combined with crossing the rod (+) forming the sine sculpture (=).

Work. Sculpture Desire Design. 4. Signed sculpture of Busan Museum of Art formed by Desire Design 2

Work 5.5 is an image revealed as a being in the unconsciousness of the other through the other's desire thinking at a perspective point in which the desire image appears to be a real image. If the material of the sign and sculpture is real, the image of the sign and sculpture is a symbolic image. In other words, the image of desire revealed in the desire of others becomes a symbolic image of the Busan Museum of Art based on the iron of reality revealed as an existence in the unconscious.

The desire to identify with the natural environment image is that cognitive changes occur in the natural environment and the changed image is re-recognized as a symbolic image included in the natural environment. This suggests that the object ɑ of desire existed in the unconscious desire of others as it was momentarily revealed in the desire design sculpture.

Work. Sculpture Desire Design. 5. The moment when the object ɑ is concealed and disappears in the unconsciousness of the other as an image of desire in the sculpture formed by Desire Design 2

Work. Sculpture Desire Design. The object ɑ as an image of desire in 5. is concealed in the unconsciousness of the other. It disappears in the unconscious desire as the exhibition component, or sculpture, is formed in the perceptive image seen in the place (place) of the moving element in the exhibition space. This is because the object ɑ is not visible in the perspective visual system.

Photo. Sculpture Desire Design. 1 Busan Museum of Art Signs and Sculptures

Photo. Sculpture Desire Design 1. The autograph and sculpture of the Busan Museum of Art are photos of three-dimensional sculptures made of real materials. Sculpture always in the same place (located) as installed in Desire Design 1.

As the sculpture disappears, it gets another meaning of the sculpture created by installation.

Since the gaze area of desire is a linguistic structure system, repetition is a language that forms identity by the difference between unconscious habits and repeated images, the signs and sculptures of the Busan Museum of Art were repeatedly installed with empty spaces and vertical bars.

Overall, this has a complex visual effect that appears to be the shape of the Busan Museum of Art facade. Each vertical bar is a part of the entire façade and is a symbolic installation with the continuity and difference of the image.

This is the same shape outwardly, but it makes the shape of the other's desire that is momentarily visible from the gaze point of view be contained in the other's unconsciousness. Therefore, the sculpture through desire design becomes a reality formed by the desire of others. The reality here is the reality as the material of the sculpture. Louis Choi Chul-joo's Desire Design 2 installed the sculpture through rendering expressed from the language of desire images separated from reality.

In the cognitive communication system, object ɑs were formed according to the results of design application to exhibition sculptures through Lacan theory. As an environmental art, the desire design sculpture was formed by a new design. Along with ready-made objects that give new meaning to ready-made products, the representative material of environmental sculptures is steel art.

It is a sculpture suitable for the morphological form of the sculpture revealed in the desire design. Steel, the material of the sculpture, is an opportunity to change the exhibition space into the natural environment, is a ɑ object of the desire to recognize locality while appearing in a three-dimensional form in the space of the natural environment, and is a sculpture of Desire Design, a work of art that newly reveals the visual shape of the place environment and changes the natural environment.

Nevertheless, the Busan Museum of Art has eliminated a representative sculpture that lasted more than a decade, just like a white cube exhibition space that repeats a new form of exhibition. /Writing. a former Curator Choi Chul-joo at the Busan Museum of Art

Contemporary Art Critic Louis Choi Chul-joo

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Contemporary Artworks Review 20

Art Critique & Contemporary Art Review 20

Contemporary artist Louis Choi Chul-joo, Contemporary art work review examples [20] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Picture speaking language structure is a gaze reality image in which the image of abstract desire appears to be the semantic structure of the concept of desire. Modern art critic Louis Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with his desire conceptual abstract design along with contemporary art criticism. His criticism is a visual art abstract art theory in which the artistry of photography, cartoons, art, and design approaches the meaning of the work in language structure and criticizes the reality of the concept of desire. Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire./ Pop Art Cartoon Abstract Painting & Art Review Modern Painter Work : Contemporary Abstract Art Artist Louis Choi Chul-joo's "morning glory" Art Review / Modern Korean Painting Art Review News - Read New Artwork: Modern abstract artist Louis Chuljoo Choi's Thread painting <morning glory outside the window 1> Modern Art and Cultural Design [13] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Choi Chul-joo Art Review: Work posted on Facebook: Louis Choi Chuljoo, a morning glory outside the window 2023-1

Painting Installation Performance by Louis Choi Chul-joo, Haeundae-gu Office Gallery, Busan, July 3, 2023.

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

Louis Choi Chuljoo, a morning glory outside the window 2023-1, 151X178cm, acrylic

■ In <Choi Chul-joo Morning glory Window>, desire's art theory is repeatedly applied to abstract painting and converted into a symbolic image to formalize desire's art theory as a method of abstract painting. This means expressing other people's desires in paintings by repeatedly applying desire's imagination and fantasy formula, and as a result of applying Lacan art theory to paintings, it gains aesthetic value by having a formative meaning in the image that appeared as another's desire.

■ <Choi Chul-joo morning glory> is not the subject of the subject, but the cultural and spatial background of other people's desires. It is the same as a consistent life space like the sky. It connects to Cartoon Lib and Pop Art, which represent the space of life, but does not criticize and judge, and reproduces real images as news with photos of events. And the reality of the object symbolized by the news is conceptualized as the desire of others. The effect is to complete the concept of desire with abstraction by structuring it into a shade of reversible light.

Thread painting = Louis, Chul-joo Choi, a morning glory outside the window 1, 151X178cm, acrylic and composite materials on cloth / Object design symbolizing a shape image as a semantic structure : a realistic abstraction of a figure image as an object of desire by transforming it into a semantic structure that emerged as a reversible shade of light

Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to eval‎uate the value of life.

It's a work of art as a treacherous conceptual art called realistic abstraction, the cartoon news of modern art abstraction.

Exhibition of Modern abstract artist Louis Chul-joo Choi's "morning glory" with the image of Desire's object ɑ and Picasso's Anamorphosis, 20220301~20220308 Flushing Town Hall, New York.

Louis Choi Chuljoo, morning glory p26-2-7

<morning glory p26-2-7> is an image of desire created as an abstract image that means the reality of morning glory.

In New York (Flushing Town Hall & Yeomyong Hall), 100 posters with the design concept of desire structure were produced as posters of contemporary art related to the solo exhibition of Louis Choi Chul-joo. It is a modern abstract painting that symbolizes the design of desire image, that is, exhibition poster image of abstract painting, as an abstract semantic structure.

The object <morning glory>, which depicts the meaning of the shape seen in the meaning space created by reversible light of the shape of non-real reality, represents an abstract space that can reverse the object into a real shape by structuring the meaning of the image that hides the desire of the other in a reversible shade of light, and shows an abstract image that reveals the place of the other's unconscious desire as a virtual non-real image.

The object "morning glory" which depicts the meaning of the shape seen in the meaning space created by reversible light, refers to an abstraction in which a structure with an abstract shape hidden in a long time in which the desire of others is fossilized turns things into real in the shadow of reversible light, and the reality of the exhibition poster is hidden by the shade of reversible light, that is, abstract.

Louis, Chul-joo Choi, a morning glory outside the window 1, 151X178cm, acrylic and composite materials on cloth / Object design symbolizing a shape image as a semantic structure : a realistic abstraction of a figure image as an object of desire by transforming it into a semantic structure that emerged as a reversible shade of light

The abstract area of painting, which has a specific effect on the desire structure as a meaning of <morning glory outside the window 1> as a conceptual art, is an existential abstract that hides an image that can instantly see the desires of others functioning gazing in the landscape with reversible shades of light.

This is a perverse planarity that seems to consistently mean "napal flower" in painting. The morning glory is the same as the mirrored reality, but the shape of the background is not the same. This is because abstraction as a conceptual semantic structure with a non-realistic shape with the same meaning as a conceptual semantic structure, but abstraction as the same meaning with different shapes is a non-real form as a conceptual non-formal existence with different colors and sizes.

Its existence defines abstract space as a real reversible shape and refers to realistic abstraction as a conceptual art of the image of the exhibition poster, whose shape is obscured by the actual change of movement into a reversible shadow of light.

Desire Concept Art abstraction, which replaces the phenomenal place of the abstract meaning with an exhibition poster, can distinguish the place of the shape and abstract it as a different meaning to interpret the shape.

The shape is abstract with a color and size similar to that of an abstract structure to say a different meaning, but in the imaginary world, the abstract meaning of conceptual art is identified with reality, and the image of the object and the abstract meaning are identified as the same subject, and the subject internally forms a modified abstract meaning. This refers to the abstract meaning of the desire, which defines an abstract space that is actually reversible and refers to the abstract image of a desire in which the shape changed by the actual changed movement of the shape is shaded.

The morning glory outside the window, which designed a figure that represents the desire of others in the abstract <morning glory>, abstracts the realistic image as an abstract object. In the diagram of the perspective visual system, the visual system creates a shaded place with reversible light concealed, and each object as a different instantaneous gaze is abstracted from the other's desire perspective revealed in the unconscious.

An object abstracted as a desire conceptual art refers to the existence of abstraction in meaning by abstracting a distorted image expressed through the desire revealed in the other's suppressed unconsciousness to obtain artistry beyond generality and creating an object as a shadow of poster formality with the desire of the other. As a semantic entity, the object reveals the abstract object as another entity of the object by transforming the object's image into an abstract structure of meaning with a distorted image from the other's desire perspective, and contains the formative value as an autonomous choice of the other's desire.

In addition, the small piece as the other's desire hidden in the background of the morning glory shows a real abstract space that is reversible through the thought movement of the image that actually changes the shape. This is a place of abstract objects in a space where the other's desires can be actually reversible in the meaning of the existence of the desire.

morning glory outside the window 1 / Object design symbolizing a shape image as a semantic structure : a realistic abstraction of a figure image as an object of desire by transforming it into a semantic structure that emerged as a reversible shade of light

The virtuality of abstract exhibition posters is structured as conceptual cartoons, similar to gaze images that virtually reproduce distorted images that cannot be expressed on the same plane, or as if they represent real places with desires as links to images.

The connected part of the other person's desire is clearly concealed without being revealed as an object reflected in the mirror, and the reality of a person looking at the other person's object exposed in the mirror with reversible light is not visible.

However, the person who drew the picture replaces the other. And the image revealed by staring at the abstract image of the structure of desire is an abstract place. Existential reality is the object revealed by the position of the subject as a gaze from the perspective of the other's desire to move to the position of the subject (atopia) that appears at the point of disappearance throughout the virtual image.

The structural physicality of reality has a number of cross-sections in a three-dimensional form, and conceptualization captures the multifaceted conceptuality of the morphological structure as an object with one cross-section and two sides within one concept.

Therefore, in a space that conceptualizes the desires of others as a subject, a three-dimensional pop art space made up of reversible shades of light reveals the desire behavior as a physical reality and makes the object look real.

This is the physical structure of desire that results in real and non-real. The structure has several crooked cross-sections in a three-dimensional form, and abstracts the pictorial image as a conceptual art into a multi-faceted image of the semantic structure as an object in a concept.

Louis Choi Chuljoo, a morning glory outside the window 2023-1, 151X178cm, acrylic and composite materials on cloth, 2023

"morning glory window" repeats the concept of desire to cover the shadow image of others' desires and collects images of desire in which external light overlaps with timeliness.

In "morning glory window", a person dancing against the backdrop of morning glory overlaps like a small pillar to cover and hide the shade.

It gives reversible time sensitivity to shades, becoming the desire of others, and has the effect of setting phenomenal positions so that images of light do not overlap.

Louis Choi Chul-joo's "morning glory window" absorbs temporal light and removes symbolic representation on the image surface.

In this way, it creates an image of desire and is obscured by reversible light, leading to the concept of desire in the shadow.

The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.

Combined with images of reality with reversible light, including a desire for abstraction.

The image of desire repeats the process of directly acquiring the concept of the aesthetic structure of the real world that is subordinate to the concept, a reality that embodies the abstraction of desire as an event and facilitates performance.

The fact that the concept of desire cannot overlap with the image of reality is that factual abstraction is a treacherous conceptual art.

Abstracted realistic concepts reveal realistic figures similar to reality, but they momentarily pause space-time with the light of a conceptualized landscape like clouds.

Abstracting from the back of the morning glory landscape undermines timeliness, realizes the past time-adjusted traces of desire and the present overlapping landscape of color, and transfers images of desire into the painting.

It also doesn't represent the symbolic ideas abstracted from the image in a hidden form of color, but it gathers the image in shades of light in several directions.

In this way, the painting becomes a desire concept as a result of desire, dismantling abstract images interacting in real space

It shows a differentiated impression with a realistic abstraction that transforms the situation of desire in abstraction into a real world.

It shows aesthetic value by shading bright and dark parts in a distorted landscape and drawing a desireful meaning with a realistic expression‎.

Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time.

It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.

Desire concept superimposes abstractions on morning glory and bamboo forests with dual landscapes, leaving fragmented real space in the gaps of light without disassembling and unifying symbolic images, and then repeatedly portraying reality over the present representation and the gap in between.

In this way, desire creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality. / Writing. Art critic Louis Choi Chul-joo (Ph.D. in cultural design)

Art critic Louis Choi Chul-joo