현대 화가 최철주｜현대미술평론 현대미술화가평론 현대미술추상화가작품평론 [3] Modern Art Painter Choi Chul-joo

[최관우]

현대 화가 최철주｜현대미술평론 현대미술화가평론 현대미술추상화가작품평론 [3] Modern Art Painter Choi Chul-joo ｜ Contemporary Art Artist Louis Choi Chul-joo's abstract art design is a new art movement in abstract art that approaches images of events and performances in real life by abstractly designing the concept of desire./ Contemporary Art Critic Choi Chul-joo's A line News of Cartoon review of the concept [7] ABU TV Song Festival: Twice ‘Feel Special’ & 현대 화가 루이 최철주의 포스터 추상화 <morning glory window 2024-3-cave painting>

Louis Chul-joo Choi, morning glory window 2024-3-cave painting, 180X318cm, acrylic and composite materials on cloth, 2024

<morning glory 2024-3-cave painting>은 추상의 배경으로서 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 욕망 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 쓰레드 페인팅이다. 이것은 육화된 닭의 욕망 이미지의 오브제를 대리하여서 현대미술 회화 의미 구조로서 형상 이미지를 욕망 개념의 이미지로 지난 시간의 화석으로 동굴벽화의 이미지가 가역광으로 비쳐진 음영으로 <morning glory 2024-3-cave painting>를 변형한 사실적 추상화 다.

2022년 뉴욕(Flushing Town Hall & Yeomyeong Hall)에서 루이 <나팔꽃> 2회 개인전 관련 현대미술 추상화 작품으로서 현대미술 회화 디자인 컨셉으로 한 포스터 100점과 2023년 부산(해운대구청)에서 11점의 욕망 개념 이미지의 오브제를 포스터 추상화로 712점을 컴퓨터로 한 수작업으로 제작하여서 욕망 개념의 의미 구조로서 형상의 사실적 회화 디자인 즉 욕망 개념의 사실적 회화의 전시 이미지로서 기호화한 "최철주의 욕망개념 추상화 미술운동"으로서 현대미술 추상화가 제작되고 있다.

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

morning glory p26-4, a hand-painted picture on a computer, 2023

가역적 빛으로 한 음영의 구조로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 뉴욕 전시 추상화 나팔꽃 p26-4)는 병아리가 타자의 욕망을 공용이 화석된 긴 시간성에 감추어진 이미지를 가역적 빛의 음영적 이미지(morning glory 2024-3-cave painting)에 욕망 개념의 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 형상의 실제 변화된 움직임에 의해 가려지는 추상의 의미 즉 욕망 개념 이미지의 오브제로 추상을 대리한다.

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

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

morning glory p111, a hand-painted picture on a computer, 2023

욕망 개념 현대미술 디자이너 & 개념미술가 최철주의 현대 개념미술 <나팔꽃 p111>은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 주체로서 <나팔꽃>을 지나가는 순간적 형상을 드러내는 가역적 빛으로 한 음영의 구조가 타자의 욕망을 개념하는 사실적 형상을 추상화 개념 작품으로 생성한 개념미술 추상화 다.

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

Louis Chul-joo Choi, morning glory p111-1, a hand-painted picture on a computer, 2024

욕망 개념적 의미 구조로서 욕망의 상징적 실재 이미지: 욕망 개념 이미지를 카툰 만평의 사건 이미지와 공연 이미지로 한 오브제로서 디자인한 욕망 개념 이미지(morning glory p111-1)는 비실재의 개념미술 이미지 화폭에 어두운 청색으로 연쇄하여서 실재 나팔꽃의 실재 개념미술 이미지다. 이것은 <morning glory p111>에서 전이한 <morning glory p111-1>을 의미하며 비실재의 사실적 이미지를 가역적 빛으로서 왜상(anamorphosis)적 이미지로 그리진 욕망 개념을 추상한 오브제다.

그 오브제 형상은 현대미술 추상화 작품의 디자인 컨셉으로 한 <morning glory 2024-3-cave painting>에 타자의 욕망을 가역적 빛의 음영으로 중첩해 그려서 이것을 기호화하여서 연쇄한 현대 개념미술 사실적 회화로서의 추상화 다.

 Louis Chul-joo Choi, morning glory window 2024-3-cave painting, 180X318cm, acrylic and composite materials on cloth, 2024

욕망 개념의 동시대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 비실재의 사실적 이미지 <morning glory p111-1>의 개념적 가치를 말한다. 그리고 비실재의 사실적 이미지를 개념미술로 한 실재의 비사실적 이미지<morning glory 2024-3-cave painting>로 전이한다.

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

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

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

실재를 추상한 욕망 개념적 의미 구조로서 욕망 이미지: 욕망 이미지를 오브제로 디자인한 욕망 개념 이미지<morning glory p111-1>는 비실재의 개념미술 이미지 화폭에 어두운 청색으로 연쇄하여서 실재 나팔꽃의 실재 욕망 개념으로 한 개념미술 이미지다. 이것은 <morning glory p26-4>에서 전이한 <morning glory 2024-3-cave painting>를 의미하며 비실재의 사실적 이미지를 가역적 빛으로서 왜상(anamorphosis)적 이미지로 수작업으로 그린 쓰레드 페인팅에 자리잡은 욕망 개념 이미지의 추상적 오브제다.

그 오브제 형상은 현대미술 추상화 작품으로서 디자인 컨셉을 욕망 개념으로 한 <morning glory 2024-3-cave painting>에서 타자의 욕망을 가역적 빛의 음영으로 중첩해 그려서 이것을 기호화하여서 디자인을 연쇄한 욕망 개념의 추상화 다.  

Louis Chul-joo Choi, morning glory window 2024-3-cave painting, 180X318cm, acrylic and composite materials on cloth, 2024 

욕망 개념의 오브제<morning glory 2024-3-cave painting> 추상화로서 추상적 표상 이미지 오브제를 재현하는 음영적 도식으로 시각체계는 은폐하고 있으나, 무의식에서 드러난 욕망적 관점의 가역적 빛의 음영에서 드러난 비사실적 형상을 순간적인 응시로서 보이는 추상화로서의 오브제다.

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

루이 최철주 2024 <morning glory 2024-3-cave painting> 추상화는 상징계의 영역에서 분리된 영역인 실재로서 삶의 의미를 은유적으로 표현한다. 그 표현하려는 오브제를 보이지 않고 은폐로서의 인간의 실제적 의미를 여러개의 가역적 빛의 음영으로 중첩한다. 즉 두 개의 상에서 주체가 어느 것인지를 구분되지 않는다. 그러나 이 두 개의 상을 보이는 오브제로 동일시한다. 여기서 실재의 상과 다른 이미지의 상을 실재성을 보고 타자의 욕망이 실재와 다른 상에 만족해하기 때문에 가역적 빛의 음영속에 또 다시 중첩된 실재적 의미를 실재 사실적 표상으로 추상화 이미지에 담는다. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

따라서  욕망의 주체로서의 이미지는 자신과의 분열되어서 욕망 구조가 있음을 확인한다. 이것은 욕망 개념 이미지의 오브제가 결핍된 욕망의 주체로서 상상계로 형상된 하나의 이미지가 다른 이미지로 디자인을 반복하여서  욕망 이미지의 주체를 순간적 형상으로 드러내고 가역적 빛으로 한 음영의 구조가 주체의 욕망이 타자의 욕망을 개념하는 형상을 원인한다. 그리고 빛의 가역적 그림자와 대상의 원하는 그림자에 의해 결정되는 사실적 윤곽은 욕망 개념의 구조로서 사실적 이미지의 그림자로서 추상성을 형성한다. 

그러나 최철주 욕망 개념에서 상상계 이미지로서의 추상화는 타인의 욕망의 그림자 이미지를 수행 이미지로 숨기고 싶은 욕망의 개념을 반복하며 가역적 빛의 시의성과 중첩되는 욕망의 이미지를 수집한다.

<나팔꽃 창 2024-3-동굴벽화>에서는 나팔꽃을 배경으로 춤을 추는 사람이 욕망을 숨기고 공연 영상에 가역적 시간 감수성을 부여하여 타인의 욕망이 되고, 빛의 영상이 중첩되지 않도록 현상적 위치를 설정하는 추상적 효과가 있다.

개념적 형태로서 동일한 의미의 구조를 가진 비실재의 현실적 형상은 개념적 의미 구조로서 추상적이지만, 형상이 다른 동일한 의미의 추상적 형상은 색과 크기가 다른 비실재적 존재이다.

그 존재는 추상적 공간을 실제의 가역적 형상으로 규정하고, 나팔꽃 앞에 놓인 창 모양이 가역적 빛의 그늘에 의해 실제 변화된 움직임에 의해 가려지는 이미지 <나팔꽃>을 창밖의 설치미술로 추상화한다. 그것은 그림 속의 욕망, 즉 거울에 비친 분위기 없는 공간의 이미지이다. 이는 비실화에서 사실적 이미지로 추상화된 존재로서의 추상화 다.

개념적 형태로서 동일한 의미의 구조를 가진 비실재의 현실적 형상은 개념적 의미 구조로서 추상적이지만, 형상이 다른 동일한 의미의 추상적 형상은 색과 크기가 다른 비실재적 존재이다.

그 존재는 추상적 공간을 실제의 가역적 형상으로 규정하고, 나팔꽃 앞에 놓인 창 모양이 가역적 빛의 그늘에 의해 실제 변화된 움직임에 의해 가려지는 이미지 <나팔꽃>을 창밖의 설치미술로 추상화한다. 그것은 그림 속의 욕망, 즉 거울에 비친 분위기 없는 공간의 이미지이다. 이는 비실재화에서 사실적 이미지로 추상화된 존재로서의 추상화이다.

이는 욕망 개념의 배경에 반영된 무용수가 구름과 같은 비현실적인 하늘의 표면상을 표면상으로 구현하듯이, 순간적으로 존재하는 가역적인 빛의 음영으로 작은 간격을 두고 욕망 개념의 이미지가 전개되는 추상적인 도시적 인상이 되어서 현대 시각 문화에서 도시 이미지의 파편들은 사실적 구조 속 욕망의 구조로 추상화된다./ 글. 미술평론가 최철주 (현대미술디자이너 & 문화디자인박사)

Contemporary Art Designer Louis, morning glory p111, a hand-painted picture on a computer, 2023 / Louis Choi chuljoo's "Painting Installation Performance" Exhibition poster An image of desire based on the cartoon review concept as an object ɑ of the concept of desire, 20230703 Haeundae-gu Office Gallery, Busan.

Contemporary art designer Choi Chul-joo's contemporary art movement, which presents a realistic methodology of abstraction using the concept of desire as contemporary art as a symbolic symbol of contemporary art, will be created in Busan (Haeundae-gu Office Gallery) by "Painting Installation Performance Design", which composes the poster abstraction design as a conceptual image of desire, 20230703 Haeundae-gu Office Gallery, Busan.

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News 

Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design 

Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light. 

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

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

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Louis Chul-joo Choi, The special feeling of the body and mind is “Twice”, a hand-painted picture on a computer, 2024

Cartoon review: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news

■ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review: [7] ABU TV Song Festival: Twice ‘Feel Special’ : A line News of Choi Chul-joo’s Manwha Review (2019-12-29) 

 /Reporter Choi Chul-joo’s Cartoon Review

. The special feeling of the body and mind is “Twice”

. Le sentiment spécial du corps et de l’esprit est « Twice »

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 193-1-The special feeling of the body and mind, 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: In front of the bamboo forest g193-1-The special feeling of the body and mind is “Twice”: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p111-The special feeling of the body and mind is “Twice”: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. 

Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> 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 <morning glory p111-The special feeling of the body and mind is “Twice”> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

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

■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

 By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 193, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest g193, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p111, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory window 2024-3-cave painting, 180X318cm, acrylic and composite materials on cloth, 2024

Louis Choi Chul-joo's "morning glory window 2024-3-cave painting" absorbs temporal light and removes the symbolic representation of the image surface to create an image of realistic desire and hides the conceptual image of desire in the shadow of reversible light. The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.

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

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

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

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

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

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

In this way, the painting becomes a desire concept as a result of desire, dismantling abstract images interacting in real space. It shows a differentiated impression with a realistic abstraction that transforms the situation of desire in abstraction into a real world.

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

Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time. It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.

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

In this way, he creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality. 

In order to reveal the realistic abstraction of the image of dance and music performance that is momentarily distorted in real life, the object of the conceptual form is abstracted in a semantic structure.

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 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. It is an image of desire in a picture, that is, a space without atmosphere reflected in a mirror. mirror. This is an abstraction as a being abstracted from a non-real painting into a realistic image.

This is an abstract urban impression in which images of the concept of desire are developed at small intervals as reversible shades of light that exist momentarily, just as a dancer reflected in the background of the concept of desire implements an unrealistic surface image of the sky like a cloud as a surface image.

In this way, the fragments of urban images in modern visual culture are abstracted into the structure of desire in the realistic structure.

Louis Chul-joo Choi, morning glory window 2024-3-cave painting, 180X318cm, acrylic and composite materials on cloth, 2024

<morning glory window 2024-3-cave painting> is a conceptual abstraction of desire as a treacherous conceptual art based on the cartoon review concept that images created by distorted images meaning the reality of <morning glory> are reversible shadows of light. This is a modern art movement that presents a methodology of realistic abstraction as a concept of modern desire.

Korean painter & abstract painter Louis Choi Chul-joo produced a poster as an abstract artwork of contemporary art related to the individual exhibition of "morning glory window", which is a modern abstract painting  <morning glory window 2024-3-cave painting> that symbolizes the exhibition poster image of the abstract painting as a desire semantic structure.  

The object <morning glory window 2024-3-cave painting>, which depicts the meaning of the shape seen in the meaning space created by the reversible light of realistic non-realism, is an abstract painting that reveals the place of the unconscious desire of others in <morning glory> by structuring the meaning of abstract space that can flip an object into a real shape with a reversible shadow of light. The image of desire in the mirror is a hypothetical non-real image of cartoon review, revealing the place of the other's unconscious desire in "morning glory". 

Therefore, the factual abstract image defines abstract space as a real reversible shape, and Choi Chul-joo's exhibition poster, whose shape is hidden by actual changed movements in the shade of reversible light, means the meaning of abstraction of conceptual art by creating a place of abstraction as a contemporary art abstract art movement.

In the mechanical diagram of a perspective visual system that reproduces abstract image as an object <morning glory window 2024-3-cave painting> as an image of desire concept, the visual system is concealed, but it is an object that appears to be a momentary gaze from a desire perspective revealed in the unconscious. This is a realistic abstraction of the concept of desire based on the image of events and performances.

As a painting, "morning glory window" forms a distorted image expressed through the desire revealed in the other's suppressed unconscious to acquire artistry beyond generality and creates an object as a being to reveal the artistry of the momentary distorted image of drama, disaster, riot, war, and performance as a semantic structure.

Abstract painting  <morning glory window 2024-3-cave painting> repeats the concept of desire to hide the shadow image of others' desires as performance images and collects images of desire overlapping with the timeliness of reversible light.

In  <morning glory window 2024-3-cave painting>, there is an abstract effect in which a person dancing against the background of a morning glory hides desire and gives reversible time sensitivity to the performance image to become the desire of others, and sets a phenomenal position so that the image of light does not overlap.

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 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. It is an image of desire in a picture, that is, a space without atmosphere reflected in a mirror. mirror. This is an abstraction as a being abstracted from a non-real painting into a realistic image.

This is like a mural in an abstract cave where the image of the concept of desire develops at small intervals in the shadow of reversible light that exists momentarily, just as a chicken in the past, which became a fossil reflected in the background of the concept of desire, becomes the desire of others and embodies the surface of an unrealistic sky such as clouds.

In this way, <morning glory window 2024-3-cave painting>, which is fragmented into the desires of others in modern visual culture, is abstracted into a structure of desire in a realistic structure, and the fragmented cave painting image of the concept of desire overlaps with <morning glory window 2024-3-cave painting> as an impressive cross-section of the city.

And the small piece as the desire of the other hidden in the background of the cave painting shows a real abstract space that is reversible through the movement of the concept of symbolic desire in a shape that actually changes it. 

This refers to the meaning of an abstract object, and in a cave painting, the object is designed as an abstract space that can actually be reversible, so the substance of the shape is abstracted into the desire of the other  / Writing. Art critic Choi Chul-joo (Image Installation artist & Doctor of Cultural Design)

Contemporary art designer Choi Chul-joo's contemporary art movement, which presents a realistic methodology of abstraction using the concept of desire as contemporary art as a symbolic symbol of contemporary art, will be created in Busan (Haeundae-gu Office Gallery) by "Painting Installation Performance Design", which composes the poster abstraction design as a conceptual image of desire, 20230703 Haeundae-gu Office Gallery, Busan.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p111-2-The special feeling of the body and mind is “Twice": By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. 

Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> 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 <morning glory p111-2-The special feeling of the body and mind is “Twice”> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

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

■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

 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.

 ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> 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 <morning glory p111-2-The special feeling of the body and mind is “Twice”> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

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

■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

 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.

Louis Chul-joo Choi, The special feeling of the body and mind is “Twice”, a hand-painted picture on a computer, 2024

Cartoon review: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news

■ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review: [7] ABU TV Song Festival: Twice ‘Feel Special’ : A line News of Choi Chul-joo’s Manwha Review (2019-12-29) 

 /Reporter Choi Chul-joo’s Cartoon Review

. The special feeling of the body and mind is “Twice”

. Le sentiment spécial du corps et de l’esprit est « Twice »

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 84-The special feeling of the body and mind, 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: In front of the bamboo forest c84-The special feeling of the body and mind is “Twice”: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p111-2-The special feeling of the body and mind is “Twice”: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. 

Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> 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 <morning glory p111-2-The special feeling of the body and mind is “Twice”> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

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

■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

 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.

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

 ■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.

Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression‎. 

The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.

Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.

In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence. 

And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.     

The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.

Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.     

The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.

And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.

As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.     

The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.

The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.

Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.     

In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.

■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). 

■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.

Contemporary Art Painter Choi Chul-joo