Art Critic Louis Choi Chul-joo Criticism [34] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism

Art Critic Louis Choi Chul-joo Criticism [34] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others <morning glory 2022-c-back>; The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.

And by simplifying the form of confrontation in the painting into a desire landscape, the object is divided into a plane, and the desire to shade a reversible light at the intersection of light and shade is adjusted with color.

 

Louis’s thread painting: morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth, 2022 

 

 

 

 <morning glory> painted on a cloth composed of thread

 

thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.

The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.

The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze. 

A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place. 

 

However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space.

 

Louis, morning glory 2022-c-back, 135X156cm, acrylic and composite materials on cloth, 2022

 

 

The meaning of a desire object generates meaning as a thought movement that combines and replaces the effects that emerged from the chain of desire languages.

In other words, after creating an image of a desired object <thread painting: morning glory 2022-c-back>, the design is repeated to create a connection structure between the image and the image drawn with another shade of light, revealing the deficiency structure of the desired object, and allowing desire to appear through semantic action instead of not acting as a lack of meaning, that is, resistance to semantic action.

The image formed by the deficiency is the same as what the infant saw in front of the mirror, and the image of the object and the image of the object identified in the imaginary world are identified internally as the same subject, and the subject forms a transformed image of itself. This <morning glory 2022-c-back> is a phenomenal image, and the shadow of the real object and the desire object brightens or disappears in a reversible shade of light in an empty space.

It is an image that is lacking as an object as an image that is satisfied as a child in the image of an object of reality.

By confirming the structure of the phenomenal reality that does not exist in empty space on the back of the object, the reality of the object is an image of reality reflected in the mirror. In other words, the image of the phenomenal reality may be an image of the image of the reality as a metaphor reflected in the mirror or an image that appears as a virtual shade as another image.

 

Therefore, in the concept of desire that Choi Chul-joo refers to, the metaphor does not compare an object, but as one image is replaced with another, the original image becomes the meaning of reality. Like Cézanne, a similar form can be seen after revealing a public form rather than an imitative painting attributes an object to a form.

The place where its meaning is fixed becomes a fixed point where desire and reality intersect as a divided subject by repeating the image of desire from unconscious desire to the divided subject. 

 

The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.

And by simplifying the form of confrontation in the painting into a desire landscape, the object is divided into a plane, and the desire to shade a reversible light at the intersection of light and shade is adjusted with color. / Writing. Choi Chul-joo, art critic (abstract painter & doctor of cultural design) 

 

         Art Critic Choi Chul-joo