Art Criticism by Pop Art Abstract Artist Louis Choi Chul-joo [11] Contemporary Art Today Choi Chul-joo's Art Criticism, contemporary Art Review & Modern Art Criticism: Contemporary Conceptual Artist Louis Choi Chul-joo's Art Review of Contemporary paintin

Art Criticism by Pop Art Abstract Artist Louis Choi Chul-joo [11] Contemporary Art Today Choi Chul-joo's Art Criticism, contemporary Art Review & Modern Art Criticism: Contemporary Conceptual Artist Louis Choi Chul-joo's Art Review of Contemporary painting Artwork: morning glory window 2024- 6-the gaze & Dr. Chul-joo Choi's A line News of Manwha Review [179] Samsung acquitted of the first trial of illegal succession of management rights (2024-2-7)/ Reporter Choi Chul-joo’s Cartoon Review

 

Conceptualization of Desire: Conceptualization of Desire Art is a visualization of progress and results as objects of imagination and existence, facing artistic ideas and portraying the desires of others as objects of imagination and existence. Louis Choi Chuljoo's Conceptual Abstract Art faces artistic ideas and visualizes progressive phenomena and consequences as objects of Desire's imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 Louis Choi Chul-joo' theory of abstract art)

 

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 

 

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, Samsung acquitted of the first trial of illegal succession of management rights, a hand-painted picture on a computer, 2024

 

 

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

■ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review: [179] Samsung acquitted of the first trial of illegal succession of management rights (2024-2-7) /Reporter Choi Chul-joo’s Cartoon Review

. Samsung acquitted of the first trial of illegal succession of management rights

. Samsung est innocent du premier procès pour succession illégale de droits de gestion

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 303-Samsung acquitted of the first trial of illegal succession of management rights-pond, 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 e303-Samsung acquitted of the first trial of illegal succession of management rights-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p115-5-Samsung acquitted of the first trial of illegal succession of management rights: 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 p115-5-Samsung acquitted of the first trial of illegal succession of management rights> 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 2023 Busan 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 303, a hand-painted picture on a computer

 

 

 

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest e303, a hand-painted picture on a computer

 

 

 

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p115, a hand-painted picture on a computer 

   

                 

 

 

Louis Chul-joo Choi, morning glory window 2024-7-the gaze, 222X218cm, acrylic and composite materials on cloth, 2024

 

Morning glory window 2024- 6-the gaze

From an abstract point of view, the perspective of painting looks at the abstract concept of space as a partial representation in the phenomenal image.

Here, the gaze of the "Morning glory window" attempts to induce a real image by juxtaposing a conceptual object as a phenomenal image in an abstract space beyond reality. 

Here, the gaze of the 'morning glory window' attempts to induce reality by juxtaposing it as a phenomenal image as a subject in an abstract space beyond reality.

Abstraction integrates reality and abstraction into images of desire, limiting the abstraction of desire as a realistic object to the same range of gaze as reality.

This is a perspective that connects reality and abstraction to the object of the same image.

 

The gaze identifies the object that is actually immobile as the subject by drawing it as abstract mobility and staring. In other words, the object of reality is transferred to the object of perspective abstraction in the same form as the object as the abstract mobility of the gaze.     

The object here refers to the existence of an object representing the subject, but it is not an object of a different concept like Dada's Readymade. This is an image of reality that is abstracted as a concept of desire.

The image is similar to the concept of surrealism that synthesizes from the linguistic unconscious into an image, but it is real as the same image as the object of "morning glory".     

In <morning glory window 2024-6-the gaze>, morning glory is an object that acquires the status of desire.

It consists of the concept of reality and desire, and the concept of desire with the viewer as a picture image follows linguistic dependence. In other words, as the relationship between reality and the concept of desire, the image is determined by the dependence of the concept of linguistic desire.

This is a realistic object with a linguistic concept as involuntary abstraction, imaging the desires of others.

The gaze, perceived as an abstract desire perspective, makes us stare at the abstraction of a flat structure that sees light as a desire structure and the abstraction of a desire perspective that uses reality as a partial plane. An image is an abstraction of the concept of desire as an abstracted entity from the concept of verbal desire, and an abstraction that makes the partial image of reality, "morning glory window 2024-6-the  gaze," meaning a real image in a flat part. This is the process of abstracting the concept of desire art applied in Choi Chul-joo's desire formula.     

The imaginary desire structure creates an abstract space with the gaze of desire and equates the abstraction of non-real with a flat structure, so the reality expands the linear structure and converts the reality into an image.

The idea of staring at the concept of desire that occurs momentarily in reality as a real image is limited to a state of abstraction.

 

Therefore, <morning glory window 2024-6-the gaze> is a concept of desire and is accepted as the same image without the consent of reality and abstraction.

In this way, the concept of desire is expressed as a real image, and the concept is embodied as an antinomical aesthetic structure that identifies with abstraction. In other words, Choi Chul-joo's abstraction of the concept of desire, which abstracts the concept of desire into a real image, is conceptualized as an antinomical abstraction by identifying a concept in which reality and abstract are incompatible with each other as a real image.

This is seen as an image as a gaze that juxtaposes the concept of linguistic desire with an antinomical concept and reality.

Here, Choi Chul-joo's antinomical concept of desire, which abstracts an object that refers to a concept into a real image of the concept, refers to the abstraction of a real image that is desire.

As a contradictory abstraction, abstraction, which is a linguistic concept of desire with desire as the subject, is a new abstraction <morning glory window 2024-6-the gaze> of contemporary art that develops abstract objects into real images with Choi Chul-joo's concept of desire abstract art movement.

 

The position fixed by abstraction repeats the morning glory design, juxtaposing the reality from unconscious desire as the subject of divided abstraction. 

The morning glory does not compare abstractions because reality is divided, but as one reality is replaced by the concept of desire, the original reality is abstracted and seems to be juxtaposed with the abstract concept to the viewer.

Here, "morning glory", created by a reversible shade of light, shares its space as an image. Another installation image overlapping with chairs is an object. Assuming that the pictorial installation image of desire is a non-reproducive image, reality exists as a real image in the entire virtual Yeomyeong Hall Gym image that abstractly reproduces reality.

The object of desire clearly reveals the physical structure, especially by eliminating volume and shadow from the morphological structure. This is an analysis of an object as an invisible 'gaze', and the form of visual representation is viewed as the form of cognitive representation from different points of view.     

The object as an anamorphosis image in Picasso's painting is a crooked image that looks like an object of Choi Chul-joo's concept of desire. This is an object of desire and goes beyond the dimension of the non-realistic visual image of painting. 

The image is an image created in the shadow of light on a multi-faceted object in a form revealed from the line. It has temporality and existence as composed at the instantaneous point of time. This is because it is an image created by the desire of others in a system of composition of desires in a gaze area regardless of whether it is flat or stereoscopic.

There is no perspective density and sense formed at a single light source point of view by choosing a shaded image of light in which the desires of the other are integrated by light lines. Here, the object refers to that partial images, such as abstract collage, exist in space in the form of being revealed by gaze at the same time.     

However, the shape hovers in the background of the image with several shades that are instantly reversible without being seen as meaningful. This is an image in which the position of temporality, that is, the image of the sky, appears as a fixed stimulus of light at one moment in time, just as clouds, rain, and snow appear. This is the existential position of the object that the light is viewed through an infinite and continuous gaze made up of the passage of temporality.

It is a reversible visual structure in which abstract phenomena in which spheres coexist exist. It is a structure of temporal desire for the image that obtains semantic desire recognition of the image when the artist paints.

The object viewed through the gaze of desire is a reversible visual structure that exists as an abstract real image in which spheres coexist. It is a structure of temporal desire for an image that acquires a semantic desire perception for an image when the artist draws a picture.

 

Therefore, the visual reversible reaction is an image structure in which the visual reversible reaction of morning glory and the actual structure of the moment according to its place are overlapped with various colors by an artist with the gaze of desire, turning black or obscuring light.

The image of the structure is a landscape of desire created by the image of the desire of others, and it is seen as a gaze when the shadowy shape of everyday life is located at the moment of intersection with the 'morning glory' of the past time.

The dark blank space contrasting with the light of this decorated shape is a shadow created in the landscape where the gaze of desire stays. Here, as a real object being, color is a single-phase image of a refined custom stared at with the gaze. 

The visible image of the gaze is a symbolic language that means an imitated flower, and the image installation art ' morning glory' is a hidden aesthetic structure that conceals the gaze of others symbolized in an unrealistic space as a result of the meaning of desire. And it is stared at as a piece of an object as the meaning of the concept of desire.

 

Desire As a visual culture viewed from the conceptual point of view, the gaze area in which a concrete effect occurs is an image that can momentarily see the desires of others who function to capture the attention in the landscape. As that image, "morning glory" is a visual idea that recognizes and applies what is not in reality in Choi Cheol-joo's formula of desire. The idea is a real image that depicts the unconscious and language in the same form.

The "morning glory" shown here is a structure that sees an object flattened in one color through the gaze of desire. This is the flatness of the sculptural structure transmitted by reversible light, and the image of morning glory seems to be abstractly consistent. And morning glory is the same as the reflected reality, but the shape of the background is not the same as the reality.

 

As an attempt at desire painting, <morning glory> refers to a bizarre gaze pattern in which the existence of an object in the painting returns the meaning of the painting to one of the repressed aesthetic spaces in which the desire of others is generated as a concrete gaze effect of the meaning of desire by erasing one morning glory stem with light.

This is the artistic meaning of reality and non-realism according to the image of staring at the realm of desire through painting. The visible image that reproduces the object, that is, the pictorial image that expresses the object as a real object, was grasped as an image as a non-realistic. Therefore, the method of staring for finding reality in an object is to reveal the desires of others with a crooked image similar to the object of desire. In other words, it shows the visual meaning of abstraction by waking up from the verbal unconscious and drawing the desires of contemporary others as a gaze image.     

The meaning of visual abstraction is a symbolic visible linguistic image symbolizing an imitated flower. Here, the image of the morning glory is symbolized as being in an unrealistic space as a result of the linguistic meaning of desire, and it is a fragment of the abstract language structure as the meaning of the concealed aesthetic structure.

Therefore, "morning glory" is a real painting drawn in linguistic abstraction, and the position of a non-realistic painting extends to an image of desire with light reflected in a small hole in the fabric. The formal meaning of the image abstracts the desire to decorate the reality of traditional universality faced by morning glory into a space of real paintings with reversible light colors.

 

And in the unconscious desire in which the meaning of the desire is fixed in abstraction, reality divides, and the subject of the desire represents the abstract concept, so abstraction as reality forms a conflict with the realistic image. / Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)