Art Critic Louis Choi Chul-joo Criticism [42] 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 [42] 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 criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: Louis Chul-joo Choi, morning glory window 2024-9-the gaze of desire:

In cartoons that have satirized politics since modern times, the sound has been expressed with oval speech balloons

Comic sound expression uses speech balloons to convey the subject's intention through text. Therefore, visualizing the concept of desire shows meaning through abstraction. 

The abstraction is a real image that avoids decomposing shape into lines and colors.

This does not separate the shape components like cubism, but creates a place of desire separated by the shadow of reversible light and is fixed as an abstraction of a real image as a conceptual art of desire.          

                                                                                     

Louis Chul-joo Choi, morning glory window 2024-9-the gaze of desire, 160X113cm, acrylic and composite materials on cloth, 2024

 

The Design Process of Abstract Art to Find the gaze of Desire     

The gaze of desire appears as an image that affects abstract values from the universal perspective of desire as a subject. The image of the subject is the image that meets the morphological criteria that the desire of the abstract concept constitutes. The image adjusts the compositional form to reversible temporality by adding abstract desire to the concept and compositional form of desire.

This represents an image in an abstract sense as a correlation of facts intuitively designed by abstract desires.

According to the process of Choi Chul-joo's concept of desire, the image defines the abstract meaning as a real image by determining the object that exists in the meaning and embodying the abstract formative element. In other words, it takes the meaning of existence by inductively inferring the meaning of abstraction as a real image from verbal abstraction. 

In addition, the concept of desire is abstracted from the perspective of an image to the outside of real, and the image of reality as an object of abstraction is designed as the correlation between real and real. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire.

 

In this way, Choi Chul-joo's Desire Concept Design Process 1 does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with the real image to escape the misunderstanding that transfers from the abstract concept to the real structure.

The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as the shade of the concept of desire resulting from the real image. In addition, the conceptual process 2 of Choi Chul-joo's desire follows the process of decorating the object with the color of universal reality suitable for custom in order to have an aesthetic value suitable for its position as a single image.

 

The aesthetic structures obscured by realistic colors are distinguished by clouds and obscured by shaded light, obscuring abstract concepts in real images.

In "Gaze of Desire", the morning glory background and the woman of desire abstracts the morning glory background as a stage of desire and creates an abstraction that contrasts with the past and desire that stopped with the color of desire. 

The abstraction takes on the form of women in the past and present stopped by desire, and is a form of desire for women in the same linguistic sense as the female abstraction of the past and the female reality of the present. The background of the morning glory that existed in place of its appearance seems to be a viewpoint shot of desire.

The politician's perspective practices ethics in the public interest in the name of the interests of voters seeking power, but girl group singers have musical talent first. Their YouTube views are higher than those of politicians. Nevertheless, politicians broadcast on YouTube to increase their value by contacting voters as Internet users.

 

The force in the direction acting on the YouTube screen is a vector.

In the politician broadcast screen, a vector in which shorts in a certain direction are connected only shows continuity, but does not reveal the concept of desire. On the other hand, the girl group broadcast screen can visualize the concept of desire in vectors in multiple directions by shorts in opposite directions. The vector is a motion vector as a force in which a line of desire's gaze is connected to the subject changes the dynamic direction between the subject and another object. It symbolizes the concept of desire as a visual vector as a movement in various directions.

Therefore, YouTube videos of girl groups with high motion vectors get more favorable responses than those of candidates for Seoul mayor.

Here, the image of the concept of desire is a psychological vector, and the involuntary desire is another gaze, staring at the concept image.

Recognizing the image as abstraction is the result of an image based on the correlation with desire as an object of reality in the process of representing a subject of a desire structure created in a social environment as a being in the past. 

In other words, the subject who painted abstraction implements the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image.

 

Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is the design process 3 of the concept of desire abstract art that repeatedly designs desires that combine lines and colors in thoughts but are not conscious as unconscious actions.

The unconsciously abstract concept of desire is a sculpture image of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image.
 The image is the design process 4 of the concept of desire abstract art that constitutes a space of desire by combining it into a reversible light structure through conscious movement of flat monochromatic painting carved from reality.
 This is Choi Chul-joo's concept of desire Abstraction. The concept of desire Abstraction created by the design process of art reveals a desire object as another skewed reality in the perspective visual system.

 

Until modern times, Cartesian consciousness recognizes objects that have been identified as verbal meanings through conscious action and correlations between meanings and objects, but Choi Cheol-joo's concept of desire expresses verbal abstraction as a real image as a semantic correlation. Therefore, the real image of the concept of desire is regarded as an abstraction independent of the phenomenon. 

Here, the "desire gaze" creates a metaphysical image in which the object of a desired existence generates the subject of that existence, and creates a structure of unconscious desire with the image in a reversible shade of light. And it faces the gaze of looking at the abstraction in which the structure is painted.

 

Abstraction drawn in this way is a linguistic meaning, and an abstract object that deviates from generality abstracts the image expressed through the desire revealed in the unconscious of the other into a structure of meaning. And it gains aesthetic value by autonomously choosing the desires of others as beings and creating a desire object as another structure of a desired form.

 

The structure of unconscious desire and the image created by another form of desire are the structure of the subject's desire unconsciously expressed by the image that appears to be an object of the desires of others.

As the abstraction of the concept of desire that embodies the structure as an image is repeatedly drawn, abstraction is separated from the object of desire and exists as a real image by connecting reality to the abstraction drawn by impulsing the desire that is lacking as the subject of desire. 

The image is identified with the real image as the subject of desire and forms the meaning of the other abstracted from the concept of desire. This is the imagination enjoyed in the realm of motherhood as an infantile imagination. Here, the correlation with objects seen in infants is achieved through a shared relationship with the desires of others in the realm of protection. This is where a politician who hides desire and wears a false mask expresses the linguistic meaning of the imagination of reality.

Therefore, by viewing the imagination as a metaphor as an object reflected in a mirror, infants abstract from the linguistic semantic structure to create an object of desire as an image that satisfies the image of an actual object and an image as an infant.

 

Politicians are the users who cover their faces, hide their misaligned desires, and reveal heroic aspects. They embody social desires by wearing masks that represent the desires of others.

This is a direct effect that mediates the desires of others who embody the desires of politicians as an object of social desire, and as a result of the concept of desire, abstracts the representational real image of the object indicated by experience.

In other words, it interprets the actual image in which the concept of desire affects behavior as an abstraction as a correlated action. This interprets the concept of desire as an allegory that goes beyond abstract symbols in reality with similar linguistic meanings.

However, for politicians, masks only reveal images of faces tailored to voters' desires, like ornaments on election grounds that avoid voters' eyes.

This is a symbolic impression of a politician as a still mask image with the desires of others as the subject.

 

As a symbolic correlation with the voter's subject, the desire of the other is specified as an abstract reality structure transferred from an irreversible and still symbolic image. Then, an abstract space suspended in the shadow of reversible light is created, and the sound of desire is abstracted from the movement of light that forms that abstraction.

The sound of desire is clearly conceptualized as a text, and the concept is inductively visualized as an abstract image of desire as a universal sphere. This is similar to the meaning of desire delivered as a text image. 

This recognizes only the concept of desire, excludes the image, embodies the concept, and instantaneously meets and imitates the abstract image as reality through the distinction between meaning and reality. And through the realistic image, the momentary encounter with reality is achieved, and the abstract image as reality is modeled.

 

In cartoons that have satirized politics since modern times, the sound has been expressed with oval speech balloons

Comic sound expression uses speech balloons to convey the subject's intention through text. Therefore, visualizing the concept of desire shows meaning through abstraction. 

The abstraction is a real image that avoids decomposing shape into lines and colors.

This does not separate the shape components like cubism, but creates a place of desire separated by the shadow of reversible light and is fixed as an abstraction of a real image as a conceptual art of desire. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)  

 

Contemporary art Critic Louis Choi Chul-joo