Contemporary Art Criticism [31] Contemporary Art Critic Louis Choi Chul-joo Design of Contemporary Art : Desire Conceptual Abstract Art Design & Art Critic Louis Choi Chul-joo Abstract Art Theory of Conceptual Abstract Painting, Concept Abstract Art Insta

Contemporary Art Criticism [31] Contemporary Art Critic Louis Choi Chul-joo Design of Contemporary Art : Desire Conceptual Abstract Art Design & Art Critic Louis Choi Chul-joo Abstract Art Theory of Conceptual Abstract Painting, Concept Abstract Art Installation & Contemporary Artist Louis Choi Chul-joo Abstract Art Design Criticism: Korean News Cartoon Culture Column in Cartoon Review [193] French movie star Alain Delon dies, (2024-8-18)  / Reporter Choi Chul-joo’s Cartoon Review & art criticism: Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024

 

Louis Choi Chul-joo, morning glory p100-14-2-French movie star Alain Delon dies-pond-1, a hand-painted picture on a computer 

 

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory', 'Bamboo forest' ' & 'pond' 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 Choi Chul-joo, French movie star Alain Delon dies, a hand-painted picture on a compute

 

News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [193] French movie star Alain Delon dies, (2024-8-18)  / Reporter Choi Chul-joo’s Cartoon Review  

. French movie star Alain Delon dies

. La star de cinéma française Alain Delon meurt

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest Forest 203-French movie star Alain Delon dies: 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. 

 

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest a203-French movie star Alain Delon dies: 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. 

 

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest Forest a203-1-French movie star Alain Delon dies: 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. 

 

 

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, Bamboo Forest Forest a203-1-French movie star Alain Delon dies-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.

■ 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.

 

 

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, French movie star Alain Delon dies-6-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.

 

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: <French movie star Alain Delon dies-6-pond> 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 <French movie star Alain Delon dies-6> 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 <French movie star Alain Delon dies-6-pond> 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.

 

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.

 

Therefore, conceptual abstract painter Louis Choi Chul-joo's "French movie star Alain Delon dies" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. 

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p100-14-2-French movie star Alain Delon dies-pond-1" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory 

 

 

Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024

 

 

Abstract Design Process of Desire Concepts: The Missing Pond

The border of the pond, where water is collected on the surface of the earth, inside the tangent line of the earth's surface to the water surface, is the same as the geometric tangent line in the shape of the water surface.

The missing pond is a structure of light that deviates from the concept of instantaneous desire as a shade of reversible light, and perspective objectivity distorts the range of the sky and the size of the perspective with reversible light on the object superimposed on the water surface.

It opens its eyes in the pond and emerges an aesthetic structure of desire that casts leaves and flowers on fish and water hovering in the direction of desire.

 

The concept of desire that emerged in this way abstracts to fit a pond in a realistic hue with a reversible shade of light.

Choi Chul-joo's concept of desire in the disappeared pond 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 into a design, 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 obscured by images designed by the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as images 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 of the past and is recognized as an abstract image. And the subject who depicts existence as an actor implements reality that symbolizes the concept of desire and transforms abstract desire into a mental phenomenon of an image. 

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

 

Desire Process As an abstract picture image, the Desire concept design process 3 is an unconscious act that is thoughtful but unconscious, and is to repeatedly design a desire that combines lines and colors and transfer it to a real image.

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 to design the space composition of desire in which the image of the idea is a flat monochromatic painting carved from reality by combining it into a reversible structure of light through conscious movement.

Therefore, the temporality of a linguistic image according to reversible light presents the image of reality as a being through existential-theoretic interpretation, like Aristotle's time.

Here, Choi Chul-joo's Desire Concept Abstraction Design Process 5 represents the linguistic meaning to present the concept of desire. This is a correlation structure of elapsed time, which is abstracted by simplifying a specific surface of the image while converting to an actual image.

 

Thus, by simplifying the actual image that embodies the abstract structure, the contrast of the cross section is eliminated with reversible shades of light, and the essence of abstraction is flattened into the cross section. This is an image that revives the essence of abstraction in the linguistic and temporal sense of concealing the same object that exists in the present.

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

The expression of water as a structure of the object of desire contrasts with the sense of reality and the flat abstract gaze of the lotus, which gave a sense of motion to the flow of water by the movement of the fish,

 

The perspective simplifies the real image of recognizing the object of a reversible perspective in a linguistic sense from abstract thinking to a phenomenal structure. In other words, it brings the error of abstract perception to a reversible perspective and designs it as a real image that avoids the unconscious surreal formative structure.

Reality creates boundaries of realistic structures and specifies the meaning of images in terms of time as empty spaces abstracted by the concept of desire.

Like Jugendstil, an abstraction of morning glory in linguistic abstraction that specifies the concept of involuntary desire, this abstracts the rhythm of the object and transforms it into a flat design form, but interprets it as reversible light. Therefore, it is not an impressionistic image that captures the moment of 'the disappearing pond' as an impression, but a symbolic image of existence that verbally interprets the abstract meaning of 'the disappearing pond' in an explicit temporality as a shade of reversible light.

Therefore, determining the object of abstract desire as a correlation in reality is the starting point for abstracting the concept of involuntary desire as a being. This is in accordance with Choi Cheol-joo's process 1 of the concept of desire, which abstracts the structure by presenting the present image, that is, the image of temporality verbally, in the shade of reversible light that embodies the concept of desire in the present place. 

By simplifying the real image that embodies the abstract structure of desire and eliminating the light and shade of the cross section into reversible light and shade, the essence of abstraction is flattened into a cross section. This is an image that returns the essence of abstraction to temporality in a linguistic sense.

The abstraction of the concept of desire creates an image of a pond that existed in a linguistic sense as a shade of reversible light tailored to the linguistic logic in which the shadow of the existing light returned to temporality.

 

The pond captures the lotus and the fish whose temporality is superimposed on the waves as the subject of desire. This is a linguistic demand separated by abstraction, and the aesthetic value in the pond is recognized in an abstract sense as a structure of desire and as a symbolic structure of the concept of desire.

Therefore, we follow the Desire Concept Design Process 2 to harmonize the concept of desire and abstraction, where symbolic meanings are fantasized to conform to the concept of esthetic values and desires, in which reality represented by the abstraction of linguistic meaning is distinguished.

 

 

In linguistic abstraction, as the philosophical logic approaches, images formed in the structure of letters are tailored to art to form a formative structure.

Choi Chul-joo's abstraction of the concept of desire is the same as abstracting the concept of biblical desire as a real image by personifying a divine character in the Bible, like the the theological formative structure of a Renaissance church that attributed philosophical logic to religion.

Although the artistic inspiration of early Dadaist conceptual art cannot be ignored, Choi Chul-joo's concept of desire in contemporary art, whose conceptual abstraction deviates from the Bible, is a concept of installing flat images in conceptual art with literal concepts and linguistic meanings as sketches through images reflected in a pond.

The unconscious abstraction, in which abstract words are drawn in a linguistic sense, is difficult to interpret as an image of an idea as the content of the mind, and the concept of abstract desire is an annular structure. 

Therefore, according to Desire Concept Design Process 3, it is to repeatedly design images generated by abstraction as reality that symbolizes desire and express actual images of desire with arbitrary unconscious actions desired by desire.

 

On the other hand, it is conceptual art in a linguistic sense that expresses abstract concepts as real images. Therefore, Choi Chul-joo's conceptual art of desire transfers the structure of Idea to the structure of reality. And abstract works show real images as images of the subject's events and performances.

The image is a conceptual abstraction that goes beyond the limits of the real image of impressionist painting. It illuminates the impressive abstraction of the concept of desire in photographs with instantaneous impressions of images of events and performances. And it clearly realizes the concept of unconscious desire as an image in a linguistic sense.

In this way, the realization of the concept of desire is abstracted into an effect specified as unconscious action, a universal reversible being created by the imagination desired by the subject of desire illuminated in the reversible shadow of light.

Therefore, it is according to Desire Concept Design Process 4 to select thoughts that cannot be subconsciously recognized in universal reality as fragmented planar structures to form meaningful spaces "morning glory, bamboo forests, and ponds" as frames of desire.

Desire that existed in the "disappeared pond" is abstracted into a real image tailored to the conditions of correlation with past experiences of the unconscious as an essential image of linguistic meaning.

Here, a superimposed image of meaningful desire hidden in temporality appears in the pond as an image of reality, but the entire image is an abstract composition that deviates from the perspective visual system. Its planar shape simplifies the image of the past concept of desire and abstracts the existence of unconscious desire into an objective image of reality.

 

Choi Chul-joo divides desire into background and actor as the subject of the abstraction. He structures the image of morning glory, bamboo forest, and pond in the desire background and expresses the actor of desire as an objective correlation of the concept of desire. The desire realistically abstracts the landscape in the linguistic sense as a correlation in which a reversible shade of light structurally directs desire.

It shows the impression of desire perceived as a real meaning of desire that is abstracted as a realistic structure. In other words, the background of Choi Chul-joo's concept of desire is the morning glory, which is the structure of desire. The shadow is the linguistic meaning, which is a phenomenon of life through events and performance images, and the mirror image is hidden in a bamboo forest. And the image reflecting the shadowy structure in the pond represents the cause of desire in reality as the existential meaning of timeliness according to reversible light as the background of desire.

Therefore, it follows the desire concept abstract design process 5 to represent the existing linguistic meaning in temporality to the hidden real structure of unconscious desire.

This reveals the impression of the concept of desire in a reversible light that is passively set in the imagination, and as a cause, an abstract deviating from the impression that the actor, the subject of desire, represents desire.

 

The stray abstraction of the impression faced by the phenomenon representing desire is the reality of desire that is invisible to the imagination. This has a linguistic meaning along with the form of an abstract desire image reflected in the pond.

The concept of desire, which represents linguistic meaning in a painting as a metaphor, does not fall outside the scope of an imitation painting. However, when the concept and image of desire representing invisible reality in the imagination are the same, they turn into conceptual abstractions.

This is a symbolic system that constitutes a structure with social rules, and it is an image of a desire structure that equates the symbolic meaning invisible to the image of abstract reality.

Therefore, the subject of the image of desire is the object as the subject of desire. The object enters reality from the symbolic world of abstract desire by accepting the symbolic meaning invisible to reality as the subject.

 

In the category of imitability in painting, the real image, which appears to be a symbol with the object of desire as a conceptual subject, has been accepted in religious customs until modern times. In addition, by obscuring the concept of desire as a social constraint, it hides the figurative reality of nude in painting and is symbolized as an illusion based on a mythical story. In the imagination of painting until modern times, the symbolic meaning, which is socially taboo, has no difference from the image of morphological reality.

Choi Chul-joo's abstraction of the concept of desire is an image of a substantive shape, and the formative meaning in which social desire is embodied is transformed into a symbolic shape. In other words, paintings up to modern times are modern paintings that break away from the category of realistic formativeness and conventional abstraction that revealed the stage of contrast and destroy the symbolism of the other's desires as invisible reality, making it an abstract desire concept.

This abstracts the reality of fish by expressing the flatness of painting in monotone with the outline of fish as an image of desire as an abstract structure revealed by the desire of the other in <Disappeared Pond>.

The pond shows contemporary social reality and reveals the image of reality hidden in conventional reason, reflecting the pictorial meaning of desire through communication with its reality.

The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality. 

In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.

Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".

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. 

In addition, as a design process of the concept of desire, the object of desire is symbolized as a conceptual subject, forming the reality expressed through desire revealed in the suppressed unconscious through design and revealing abstraction as being./ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)