Art Critic Louis Choi Chul-joo Criticism [56] 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 [56] 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 Louis Choi Chul-joo's Contemporary Art work criticism: Louis Choi Chul-joo, the intersection of desire outside the window: By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.

In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.

 

Louis Choi Chul-joo, the intersection of desire outside the window

 

Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.

One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.

The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.

Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.

Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.

 

By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.

In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.

 

Louis Choi Chul-joo, the intersection of desire outside the window

 

the intersection of desire outside the window

A window where reversible light intersects that makes up the structure of desire can face multiple intersections of desires according to temporality.

Through the window at the intersection of desire, the selector of desire creates a double place as a concept of desire and overtakes the linguistic meaning of the concept of desire to emerge a real image as the semantic substance of the abstractly deficient desire structure desired by the selector of desire as the subject.  

Desire created as a subject outside the window is identified with the lack of desire in which the deficient desire protrudes into the linguistic meaning of the concept of abstract desire dominates the subject's desire, causing the subject of that desire to be lost, and the reduced desire is identified with the deficient desire that dominates desire.

 

Existential images reveal the intrinsic nature of a particular object as an existing existential image by transforming the concept of abstract desires into reality by desires concluded according to ex post facto characteristics (Nahtraglichate).

This does not come into contact with the reversible shade of light in the target space of desire, but forms a form that intersects the present in another empty space. When it comes into contact with another object at that intersection, it comes into contact with the temporality of the object's space.

Therefore, when light encounters multiple objects as subjects of a desire to be the object of insufficient desire, existing and past objects create a place of light according to multiple temporality in one place and form a point where desires intersect between unconscious and consciousness.

Desire seen as the light of temporality intersects with the difference in distance from the current form in which the direction and size of the actual image are separated.

It is an ego that tries to grasp the object of desire reflected in the pond as a concept of abstract desire, and performs a conscious movement that creates an expressive image generated by desire.

As a result, desire, divided by temporality, is a conscious movement in which different forms of desire intersect with each other to produce a gradual change in desire, and desire appears as a real image in a shadow of reversible light. This is the intersection of the desire to face reality between the cultural background that varies according to temporality and the desire of others to see existing objects. 

 

The lack of desire that meets at the intersection of desire exchanges images in a place specified by the structure of the object as a reversible shade of light.

In addition, as a subject, desire maintains an abstract existence as the inevitability of the concept of desire as a selector of desire and exchanges the lack of desire into an image of a specific place, the image of reality that interprets linguistic meaning as a result is specified as an object of desire.

The selector of the concept of desire forces a specific object into a real image by the desire of the other, a reversible shadow of light with temporality forms the direction of the image, and a vector in the opposite direction to the concept of desire is connected to create a lack of desire as an image. 

In a lecture on November 4, 1971, Lacan said that desire is a mathematical sign and that a lack of desire is a mathematical element.

As a proposition, a mathematical statement has a linguistic meaning that logically judges desire. It determines the linguistic meaning so that the lack of desire can determine a specific object, judges the concept of desire as the same desire without distinguishing it from the actual image, and does not distinguish the concept of desire from the actual image by constructing a specific place where the meaning of consistent desire can be experienced as a conscious movement at the intersection of desire.     

Although it is not possible to convert the other's desire to a numerical image of a vector at the intersection of desire, it limits the real image to the deficient desire structure and realizes the abstract other's desire as an alienated linguistic meaning.

 

By inductively illuminating the concept of the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.

In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

 

Choi Chul-joo, a contemporary conceptual abstract artist