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Modern art Pop & Contemporary Conceptual Abstract Artist Louis Choi Chul-joo's Desire Concept Abstract Art Work Review & Concept Abstract Modern Art Criticism [3/ 17~19] Case of Contemporary Concept Abstract Art: Artworks Critique [6] Abstract Design <mor
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Modern art Pop & Contemporary Conceptual Abstract Artist Louis Choi Chul-joo's Desire Concept Abstract Art Work Review & Concept Abstract Modern Art Criticism [3/ 17~19] Case of Contemporary Concept Abstract Art: Artworks Critique [6] Abstract Design <morning glory p42-7> & Louis Choi Chul-joo Abstract Art Review: Choi Chul-joo Desire Concept Abstract Art Theory Presented & Famous Contemporary Painter, Contemporary Artists, Abstract Artists, Contemporary Concept Abstract Artists Criticize Works/ Contemporary Concept Abstract Artist Louis Choi Chul-joo's Desire Concept Art Work 'Morning Glory' Abstract Design: Exhibition of Louis Choi chuljoo' "morning glory" with the image of Desire's object, 20220301~20220308 Flushing Town Hall, New York.
Art & Design review: the New York Contemporary Art Exhibition of "Morning glory" abstract painting(Poster): an exhibition of the desires of others seen by a chick as an infant." a contemporary art work that applies artist Louis Chul-joo Choi's Lacan art theory. 20220301
~20220308 Flushing Town Hall, New York.
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)
Shape image as a conceptual semantic structure: It refers to another image of the background of a real concept that represents a real morning glory by repeating the color of the shadow on the object image of desire, and it is the object of the concept of desire that depicts the shadow structure created from non-real images with reversible light.
The object is abstraction as a contemporary desire concept artwork, which is repeated by symbolizing and overlapping the desires of others with reversible shades of light in "morning glory" the background design concept of contemporary desire concept artwork.
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.
(Louis' Conceptual Art Theory on Realistic Abstract Painting)
Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.
As a background of culture, shape abstracts the concept of a realistic structure and determines its shape by reversible shading of light, but the background in which the shape disappeared as the whole is covered according to its shape time is summarized as contemporary light.
(Louis' Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art)
Louis Choi Chul-joo, morning glory 2020-j & SSAK, a hand-painted picture on a computer
Realistic structures are reflected in the shape of shadow colors by light. It's the contours and shadows that are determined by the reversible shades of light that reveal that shape. This is the concept of desire, the art of realistic abstraction, which actually forms an abstract image of the concept of desire.
Louis Chul-joo Choi, morning glory p42-6, a hand-painted picture on a computer
Louis Chul-joo Choi, morning glory p42-7, a hand-painted picture on a computer, 2022
개념적 의미 구조로서 추상 이미지 디자인: 이미지를 오브제로 디자인한 라캉의 오브제ɑ<morning glory>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로 디자인한 배면이 비춰지는 교직된 천의 형태에 그리진 라캉의 오브제ɑ다. 그 오브제ɑ의 형상은 뉴욕(Flushing Town Hall & Yeomyeong Hall)에서 루이 2022년 <나팔꽃>개인전 관련 현대미술 추상화 작품으로서 디자인 컨셉으로 한 포스터<morning glory poster>를 제작하여서 이것을 라캉적 의미 구조로서 형상의 디자인 즉 회화의 전시 이미지를 기호화하여서 연쇄한 현대 개념미술을 추상화했다. 그 추상화는 형상을 보고서 차이를 구별할수록 한쪽 방향으로 그 형상을 이해하기 때문에 이면(裏面)의 의미를 구상한다. 그 형상이 달라도 동일한 의미를 말할때 그것은 기호적 구조로서 유사한 색깔과 크기의 추상이다. 즉 구상적 형태로서 동일한 의미의 구조로 한 비실재의 사실적 형상을 개념적 의미 구조로서 추상이다.
따라서 형상이 다른 동일한 의미로서의 추상화는 유사한 색깔과 크기가 다른 사상적 비형상의 존재로서 실재하는 비사실적이다.
가역적 빛으로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 2022 뉴욕 전시 포스터-42)는 병아리가 타자의 욕망을 시간성에 감춘 이미지를 가역적 빛의 음영으로 <SSAK>을 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 형상의 실제 변화된 움직임에 의해 가려지는 개념적 추상의 의미 즉 거울속의 이미지는 가상적인 비실재의 이미지로서 타자의 무의식적 욕망에서 드러낸 추상적 이미지의 순간적 왜곡된 상 오브제ɑ를 보인다.
현대 미술평론가 & 개념미술가 최철주의 현대 개념 디자인은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 회화 작품으로 생성하는 개념미술 디자인이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 디자인적 가치를 말한다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다.
반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로 한 최철주의 개념미술 추상화 디자인은 시사만평으로 개념의 의미를 라캉적 개념미술 추상화 이미지에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 개념미술 추상화 디자인을 통해서 삶적 가치를 교합시킨다.
여기서 라캉적 개념미술 추상화 디자인은 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 추상성 디자인을 말한다. (ACN ・ 2022. 10. 7. 2:33 최철주 개념미술 추상화 디자인 해석)
라캉적 디자인방법론(Lacan's design methodology)으로 한 회화 디자인에 대한 라캉적 도슨트: 라캉적 디자이너, 디자인평론가 & 현대미술가 최철주 라캉적 디자인방법론: 현대미술 추상 한국화 작품으로서 <morning glory p-42>에 라캉의 환유공식 f(S...S')S=˜ S (-)s 적용하여서 가역적 빛으로 생성한 페인팅 <SSAK>을 중첩한다. 그리고 언어적 은유 이미지를 연쇄하여서 라캉의 환유공식을 재적용하여서 가역적 빛의 음영으로 한 공간의 또 다른 자리에 <SSAK>의 현상적 자리를 정하여 <morning glory p42-7>로 보인다. 이것은 루이 최철주 뉴욕 전시에서의 라캉적 개념미술로 디자인한 포스터가 라캉적 오브제를 실제화한 추상화임을 말한다.
2022 <나팔꽃> 뉴욕 전시/전시작품 & 현대미술 작품: 라캉의 오브제ɑ와 피카소의 아나몰포시스 이미지로 한 현대 추상화가 루이 최철주 개념 미술 추상화: <나팔꽃 p42-7>
Louis Chul-joo Choi, morning glory 2021 j-01-1, 145X183cm, acrylic and composite materials on cloth, 2021
개념 미술의 추상화 의미로서의 라캉적 특정효과가 발생하는 회화의 추상적 영역은 풍경속에서 응시적으로 기능하는 타자의 욕망을 순간적으로 볼 수있는 이미지다. 그 이미지 <morning glory 2021 j-01-1>는 라캉의 환상공식에서 현실에 없는 것을 인식하여서 적용시킨 생각이다. 그 생각은 무의식과 언어를 동일한 형상을 그려낸 하나의 이미지다.
여기서 응시로 보이는 나팔꽃은 하나의 색깔로 평면화된 왜상적 구조다. 이것은 회화에서 나팔꽃이라는 일관된 의미로 보이게 있는 왜상적 평면성이다. 그 나팔꽃은 거울에 비친 실재(le réel)와 동일하지만 배경의 형상은 동일하지 않다.
이것은 구상적 형태로서 동일한 의미의 구조로 한 비실재의 사실적 형상을 개념적 의미 구조로서 추상이지만 그 형상이 다른 동일한 의미로서의 추상화는 유사한 색깔과 크기가 다른 사상적 비형상의 존재로서 실재하는 비사실적이기 때문이다.
그 존재는 실제 가역할 수 있는 형상으로서 추상 공간을 정의하고 그 형상이 가역적 빛의 음영으로 실제 변화된 움직임에 의해 가려지는 개념 미술의 추상화 의미를 말한다.
현대미술 작품: 루이 최철주 뉴욕 전시 morning glory 포스터 42-1
배반적 개념미술로서의 추상화는 미술에서 사실적 구조물로서의 추상화를 말한다. 사실적 형상의 자리에 존재하는 개념적 의미들은 만화 리브 이미지로 구분될 수 있으므로, 추상화는 타인의 추상적 욕망을 만화 리브 이미지로 해석하는 가역적인 빛의 음영을 통해 그려진다.
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon rib images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon rib image as an image. (*Cartoon rib image, that is, an image that emphasizes the hidden meaning of the cartoon)
Louis Choi Chul-joo, <SSAK-5>, a hand-painted picture on a computer
사실적 추상화의 개념미술이란 사실적 구조는 빛의 왜곡을 받아서 형태를 반사한다. 그 형태를 드러내는 것은 빛의 음영으로 확정되는 윤곽과 그림자다. 배반적 개념미술로 한 사실적 추상화는 이것에 주목하여서 사실적 개념을 형상화한다. (사실적 추상화에 관한 최철주 개념미술이론)
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)
따라서 배반적 개념미술로 한 사실적 추상화는 일상의 사건에서 사실적 구조를 왜곡하는 빛의 음영으로 형상을 빛의 음영으로 그 형성을 확정하여서 사실적 개념을 추상화한다.
Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.
형상은 현실적인 구조의 개념을 추상화하고 가역적인 빛의 음영에 의해 그 형상을 결정하지만, 전체 형상이 가려짐에 따라 형상은 모노톤으로 요약된다.
A shape abstracts the concept of a realistic structure and determines its shape by a reversible shade of light, but as the entire shape is obscured, the shape is summed up in monotone.
Louis Chul-joo Choi, morning glory p42-7, a hand-painted picture on a computer
현대 미술평론가 & 개념미술가 최철주의 현대 개념 디자인은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 회화 작품으로 생성하는 개념미술 디자인이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 디자인적 가치를 말한다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다.
반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로 한 최철주의 개념미술 추상화 디자인은 시사만평으로 개념의 의미를 라캉적 개념미술 추상화 이미지에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 개념미술 추상화 디자인을 통해서 삶적 가치를 교합시킨다.
여기서 라캉적 개념미술 추상화 디자인은 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 추상성 디자인을 말한다. (ACN ・ 2022. 10. 7. 2:33 최철주 개념미술 추상화 디자인 해석)
현상적 자리를 포스터로 대신한 추상화는 형상의 자리를 구별할 수 있어서 그 형상을 해석하는 이면(裏面)의 의미를 구상한다. 그 형상은 다른 의미를 말하려고 사상적 구조로 한 그 의미와 유사한 색깔과 크기의 추상한다.
상상계에서 개념 미술의 추상적 의미는 실재와의 동일시하여서 외형적으로 오브제의 이미지와 추상적 의미를 동일한 주체로써 오브제의 이미지와 동일시되면서 내적으로 주체는 변형된 추상적 의미를 형성한다.
이것은 형상의 추상적 의미를 가리키며, 그 형상은 실제 가역할 수 있는 추상적 공간을 정의하고 그 형상의 실제 변화된 움직임에 의해서 변화된 형상이 음영으로 가려지는 추상된 형상의 디자인적 의미를 가리킨다.
그 의미는 모방한 꽃을 상징하는 기호적 언어로 추상된 <나팔꽃>으로 디자인된다. /글. 디자인 미술 평론가 최철주 (추상 화가 & 문화디자인박사)
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modern art pop abstract artist 17
Case of Modern Conceptual Abstract Art 17
Modern art Pop & Contemporary Conceptual Abstract Artist Louis Choi Chul-joo's Desire Concept Abstract Art Work Review & Concept Abstract Modern Art Criticism [17] Case of Contemporary Concept Abstract Art: Artworks Critique, Abstract Design <Disappeared pond> & Louis Choi Chul-joo Abstract Art Review: Choi Chul-joo Desire Concept Abstract Art Theory Presented & Famous Contemporary Painter, Contemporary Artists, Abstract Artists, Contemporary Concept Abstract Artists Criticize Works/ Contemporary Concept Abstract Artist Louis Choi Chul-joo's Desire Concept Art Work 'Disappeared pond' Abstract Design: "Disappeared pond" Exhibition by Abstract artist Louis Chul-joo Choi", 20201020, Minoo media art museum
Design Criticism: Design Critic Louis Chul-joo Choi's Media Art, Modern Abstract Artist Design Review - "Minoo media art museum's Digital Pond" & "Disappeared pond by Contemporary artist Louis Chul-joo Choi", 20201020
Louis Chul-joo Choi, Media-art "Disappeared pond", Still image (a hand-painted picture on a computer), 2020
Interactive Media Art Design, "Digital Pond" & Louis "Disappeared pond"
The fish in the pond, not the target, eliminates the texture of the fish and designs the fish embodied in white, separated from the actual lotus flower by the boundary of light.
And abstracts a disappeared pond in black that separates the shaded space of white fish revealed by light.
Visualization, which means the features of interactive features, is a language that visualizes the symbol of the medium.
The pictorial image characterized by the structure interacting with the meaning of the language is the language of symbols designed with simplified media images.
It is the language of the other person from the shape that determines the symbolic symbol. And it refers to interactive images of shapes through the language of the other.
An interactive image that determines a symbolic symbol is recognized by representing the shape of the other person's desire perspective. Therefore, abstract images that appear to be symbols of unconscious expression are formed by the design of the interaction environment.
Terefore, in interactive media, the visual design of the target depends on the environment independent of the target image. This is the symbol of symbolic visual media design combined with the functions of the object.
Its dual function is the emergence of design through the pictorial imitation of the media and the symbolic meaning of influencing each other to the media and viewers.
When the image of the imitated medium becomes a painting, the visual image is distorted, but the image is a designed symbol symbolizing the original image.
The symbol is the design image revealed by the media through other images symbolized by the actual image.
As such, the painting as a media has the artistic meaning of technology, which refers to information as a concrete and symbolic image.
This is a digital media painting design that embellishes a cultural environment that extends the concept of art separated from the reproduction of digital technology and photographic images in the 1990s.
In other words, painting design is an art that shows the technology of digital media, an essential image as the meaning of language dictated by design.
But the interactive media art of the Minoo Media Art Museum's Digital Pond has returned the role of media art to an image of a known painting without designing a symbolic image.
Painting imitations are symbolized by the repetition of very unstable images forming linguistic meanings. This is an imitative painting effect found in abstract proposition. It creates a metaphorical shape defined by the combination of symbols and the combination of meanings that replace them.
The main motifs moving from the "digital pond" to the symbolized lobster and human fish are Joan Miro‘s "glamorous smile of the wings"(the smile of the flamboyant wings, 1953).
And Paul Klee's "Castle and Sun, 1928" on the bottom of the pond is the main motif of the background.
Louis Chul-joo Choi, Media-art "Disappeared pond", Still image (a hand-painted picture on a computer: pond-51), 2020
The image of the pond was described as a symbolic image and a virtual image interacting with the touchscreen.
Collage, which combines the image of Damien Hurst's "Beautiful, amore, gasp, eyes going into the top of the head and flutter painting"(1997) and Gustav Klimt's "Kiss" (1908), with the symbolic image of jellyfish and turtle shapes, forms a surreal pond.
On the other hand, the media art "Disappeared pond" is a digital art of painting designed in monochromatic and contours of objects, separating images of photographs in media art into conditions of light.
It is a reproduction of the digital pond of the Minoo Media Art Museum, which combines the concept of impressionist paintings and popular culture, which is reproduced by collage photographs.
As an alternative image of a real pond, a fish made of media as a moving fish becomes the main body, and the design image of a real fish is decorated in the form of a virtual performance involving timely two-way participants consisting of optical media art.
The form of performance as an object symbolically digitizes the real pond in the media, but the interactive composition emerges from the real design.
In fact, since digital ponds are given a hypothetical meaning, fish there always exist in ponds, even if they are imitative images of images.
The imaginary pond effect is that the image of the pond separated from the lotus flower is expressed differently from the symbolic meaning of the fish
A simplified imitative image of form as a fish defines a linguistic meaning, such as a symbolic mark.
Another symbol is the image of the process of repeating the association with lotus flowers as a verbal meaning of fish and meeting the meaning associated with the design of fish symbols in ponds.
It is a symbolic meaning of interpreting a "Disappeared pond" designed as a simplification process.
Here, the lotus design of impressionist images visualizes the characteristics of "disappeared pond" as symbolic images, but the impressionist painting style emphasizes the primary color of light except black, which defines the form.
The symbolic symbol hides the imitative nature of the painting, which is structured by the symbol around some form of reality that cannot be a fish by the intervention of light.
Miro's fish, like Cezanne, decomposes colors by simplifying shapes into geometrical structures and multidimensionalizing the direction of light like Picasso.
And while creating imaginative symbols transcending reality and designing images with the process of separating the boundaries of light into white and black, the fish in the "disappeared pond" form a white color that distinguishes light and the pond designs lotus flowers by imitating impressionist paintings.
As an impressive painting, a lotus flower becomes a symbolic image of a pond, and a fish separated from the reality replace the pond as an imitative symbol image.
And pictorial imitation are symbolized as a design process by creating aesthetic effects by highlighting simplified features through the design of visual symbols.
"Disappeared pond", shows the linguistic meaning of being real. Here the design of the essential elements of fish and ponds is abstracted into black ponds that contrast with the fish of white, which contrasts with the brightness of the light of realistic lotus flowers.
And by metaphor of fragmented meaning, the visual design image of the fish as a symbol is the white fish as a mark. The abstract design, which replaced the black pond intertwined with the fish in different meanings, expresses the meaning of the disappeared pond.
Therefore, the expression of symbols in pictorial imitation determines the meaning of symbols. To decide here is to abstract the design that determines the expression and meaning of the symbol.
Miro's "smile of brilliant wings" is an abstract of pure colors, such as red and blue, combined in carved symbols. The symbols are symbolized when they have linguistic meanings in abstract images. So beyond the boundaries of impressionist paintings, Miro's fish are abstracted into a pond.
In other words, symbols representing meaning are symbolized by abstract figures that reveal the meaning of the feature.
With this symbolic image that goes beyond the actual range of the fish in the painting, the Miro's fish is reminiscent of a pond.
Abstract design is the sum of the linguistic meaning, i.e., symbols as imitative actual images, where the choice lines of images and designs intersect to form the concept of abstract meaning. The symbol designed like this is a nonverbal pictorial iconic image.
The design value of the image is the effect of the media that enables communication.
However, when its meaning is abstract design, the symbol image designed follows the abstract meaning of the whole symbol image as a communication unit unrelated to the linguistic meaning.
Therefore, the symbolic design, which is abstracted into a black pond, abstracts the disappeared pond in the sense of the sum of the symbol image not the symbolic image of the pond associated with the white fish.
So these symbols, designed through the imitation of paintings, are abstract summing up the meanings of nonverbal images.
The design, which abstracts the image of the picture before it is realized through imitation of the painting, is the "disappeared pond."
It reveals a symbolic image through the language structure of the pond and actualizes the abstract image that disappeared from the black pond, which is not meaningful through the specific symbolic image of the missing pond.
The design of unrealistic symbols focuses on the meaning of the object to the symbol, and the meaning is communicated when it functions as the shape of the media.
Abstract design is the visual appearance of fragmented meaning as a symbol in the media.
This dictates the meaning of symbolic action that characterizes a design that repeatedly combines pieces of distorted images in the process of pictorial imitations.
The meaning is a symbolic language symbolizing the imitated image. Here the image is a piece of symbolic meaning in an unrealistic space. /Writing. Louis Chul-joo Choi, head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Contemporary art critic & media art painter)
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modern art pop abstract artist 18
Case of Modern Conceptual Abstract Art 18
Modern art Pop & Contemporary Conceptual Abstract Artist Louis Choi Chul-joo's Desire Concept Abstract Art Work Review & Concept Abstract Modern Art Criticism [18] Case of Contemporary Concept Abstract Art: Artworks Critique, Abstract Design <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do> & Louis Choi Chul-joo Abstract Art Review: Choi Chul-joo Desire Concept Abstract Art Theory Presented & Famous Contemporary Painter, Contemporary Artists, Abstract Artists, Contemporary Concept Abstract Artists Criticize Works/ Contemporary Concept Abstract Artist Louis Choi Chul-joo's Desire Concept Art Work 'Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do' Abstract Design: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as Choi Chuljoo desire conceptual art through the series of "Morning glory", "Bamboo Forest." and "Disappeared pond" / Contemporary artist Louis Choi Chul-joo's realistic abstraction of desire conceptual art and abstraction of modern art based on the concept of the desires of others: Media Art Display Installation: <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do> Exhibition by Modern Abstract artist Louis Chul-joo Choi", 20201126-20201210, Minoo media art museum
Contemporary installation art work & contemporary art sculpture image artwork : Media Art Display Installation: <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do = 최철주 신윤복풍주밀회도 (申潤福風晝密會圖)> by Louis Choi Chul-joo, a media art work at the Minoo Media Art Museum
Media art < <Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do (申潤福風晝密)> is a cartoon image of Choi Chul-joo, a cartoonist and modern image installation artist, reconstructing Shin Yun-bok's genre painting of Life in the Joseon Dynasty. It covered up the scenes of men and women secretly going to self-help on a windy day and the general appearance of blatant affection.
Here, since cartoon images are objects of affection and characters as subjects are not involved in symbolic images, Shin Yun-bok's primary colors, which showed women's skillful skills in daily life in the Joseon Dynasty, and his scenes of boating and bathing in the Joseon Dynasty, which expressed affection between men and women, are cartoonized.
Louis, Chul-joo Choi, morning glory woman, 113X180 cm, acrylic and composite materials on cloth, 2023
Considering that Shin Yoon-bok's satirical genre is similar to comics, the cartoon composition of "Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do" is the same concept as Choi Chul-joo's "morning glory woman," which is the background of the concept of desire, depicting the morning glory landscape as a boating scene of a woman in the Joseon Dynasty, and describing the concept of desire as the sound of summer as a media art.
Partly drawn and matched in close-up scenes, like Roy Lichtenstein, who drew a series of cuts.
It seems to be a cartoon cut that continuously cuts the customs of Shin Yun-bok, who satirizes the phenomena of society in the Joseon Dynasty with cartoon images, as it is a cartoon media art that is conducted in a pop art painting.
You can get a glimpse of the modern world that is positive for customs by using Vivaldi's four seasons as sound in line with the scene of boating and bathing by the river.
In this way, cartoon media art is conducted in a popular art method, not a medium that reveals social problems. In the middle of summer, he made a boat move by the river by drawing several cuts of cartoons, including yangban, gisaeng, a male politician peeking at a woman taking a bath by the river, and a woman on a swing. The surrounding figures harmoniously reconstructed the leisurely light and shadow of the landscape, the woman of the Joseon and the Joseon man.
Choi Kwan-woo, Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", Still image-30, a hand-painted picture on a computer, 2020
As a real image of reflective self-consciousness as a cartoon image, Choi Chul-joo's painting is another symbolic cartoon image separated from the real image.
The consciousness of choosing the impossible realistic meaning of self-consciousness that rejects the dual meaning of the Joseon Dynasty is determined by the cartoon image.
In addition, cartoon images that are identified with the linguistic meaning of cognitive relations have a reflective importance on the meaning of space by expressing emotions.
Shin Yun-bok's painting is seen in the media space as a media with a cartoon image of the actual representation of social mannerism like Manet's "Lunch on the Grass."
This balances the actual wind speed to suit the media art that is reproduced as a cartoon image as a video. Here, the image of a woman in a bath by Shin Yun-bok contains sociality, but the flatness is matched to the gaze in the painting method reproduced by an unrealistic cartoon.
In addition, the cartoon image drawn by the Korean painting technique of Joseon, which emphasizes media art by moving stationary cartoon images, appears to be an image that matches the relationship between the real landscape and the person.
Choi Chul-joo's painting is a media art that reconstructs Shin Yun-bok's genre paintings to express the character of cartoon characters and reproduces images with the theme of Joseon Dynasty's genre paintings in successive sequences.
Choi Kwan-woo, Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", Still image-11, a hand-painted picture on a computer, 2020
Meanwhile, the Media Art Kim Hong-do painting at the Minoo media art museum is a genre painting of playing musical instruments under pine trees, which equates symbolic meaning with cartoon images transformed into Chinese structures to create the meaning of transformed cartoon images.
By showing cartoon effects through videos and cartoon images, the specific meaning of the transformed form can be hidden and symbolism and reality can be selected in the other person's needs and cognitive relationships.
Through the relationship between media art Choi Chul-joo's picture effect and the concept of cognitive desire of symbolic images, the semantic structure of cartoon images in which dual characters are created emerges.
Choi Kwan-woo, Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", Still image-55, a hand-painted picture on a computer, 2020
However, the media art 'Choi·Chul·Joo·Song·Ha·Sun·In·Chui·Saeng·Do' has a meaning as a symbolic image of a real cartoon image. Therefore, the meaning of the story is created by reconstructing several cartoons of Shin Yun Bok's 'Song·Ha·Sun·In·Chui·Saeng·Do', which actually shows the desires of others, into one scene.
Cartoon images are drawn to interpret the theme of "Song·Ha·Sun·In·Chui·Saeng·Do" as a symbolic cartoon image, and the cartoon image is understood as a semantic structure that enters the cognitive system by combining the meaning of the cartoon with reflective consciousness.
The reason why cartoon images do not act on representation as a semantic structure is because of the appearance that is different from the impressive effect of the image. Therefore, the effect of cartoon design is impression.
Cartoons resulting from industrialization do not distinguish between the original image and the reproduction. This means an image in which the original is absent. The completed cartoon is an image language that allows speech balloons and images to be drawn in the same image as the original.
Therefore, designing a cartoon with the desire of the other, which is difficult to replicate, draws the impression of the same cartoon image where the volume of the original image has disappeared.
Like Shin Yun-bok's painting, Choi Chul-joo's painting creates the meaning of cartoon images that have changed into semantic structure and cartoon images that symbolize the desires of others.
Here, media art recognizes images that move according to the temporality associated with the impression as cartoon images.
Therefore, designing cartoons with other people's desires that are difficult to replicate shows the impression of the same cartoon image where the volume of the original image has disappeared, and Choi Chul-joo's media art has the impression of a windy summer day in the Joseon Dynasty by showing the concept of desire as a landscape like "morning glory woman" /Writing. Art critic Choi Chul-joo (Korean Painter & Ph.D. of Cultural Design)
Louis Choi Chuljoo Media-art "최철주 신윤복풍주밀회도(申潤福風晝密會圖)", 2020
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modern art pop abstract artist 19
Case of Modern Conceptual Abstract Art 19
Modern art Pop & Contemporary Conceptual Abstract Artist Louis Choi Chul-joo's Desire Concept Abstract Art Work Review & Concept Abstract Modern Art Criticism [19] Case of Contemporary Concept Abstract Art: Artworks Critique, Abstract Design <Disappeared pond> & Abstract artist criticism [10] Contemporary Art Critic Louis Choi's Desire Art Theory Review : Famous Contemporary Artist Contemporary Painter Abstract Artist Pop Artist & Abstract Design = Contemporary art review: Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism [17] Contemporary art examples : Contemporary Abstract Art Artist Louis Choi Chul-joo's "morning glory" Art Review / Modern Korean Painting Art Review News - Read New Artwork: Modern abstract artist Louis Chuljoo Choi's Thread painting <morning glory outside the window 1>
Modern Art and Cultural Design [13] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Choi Chul-joo Art Review: Work posted on Facebook: Louis Choi Chuljoo, a morning glory outside the window 2023-1
Painting Installation Performance by Louis Choi Chul-joo, Haeundae-gu Office Gallery, Busan, July 3, 2023.
Louis Choi chuljoo's "morning glory window" Exhibition poster An image of desire based on the cartoon review concept as an object ɑ of the concept of desire,20230704~20230714 Haeundae-gu Office Gallery, Busan.
Louis Choi Chuljoo, morning glory p103
Louis Choi Chuljoo, a morning glory outside the window 2023-1, 151X178cm, acrylic
■ In <Choi Chul-joo Morning glory Window>, desire's art theory is repeatedly applied to abstract painting and converted into a symbolic image to formalize desire's art theory as a method of abstract painting. This means expressing other people's desires in paintings by repeatedly applying desire's imagination and fantasy formula, and as a result of applying Lacan art theory to paintings, it gains aesthetic value by having a formative meaning in the image that appeared as another's desire.
■ <Choi Chul-joo morning glory> is not the subject of the subject, but the cultural and spatial background of other people's desires. It is the same as a consistent life space like the sky. It connects to Cartoon Lib and Pop Art, which represent the space of life, but does not criticize and judge, and reproduces real images as news with photos of events. And the reality of the object symbolized by the news is conceptualized as the desire of others. The effect is to complete the concept of desire with abstraction by structuring it into a shade of reversible light.
Thread painting = Louis, Chul-joo Choi, a morning glory outside the window 1, 151X178cm, acrylic and composite materials on cloth / Object design symbolizing a shape image as a semantic structure : a realistic abstraction of a figure image as an object of desire by transforming it into a semantic structure that emerged as a reversible shade of light
Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life.
It's a work of art as a treacherous conceptual art called realistic abstraction, the cartoon news of modern art abstraction.
Exhibition of Modern abstract artist Louis Chul-joo Choi's "morning glory" with the image of Desire's object ɑ and Picasso's Anamorphosis, 20220301~20220308 Flushing Town Hall, New York.
Louis Choi Chuljoo, morning glory p26-2-7
<morning glory p26-2-7> is an image of desire created as an abstract image that means the reality of morning glory.
In New York (Flushing Town Hall & Yeomyong Hall), 100 posters with the design concept of desire structure were produced as posters of contemporary art related to the solo exhibition of Louis Choi Chul-joo. It is a modern abstract painting that symbolizes the design of desire image, that is, exhibition poster image of abstract painting, as an abstract semantic structure.
The object <morning glory>, which depicts the meaning of the shape seen in the meaning space created by reversible light of the shape of non-real reality, represents an abstract space that can reverse the object into a real shape by structuring the meaning of the image that hides the desire of the other in a reversible shade of light, and shows an abstract image that reveals the place of the other's unconscious desire as a virtual non-real image.
The object "morning glory" which depicts the meaning of the shape seen in the meaning space created by reversible light, refers to an abstraction in which a structure with an abstract shape hidden in a long time in which the desire of others is fossilized turns things into real in the shadow of reversible light, and the reality of the exhibition poster is hidden by the shade of reversible light, that is, abstract.
Louis, Chul-joo Choi, a morning glory outside the window 1, 151X178cm, acrylic and composite materials on cloth / Object design symbolizing a shape image as a semantic structure : a realistic abstraction of a figure image as an object of desire by transforming it into a semantic structure that emerged as a reversible shade of light
The abstract area of painting, which has a specific effect on the desire structure as a meaning of <morning glory outside the window 1> as a conceptual art, is an existential abstract that hides an image that can instantly see the desires of others functioning gazing in the landscape with reversible shades of light.
This is a perverse planarity that seems to consistently mean "napal flower" in painting. The morning glory is the same as the mirrored reality, but the shape of the background is not the same. This is because abstraction as a conceptual semantic structure with a non-realistic shape with the same meaning as a conceptual semantic structure, but abstraction as the same meaning with different shapes is a non-real form as a conceptual non-formal existence with different colors and sizes.
Its existence defines abstract space as a real reversible shape and refers to realistic abstraction as a conceptual art of the image of the exhibition poster, whose shape is obscured by the actual change of movement into a reversible shadow of light.
Louis Choi Chul-joo, MONSTA X's "Let me be your fantasy" 7-5-2, a hand-painted picture
Desire Concept Art abstraction, which replaces the phenomenal place of the abstract meaning with an exhibition poster, can distinguish the place of the shape and abstract it as a different meaning to interpret the shape.
The shape is abstract with a color and size similar to that of an abstract structure to say a different meaning, but in the imaginary world, the abstract meaning of conceptual art is identified with reality, and the image of the object and the abstract meaning are identified as the same subject, and the subject internally forms a modified abstract meaning. This refers to the abstract meaning of the desire, which defines an abstract space that is actually reversible and refers to the abstract image of a desire in which the shape changed by the actual changed movement of the shape is shaded.
The morning glory outside the window, which designed a figure that represents the desire of others in the abstract <morning glory>, abstracts the realistic image as an abstract object. In the diagram of the perspective visual system, the visual system creates a shaded place with reversible light concealed, and each object as a different instantaneous gaze is abstracted from the other's desire perspective revealed in the unconscious.
An object abstracted as a desire conceptual art refers to the existence of abstraction in meaning by abstracting a distorted image expressed through the desire revealed in the other's suppressed unconsciousness to obtain artistry beyond generality and creating an object as a shadow of poster formality with the desire of the other. As a semantic entity, the object reveals the abstract object as another entity of the object by transforming the object's image into an abstract structure of meaning with a distorted image from the other's desire perspective, and contains the formative value as an autonomous choice of the other's desire.
In addition, the small piece as the other's desire hidden in the background of the morning glory shows a real abstract space that is reversible through the thought movement of the image that actually changes the shape. This is a place of abstract objects in a space where the other's desires can be actually reversible in the meaning of the existence of the desire.
morning glory outside the window 1 / Object design symbolizing a shape image as a semantic structure : a realistic abstraction of a figure image as an object of desire by transforming it into a semantic structure that emerged as a reversible shade of light
The virtuality of abstract exhibition posters is structured as conceptual cartoons, similar to gaze images that virtually reproduce distorted images that cannot be expressed on the same plane, or as if they represent real places with desires as links to images.
The connected part of the other person's desire is clearly concealed without being revealed as an object reflected in the mirror, and the reality of a person looking at the other person's object exposed in the mirror with reversible light is not visible.
However, the person who drew the picture replaces the other. And the image revealed by staring at the abstract image of the structure of desire is an abstract place. Existential reality is the object revealed by the position of the subject as a gaze from the perspective of the other's desire to move to the position of the subject (atopia) that appears at the point of disappearance throughout the virtual image.
The structural physicality of reality has a number of cross-sections in a three-dimensional form, and conceptualization captures the multifaceted conceptuality of the morphological structure as an object with one cross-section and two sides within one concept.
Therefore, in a space that conceptualizes the desires of others as a subject, a three-dimensional pop art space made up of reversible shades of light reveals the desire behavior as a physical reality and makes the object look real.
This is the physical structure of desire that results in real and non-real. The structure has several crooked cross-sections in a three-dimensional form, and abstracts the pictorial image as a conceptual art into a multi-faceted image of the semantic structure as an object in a concept.
Louis Choi Chuljoo, a morning glory outside the window 2023-1, 151X178cm, acrylic and composite materials on cloth, 2023
"morning glory window" repeats the concept of desire to cover the shadow image of others' desires and collects images of desire in which external light overlaps with timeliness.
In "morning glory window", a person dancing against the backdrop of morning glory overlaps like a small pillar to cover and hide the shade.
It gives reversible time sensitivity to shades, becoming the desire of others, and has the effect of setting phenomenal positions so that images of light do not overlap.
Louis Choi Chul-joo's "morning glory window" absorbs temporal light and removes symbolic representation on the image surface.
In this way, it creates an image of desire and is obscured by reversible light, leading to the concept of desire in the shadow.
The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.
Combined with images of reality with reversible light, including a desire for abstraction.
The image of desire repeats the process of directly acquiring the concept of the aesthetic structure of the real world that is subordinate to the concept, a reality that embodies the abstraction of desire as an event and facilitates performance.
The fact that the concept of desire cannot overlap with the image of reality is that factual abstraction is a treacherous conceptual art.
Abstracted realistic concepts reveal realistic figures similar to reality, but they momentarily pause space-time with the light of a conceptualized landscape like clouds.
Abstracting from the back of the morning glory landscape undermines timeliness, realizes the past time-adjusted traces of desire and the present overlapping landscape of color, and transfers images of desire into the painting.
It also doesn't represent the symbolic ideas abstracted from the image in a hidden form of color, but it gathers the image in shades of light in several directions.
In this way, the painting becomes a desire concept as a result of desire, dismantling abstract images interacting in real space
It shows a differentiated impression with a realistic abstraction that transforms the situation of desire in abstraction into a real world.
It shows aesthetic value by shading bright and dark parts in a distorted landscape and drawing a desireful meaning with a realistic expression.
Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time.
It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.
Desire concept superimposes abstractions on morning glory and bamboo forests with dual landscapes, leaving fragmented real space in the gaps of light without disassembling and unifying symbolic images, and then repeatedly portraying reality over the present representation and the gap in between.
In this way, desire creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality. / Writing. Art critic Louis Choi Chul-joo (Ph.D. in cultural design)
