Contemporary Art & Artist [32] Louis Choi Chul-joo Art Review & Design: Choi Chul-joo Art Criticism and Realistic Abstract Design/ The concept of desire in contemporary art, which depicts the desires of others as abstract art composed of contemporary art

Contemporary Art & Artist [32] Louis Choi Chul-joo Art Review & Design: Choi Chul-joo Art Criticism and Realistic Abstract Design/ The concept of desire in contemporary art, which depicts the desires of others as abstract art composed of contemporary art cartoons, abstracts contemporary images of events and performances by designing the concept of desire of others into an interpretable concept. A new abstract art design methodology that approaches realistic abstraction with this abstract art methodology is Choi Chul-joo's desire concept abstract art design process: The abstract design work of the concept of desire applies Choi Chul-joo's concept of desire design process, and the realistic abstraction design process of the concept of desire repeatedly applies Choi Chul-joo's desire formula./ 

Review of Korean News Cartoon [197] Tyson totally gave in to the boxing match, but I'm happy. (2024-611-17) / Reporter Choi Chul-joo’s Cartoon Review &  Desire Designing Modern Art Abstraction Concept Abstraction & Abstraction Artist Louis Choi Chul-joo's Abstraction Art Work: morning glory poter painting

 

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) 

 

Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory", "Bamboo Forest." and "Disappeared pond" / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others:  

 

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)

 

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. 

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 222-Tyson totally gave in to the boxing match, but I'm happy, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

 

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest i222-Tyson totally gave in to the boxing match, but I'm happy, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

 

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest i222-Tyson totally gave in to the boxing match, but I'm happy-pond: Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i) / 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, Tyson totally gave in to the boxing match, but I'm happy, a hand-painted picture on a computer

 

 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)

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p129-1-Rendering the intersection of desire outside the window: 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.

 

 

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 222, a hand-painted picture on a computer

 

 

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest i222, a hand-painted picture on a computer

 

 

Final image superimposed on the artist's work: Louis Choi Chul-joo, pond s3, a hand-painted picture on a computer

 

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p129, a hand-painted picture on a computer 

 

 

Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024

 

Rendering the intersection of desire outside the window

Reversible light-crossed windows that make up the structure of desire can face multiple intersections of desires depending on their 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, and the actual image emerges as the meaning substance of the abstractly deficient desire structure desired by the selector of desire as the subject.

The aesthetic value of a real image as a semantic being of desire is possible as a real being formed in the concept of desire by rendering the image as if it were a real thing to form a virtual shape. Here, rendering under the condition of an aesthetic work expresses materiality by rendering a flat structure composed of reversible shades of light, the concept of desire becomes a real image to express the image in reversible shades, and applies the Choi Chul-joo Desire Formula as a mathematical design process to realize the existence of an image at the intersection of desire outside the window.

 

Desire created as a subject outside the window is the linguistic meaning of the concept of abstract desire, and insufficient desire dominates the subject's desire, loses the subject of that desire, and desire reduced by division is identified with the deficient desire that dominates desire. 

The object of desire is rendered as a distorted image containing the desire of the other person, which is difficult to replicate the same image as the linguistic meaning.

Here, the distorted image is a real image as the existence of desire as another reality separated from the entire image of the object of desire.

Real images reveal desires as existing real images by transforming abstract concepts of desire into reality by the structure of the linguistic meaning of the unconscious according to the deferred action meaning of the unconscious experienced in the past.

 

In the structure of desire, unconscious desire through past visual experiences becomes a verbal meaning according to delayed desire, and the object of the same visual experience appears as the object of desire in the present. This forms an intersection where the concept of unconscious desire and the image of conscious reality overlap by grasping the reality of the desire structure experienced in the past time reflected in the window beyond temporality and interpreting the concept of abstract desire reflected in the window as the meaning of delayed desire.

The reversible shadow of light at that intersection forms a real image that intersects the present in another empty space without contacting the object space of desire. At that intersection, the structure of desire hidden by the concept of ex post desire in the current real image meets reversible light.

 

The concept of unconscious desire and the object of conscious desire intersect when insufficient desire meets several objects as the subject of the desire to be the object of ex post desire. And at that intersection, the concept of unconscious desire is transferred to a real image designed to identify with the concept of conscious desire as a semantic function and a divided subject.

Here, unconscious desire design has an artistic meaning as autonomous creativity by rendering the other's suppressed unconsciousness into an aesthetic image suitable for reversible light timeliness in order to acquire artistry beyond generality.

 

Desire, which appears to be the light of temporality, shows the image as a difference in distance, like a window, and the current form that distinguishes the direction and size of the image intersects outside the window.

As a result, an object that appears to have stared at the intersection of desire outside the window is revealed as the intersection of light reflected in the eyes of the other, the subject. This is not an unrealistic image viewed from the perspective of desire from the perspective of the unconscious, but a real image viewed from the gaze system of desire from the perspective of the suppressed unconscious.

This is a concept of abstract desire, such as a mirror image, and in order to identify other objects of desire reflected in the pond, a conscious image that generates an expressive image generated by desire as a subject can be designed with the Choi Chul-joo Desire Formula.

As a result, desire, which is distinguished by temporality, is a concept of conscious desire in which different forms of desire intersect to achieve a gradual change in desire, and desire appears as an image of reality in a reversible shadow of light. This is the intersection of desire that meets reality between the desire of others to look at the object of desire and the cultural space that differs according to temporality.

 

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, desire as a subject structures the structure of reality that interprets the linguistic meaning as an image of desire, and the event or performance image as an opportunity for desire as a result of other desires, and the subject of desire structures the linguistic meaning spoken by the unconscious.

The structure interprets linguistic meaning as an image, but abstracts linguistic meaning into the inevitable specific object the other person wants, equating it to a real image.

Here, as the subject of abstracting desire, the window limits desire to a real image as an empirical illusion, and selects one of the other's desires to reveal the real image.

 

In the concept of desire, the selector as a divided subject forces a specific object into a real image reflected in the pond by the other's desire, a reversible shadow of light with temporality creates a window as an abstract virtual frame, and the vector that forms the direction of the real image beyond the window at the intersection of desire outside the window connects the desire concept to the image vector, and creates an image that the selector lacks in the concept of desire.

In addition, although the other's desire cannot be transformed into a numerical image of a vector at the intersection of desire, it realizes the abstract other's desire as a real image by limiting the real image to a deficient desire structure and equating it with an alienated linguistic meaning.

In a real image, a specific object composed of a psychological vector of the concept of unconscious desire and an instruction vector in which desires are opposed to each other's gaze creates a lack of desire. In a 1971 lecture, Lacan expressed desire as a mathematical sign, explaining the lack of desire seen as a gaze as a mathematical sign. 

As an axiomatic proposition, mathematical statements contain linguistic meanings that logically judge desire. This determines it as a real image with the same desire structure as the concept of desire without distinction from the real image by defining a linguistic meaning so that insufficient desire can determine a specific object.

In this way, mathematical statements desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design.

In this way, mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. 

Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition.

 

The rendering of the real image resulting from the intersection of the concept of desire and the abstract structure overlaps the real image in the same position as the outline of the meaning abstracted by the concept of desire with a shade of reversible light, resulting from the intersection of the concept of desire and the abstract structure, creating a flat image by shadowing the three-dimensional shape in which the shade of reversible light overlaps with the real image in the same position as the outline of the meaning abstracted by the concept of desire. 

 

 

The rendering at the intersection of desire outside the window created by the morning glory, the background of insufficient desire, and the abstraction of the concept of unconscious desire, which forms the meaning of the concept of unconscious desire as a real image in a specific place, are drawn according to Choi Chul-joo's desire formula.

Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to produce a desire image of polynomial products by linking the number of design images with event and performance images.

The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire. This image creates a window as a frame of the real structure so that the subject of insufficient desire makes the concept of desire hidden in the shade of reversible light appear as a real image, and constitutes a line space as a being in which a specific concept of desire can gaze as a real image as an abstract symbol.

 

Desire design creates an aesthetic for the object of desire by flattening the concept of desire into abstract symbols. Here, the abstract symbol is the expressive semantic structure of desire as being. The structure transitions to abstraction through the Choi Chul-joo concept of desire, which connects the unconscious meaning of the concept of desire and the design balance with the real conscious image as an abstract symbol.

As a design process with a mathematical desire formula of desire structure, the design is repeated until the metaphysical desire concept is identified as a symbolic aesthetic image.

In this way, the concept of desire is interpreted as an aesthetic abstraction.

The concept of desire that can accurately respond to formal aesthetics is interpreted as an aesthetic abstraction, and it is a new modern art that applies the image of the concept of desire to the Choi Chul-joo Desire Formula without conforming to the trend of emphasizing the aesthetic pleasure of contemporary art as sentimental acceptance aesthetics, forming the history of the abstract art movement with real images.

Therefore, the abstraction of the concept of desire envisions the concept of linguistic desire that reproduces the real subject. This is a stereoscopic conceptual work that visualizes reality that divides abstract structures into reversible shades of light.

The structure of desire, which repeats the design that simplifies the actual structure flat so that the actual image in the linguistic sense can be observed by overlapping the reversible shadow of light and the formability of reality according to temporality, constitutes a reality identified with the entire image in the place of being created by weaving the linguistic meaning inherent in the concept of unconscious desire.

Additionally, as a framework for the actual structure, the desire structures of several pieces outside the window differ in the direction of the reversible light, and the illuminated pieces alternate with each other to form an intersection. This is not absorbed by the reversible light shadow, but is captured by a white intersection that illuminates the place of reality as a being like a star according to temporality.

 

The actual structure of temporality is interpreted as a meaningful image at the time of existence. Therefore, according to temporality, the existential reality image is abstracted as a reversible non-existence of time. The desire structure consists of a general real image, starting with the existing one as a linguistic meaning that unifies the past and the future into the present.

This constitutes a structure as a causal object of the concept of desire by summoning the real image transferred from the existing symbolic relationship at the intersection of desire outside the window so that the abstract past and future images cannot return to their original state,/ Writing. Art critic Choi Chul-joo (Conceptual Abstract Painter & Ph.D. of Cultural Design)

 

Choi Chul-joo, a modern art artist