Art Critic Louis Choi Chul-joo Criticism [59] 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 [59] 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 Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X165cm, acrylic and composite materials on cloth, 2024 & Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025 : the concept of desire as an actual desire image as a predictive value that can be stared at when the texture color of an object becomes metamorphism depending on the illumination color or is perceived as a different color is reflected in reversible light.

In the fixed sketch image of the concept of desire, the linguistic meaning is retroactive, and the desire structure is completed on the surface of the pond. 

The object of desire stitched by reversible light that reflects the surface of the pond is composed of the unique colors of reality.

And a reversible light is projected onto an object of desire, sculpted and reflected in the shadow of reality, resulting in a real image that is stared at.      

Thus, unlike perspective visual systems, Pond rendering, which reflects current desires, repeatedly designs symbolic reality images with overlapping surfaces and backs depending on the temporality of the desire structure to outline them, and creates the texture of desire with multiple reversible lights on the same surface to achieve the same structure as a single image.

 

Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

 

Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting 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.

As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.

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.

 

Pond Sketch Reflecting Current Desire

Choi Chul-joo's image of desire is an object, and it is reflected in the pond as an image representing the linguistic meaning of the concept of abstract desire as a diachronic desire of current affairs news that specifies desire.

The physical structure specified as a reality in which the object reflected in the pond is dominated by its own desire and the subject of that desire has been lost represents diachronic desire as a phenomenal subject image of continuous desire.     

It shows the process of being formed as a phenomenal subject, that is, a real object as a being, as a signifier image by designing and applying an aesthetic structure from diachronic desire through the Choi Chul-joo Desire Formula. The path of diachronic desire is from applying the desire formula to the abstract design of the desire structure to the installation of a real image.  

This recognizes the image of desire as a being in the visual domain as a real image, delivers the event image as an object to the news from the perspective of unconscious desire, and recognizes the object as a phenomenal image as the presence. 

Here, the existence of abstracting the subject of a phenomenal image in a pond with a mirror structure divides into signifier images in a linguistic sense, creating an image of desire that lacks social visibility. The image is formed in a pond where a continuous sculpture of desire is reflected in the social structure.

The surface of the pond reflects the image of reality like a mirror. This is an ideal aesthetic structure, and the desire of others is abstracted and recognized as an image of modern realism painting to reproduce. This is an image created by the desire interaction of the self as a subject who reflects the scene of events and performances on the pond and sees the desire of others with reality. 

Therefore, through the abstract design process of the concept of desire connecting desires and the design of phenomenal images as an aesthetic structure, Choi Chul-joo's abstract design process is applied to appear the concept of desire as a real image and a distorted image revealed in the desire of others as the same concept of desire.

 

Choi Chul-joo's desire formula is a multilateral version of Leon Battista Alberti's concept of contemporary abstract desire from the proportion and concept of a subject as a perspective composition in Renaissance scientific thinking overlapped with religious constraints until modern times. Unlike modern ideal abstraction, this embodies the structure of desire as a real image by regressing Alberti's perspective with a shade of reversible light through his abstract design process.

 

The real image of the desire structure is recognized by instantaneously identifying the event image with the desire structure in the gaze area as an object in the abstract space staring at the other's desire. This is expressed by the desire suppressed by the unconsciousness of the other person. The visual characteristics of the object that are perceived in this way are existence and abstraction.

As a gaze image, the continuous shape of an object and the immutability of the structure of desire are stared at as a momentary image when it is perceived as the same concept of desire over time. The object of desire appears in a different background as time passes, but its reality does not change, but the point of time when it stares at it is transferred to make it appear as a distorted image. Choi Chul-joo's abstract design process realizes this as a distorted image seen as a gaze from the concept of desire to gaze at the object of desire created in a reversible shadow of light as the desire of others. 

Here, as a distorted image, "morning glory" refers to the structure of desire as the background of desire. Therefore, not as a background of the painting, but as a piece of desire, "morning glory" as a subject of the landscape, like Leonardo da Vinci's De saint "Arno Landscape", is a background that represents visible desire in real. This conceptual abstraction distorts objects flatly by aligning them with real space in a flat structure to focus on the gaze of desire. In the linguistic sense of the concept of desire, the image of events and performances is drawn in the same flat structure, that is, "morning glory" as a cartoon image in a reversible shadow of light, and overlaps it with an event image. In addition, the pond reflected in the image of desire in the presence is decorated with a reversible shadow of light to create a place of desire as a subject.     

The concept of desire in the presence, which forms the image reflected in the pond as the subject, is an image of an involuntary desire structure as a object who realizes the abstract non-existence as Hegel's Existenz, who directly relates to the concept of desire as an object in the existing spatial structure.

Through the process of perception of cognitive gaze from abstract non-existence, the concept of desire is recognized as an object that designed the image of an event as a visual design and forms the formative aesthetic value of the object that exists through gaze perception. The image formed in this way reveals the aesthetic value of the contemporary time and understands the reality of the image through the concept of desire of others.

This is to apply the process of creating an object by the gaze of the other in the area of the desire structure to abstract design in the process of forming the other's desire as an object, and as a result, form an object as a distorts desire image as another being separated from the reality of the object and the desire object. Therefore, it forms an object that reveals the desire structure of the other and transitions to another recognizable existing image.

Here, temporality secures a reversible spatial structure by leading real images that form the visual structure of existence to reversible shadows of light.

The new mathematical figure structure is abstract Choi Chul-joo's Desire Formula, an abstract formulation for designing aesthetic structures as a result of the concept of desire.

The concept of abstract desire represents the desire structure of others as an abstraction that actualizes desire when it has an aesthetic meaning for the desires of others in the image of an event.

 

 

Pond Rendering Reflects Current Desire

As an aesthetic structure of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.

Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news.

This is because the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 

Like Kant, the mythical object of the same structure as humans and the logical facts within one structure are included in one structure as contradictory antinomic relationships that are compatible on equal grounds.

The interpretation of the concept of desire in a linguistic sense in which the abstract image and reality of the concept of desire are the same represents the structure of desire by forming a semantic relationship with antinomic desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire.      

Therefore, the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. 

Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images.               

 

 

Object rendering process of the concept of desire

Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of  the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure.  

4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. 

Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.

 

Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

 

Pond Rendering Reflects Current Desire

A new mathematical structure is Choi Cheol-joo's Desire Formula to design an aesthetic structure as a result of the concept of desire

As an object of a pond reflecting the present desire, when it has an aesthetic meaning by facing the desire of the other in the image of the event, it represents the concept of abstract desire as an actual abstraction and the structure of the desire of the other.

As an aesthetic structure in the pond of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.

The concept of absolute desire in the form of a pond in the present desire is a symbolic metaphor seen in abstraction, and the concept of desire abstracts the desire of others, but does not exceed the category of imitative painting. 

While accepting the difference from the actual image in abstract desire as the meaning of the linguistic concept, it abstracts the actual structure created by the linguistic meaning of desire facing the abstraction that constitutes the structure of desire and relationship with desire. This is Choi Chul-joo's conceptual abstraction of desire, which is free from the social constraints (制約) that can be accepted in religious customs and hides the formative reality of desire in painting and abstracts the event image based on the news of reality.           

Therefore, the subject that speaks linguistic meaning is an act of speech (enunciation) that specifies the elements that depend on the news for the viewing effect of colloquial language and event video broadcasting as an expressive aesthetic structure of enunciation, and represents abstraction, the true value of the concept of desire.

The interpretation of the concept of desire in a linguistic sense in which the abstract and reality of the concept of desire are the same represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire. In other words, antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aporia image.     

In the abstraction of real image as a desire structure, the morphological image of visible metaphor is transferred to abstract language meaning. The abstraction is a transitional fixation as an abstract meaning in which the desire structure of the shape is obscured as a real image. In other words, in abstraction, the actual form meaning is transformed into an additional form by the desire of others as an image of social events.

Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans and includes antinomic distribution as a single structure.

Therefore, through the gaze of the rational subject, the object as an event image, which is the same rational object as the linguistic meaning of the desire structure, is recognized as a real image that cannot be seen by the subject staring from an antinomic position.

 

In Manet's "Lunch on the Grass", seen as the concept of Choi Chul-joo's desire, the man in a suit is a symbolic world that identifies his image while recognizing subjectivity as a toddler. A man in a suit is a structure of perception of an infant by continuous social regulations from the time when he dressed up and expressed a rational view of morality to the 19th century. It recognizes that it is wrong for women and men to take off their clothes in an open space exposed to the outside reflected in the same mirror structure as a pond, and recognizes that a man in a suit is the subject of the image, unlike a nude woman.

This is a real image of a mirror structure that deviates from incomplete abstraction lacking desire due to the subordination of the desire structure to diachronic sociality and returns the cause of the desire concept to the object by rendering the desire structure. 

In this way, the rendering of the pond image as a mirror structure is a flat sign that will be real in the concept of abstract desire, and the event image carves the abstract desire that expresses the concept of desire of others into reversible light shades and obscures it into the dimension of the image projected in the visual range.

In the pond image, the subject of desire rejects the pictorial meaning of abstraction and reveals the reality of the illusion hidden in conventional reason by revealing it as an image of reality rather than an abstract structure by fluid fixation. This reveals the real image  as a reality of invisible desire, destroying the fixation of the contemporary absolute illusion in "Pond Rendering Reflecting Current Desire".

 

The abstract concept of desire, in which the desire structure represents a mirror, is confirmed as reality the unstable self of desire, which represents the place of the real space, and the image of desire reflected in the pond is composed.

This is a realization of the desire image as a shaded contrast structure of reversible light by contrasting the involuntary desire that reflects the symbolic meaning of the concept of desire on the surface with the real image.

Here, the pond divides the desire structure as a mirror structure and equates the desire of the other with the self by reflecting the concept of desire on the surface as a real image.

The desire is an object, and the event image and linguistic meaning are connected structures, and instead of abstracting desire after serializing design, the linguistic meaning as the subject of the concept of desire is directed as a real image.

In this way, the subject that identifies the image of another's desire reflected in the pond reveals the linguistic meaning of the structure that symbolizes the concept of unconscious desire of the self in reality, and leaves the image of desire and gaze in the shadow. 

Therefore, in order for the actual image reflected in the pond to be close to the actual rule of reality in which desire is hidden in the shadow structure, Choi Chul-joo's abstract design process connects the concept of desire and sketches the height of the texture of the object according to the multi-reflection of light on the water surface.

 

The background of desire and the object spectral rendering are performed by superimposing multiple lights in the same place when illuminated on a pond sketch reflecting the present desire.

This fixes the concept of desire as an actual desire image as a predictive value that can be stared at when the texture color of an object becomes metamorphism depending on the illumination color or is perceived as a different color is reflected in reversible light.

In the fixed sketch image of the concept of desire, the linguistic meaning is retroactive, and the desire structure is completed on the surface of the pond. 

The object of desire stitched by reversible light that reflects the surface of the pond is composed of the unique colors of reality.

And a reversible light is projected onto an object of desire, sculpted and reflected in the shadow of reality, resulting in a real image that is stared at.      

Thus, unlike perspective visual systems, Pond rendering, which reflects current desires, repeatedly designs symbolic reality images with overlapping surfaces and backs depending on the temporality of the desire structure to outline them, and creates the texture of desire with multiple reversible lights on the same surface to achieve the same structure as a single image. / Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

 

Choi Chul-joo, a contemporary conceptual abstract artist