現代美術家 現代アート美術評論 [8] 現代美術家として概念抽象画家 Louis チェ·チョルジュの現代概念抽象美術評論は、他者の欲望をテーマにした非実在で、現代アート実際的な造形性の痕跡と可逆的な光の陰影で欲望概念を抽象する美術評論です。 これは初期の概念美術としての絵画性を復帰、つまり事実的実在の座を代理する他者の欲望を抽象する概念抽象美術評論です [7] 現代美術家として概念抽象画家 Louis チェ·チョルジュの現代アート概念抽象美術と概念抽象画家評論作品及びデザイン: Louis Choi ch

現代美術家 現代アート美術評論 [8] 現代美術家として概念抽象画家 Louis チェ·チョルジュの現代概念抽象美術評論は、他者の欲望をテーマにした非実在で、現代アート実際的な造形性の痕跡と可逆的な光の陰影で欲望概念を抽象する美術評論です。 これは初期の概念美術としての絵画性を復帰、つまり事実的実在の座を代理する他者の欲望を抽象する概念抽象美術評論です [7] 現代美術家として概念抽象画家 Louis チェ·チョルジュの現代アート概念抽象美術と概念抽象画家評論作品及びデザイン: Louis Choi chuljoo's Abstract painting   <morning glory outside the window 2024-2-light & Shadow> 

 

Louis Chul-joo Choi, morning glory window 2024-2-Shadow (Part), 357X225cm, composite materials on cl

  

 <morning glory window 2024-2-Shadow>はアサガオの実在を意味する欲望的背景イメージを可逆的光の陰影で生成された<morning glory window 2024-2-Shadow>の中央部分イメージだ。 これは、カートゥーン漫評の事件イメージを概念に、欲望の概念を事実的抽象化の方法論として提示するチェ·チョルジュの現代抽象美術運動だ。

 

Louis Choi Chuljoo, morning glory window p-110

 

 <morning glory window>シリーズは、釜山(海雲台区庁ギャラリー)で韓国画家&抽象画家ルイ·チェチョルジュ<ラッパ花ウィンドウ>個展関連の現代美術抽象画作品としたポスター<morning glory window p-110>を製作し、これを欲望的意味構造としてイメージをデザイン、すなわち絵画の展示ポスターイメージを記号化した現代抽象画<morning glory outside the window 2024-2-light & Shadow>だ。 そして、その抽象化を瞬間的な凝視に見える欲望イメージで構成する<morning glory window p-110>を通じた欲望概念イメージを可逆的光の陰影で構造を連鎖した抽象化<morning glory window 2024-2-Shadow>を出現する。

 <morning glory window 2024-2-light>は"morning glory"の実在を意味する欲望的背景イメージを可逆的光の陰影で生成された<morning glory window 2024-2-light>の右半分のイメージだ。 これは、カートゥーン漫評の事件イメージを概念に、欲望の概念を事実的抽象化の方法論として提示するチェ·チョルジュの現代抽象美術運動だ。

 

Louis Choi chuljoo's Abstract painting: <morning glory window 2024-2-light>

 

写実的非実在の形状を可逆的光で生成された意味空間で見える形状の意味を描き出したオブジェ<morning glory outside the window 2024-2-light>は、他者の欲望を時間性に隠したイメージを可逆的光の陰影で意味を構造化し、そのオブジェを実際の形状に可逆できる抽象空間を意味化し、形状の実際変化した動きによって遮られる欲望的抽象の意味, 

すなわち鏡の中の映った欲望イメージは、カートゥーン漫評の仮想的な非実在イメージとして他者の無意識的欲望の席を<morning glory>から現代美術家ルイ·チェチョルジュのアートムーブメントにした「イメージ設置パフォーマンス」作品で描き出した抽象化だ。

 

その抽象化の上に欲望概念を現代美術にした事実的抽象化の方法論を提示するチェ·チョルジュの現代美術運動を釜山(海雲台区庁ギャラリー)でその抽象化をまた別の欲望イメージで構成する「Painting Installation Performance」を通じた欲望概念の抽象化を生成しようとカートゥーンイメージで一瞬の欲望概念が凝視に見える特定効果が発生する絵画の抽象的領域だ。 

これは<morning glory window 2024-1>の左側端部を壁面コーナー面に付着し、歪像的な風景の中で凝視的に機能する打者の欲望を瞬間的に見られるように構成したイメージだ。

 

 

これは、絵画においてアサガオ(morning glory)という一貫した意味を持つように見える、歪像的平面性である。 その朝顔は鏡に映った実在(le réel)と同じだが、背景の形状は同じではない。 これは構想的形態として同一の意味の構造とした非実在の事実的形状を概念的意味構造として抽象だが、その形状が異なる同一の意味としての抽象化は類似した色と大きさが異なる思想的形状の抽象的存在として非実在する事実的イメージであるためだ。

その存在は欲望概念に適用した概念美術の事実的抽象化として実際に可逆できる形状として抽象空間を定義し、その形状が可逆的光の陰影で実際に変化した動きによって遮られる事実的形状の一概念美術の抽象化意味をいう

 

Louis Chul-joo Choi, morning glory window 2024-2-Shadow, 357X225cm, acrylic and composite materials on cloth, 2024

 

欲望概念イメージとして、オブジェ<morning glory window 2024-2-light>の上面に可逆的光の陰影を映した<morning glory window 2024-2-Shadow>で抽象的オブジェを再現するために、遠近法的視覚体系の器学的図式での視覚体系は隠蔽し無意識から現れた欲望的観点の瞬間的凝視に見られる欠乏した欲望構造のオブジェを演出する。 これは事件と公演イメージを抽象的欲望概念を事実的陰影構造で構成した抽象画だ。

抽象画として<morning glory window>は一般性を脱して芸術性を獲得しようと他者の抑圧された無意識から現れた欲望を通じて表出された抽象的イメージをデザインで形成し、存在としてオブジェを生成して他者の無意識的欲望から表わした幻想的イメージでドラマ、災難、暴動、戦争そして公演の瞬間的歪曲されたイメージを意味的構造にした芸術性を表わすことだ。

その抽象化は、他人の欲望の影のイメージを隠したい欲望の概念を事件と公演のイメージを繰り返し、可逆的な光の時間性と重なる欲望のイメージを実在のイメージとして重畳する。

そしてアサガオ(morning glory)を欲望の背景に踊る人が欲望を隠して公演イメージの中に可逆的な時間敏感性を付与して他人の欲望になり、光のイメージが重ならないように現象的な位置を設定する抽象効果がある。 その抽象的効果は、時間的光を吸収してイメージ表面の象徴的表象を除去し、事実的欲望のイメージを作り出し、可逆的な光の影の中にある欲望の概念イメージを隠す。

 

 

欲望概念イメージとしてオブジェ<morning glory window>は抽象的オブジェを再現する遠近法的視覚体系の器学的図式の視覚体系に隠蔽している無意識的に現れた欲望概念を瞬間的に演出して一般性を脱して芸術性を獲得しようとする。 したがって、他人の抑圧された無意識から現れた欲望を通じて表出された抽象構造を存在としてのオブジェを生成し、他人の無意識的欲望から現れた欠乏した欲望を実在イメージと同じ意味で合わせる。 

他者欲望の影のイメージを隠したい欲望の概念を事件と公演のイメージをデザインを繰り返し、可逆的光の時間性と重なる欲望のイメージを意識的構造のイメージに転移する。

そして、アサガオを欲望の背景に踊る人が欲望を隠し、公演イメージの中に可逆的な時間敏感性を与え、他人の欲望になり、光のイメージが重ならないように現象的な位置を設定して抽象効果を演出する。 その抽象効果は、時間的光を吸収してイメージ表面の象徴的表象を除去し、事実的欲望のイメージを作り出し、可逆的光の影の中にある欲望の概念イメージを隠す。

これは欲望概念の背景に反映された舞踊家が雲のような非現実的な空の表面を形象化するように瞬間的に存在する可逆的な光の影の中で小さな間隔を置いて欲望概念のイメージが印象的な抽象を展開し、現代視覚文化で都市に対する印象的概念イメージの破片として現実的構造の中で欲望の構造に抽象化される./ 文. 元釜山市立美術館キュレーター チェ·チョルジュ（現代概念抽象画家&文化デザイン博士

 

 

In contemporary art, the concept of design desire is embodied in Louis Choi Chuljoo's Facebook "morning glory window 2024-2-light-shadow" with a conceptual semantic structure as a realistic structure: This is an impressive abstraction in which the image of the concept of desire is developed at small intervals in the shadow of reversible light that exists momentarily, just as a dancer reflected in the background of the concept of desire, embodies an unrealistic surface of the sky such as a cloud.

Abstraction is abstracted into a structure of desire in a realistic structure as a fragment of an abstract conceptual image of a city in modern visual culture.

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p110-6-TXT "Can't You See Me?" will appear on American MTV on 22: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. 

 

Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <morning glory p110-6-TXT "Can't You See Me?" will appear on American MTV on 22> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.

 

■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

 

 By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

 

Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-4, a hand-painted picture on a computer 

 

an image of the desire projected by thought reflected in a pond

The image of desire projected by thoughts reflected in the pond is like a geometric cross-section of the pond beyond the boundary of desire that gathers like water on the surface of the water.

The missing pond is a structure of light that deviates from the concept of instantaneous desire as a reversible shade of light, and perspective objectivity distorts the range of the sky and the size of the perspective cross-sectional area with reversible light on objects overlaid on the surface of the water.

This notion of distorted desire is abstracted to fit into a pond of realistic morphemes with reversible shades of light.

The abstraction is the same as Choi Cheol-joo's desire design process. It creates a visual expression that explores the concept of desire through abstract forms and abstract conceptual structures,

Here, the conceptual foundation begins with a deep exploration of the concept of abstract desire in the process of designing desire. This not only understands abstract desire as an emotion as a real image, but also interprets the concept of desire of others as a complex interaction of psychological, social, and philosophical elements.

 

Choi Chul-joo's concept of desire in the disappeared pond does not presuppose causality with the real image, but rather symbolizes the object of desire as a conceptual subject from an abstract concept in which an abstract real image appears as a real correlation by dividing desire alienated by unconsciousness into design.

Therefore, the abstract expression of the concept of desire is characterized by symbolizing the desires of others in various aspects by dividing the cross-sectional form into abstract forms and abstract fluidity into reversible shades of light.

Here, the use of reversible contrast creates the depth of the shadow of desire with light according to temporality and emphasizes the abstract form. This helps viewers access the reality of the concept of desire by visualizing the abstract aspect of desire with a pictorial technique.     

From linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence. The image is a morpheme that conveys a connection with the concept of cultural and universal desire.

And the gaze on the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is an abstract real image according to Choi Chul-joo's concept of desire design process 1.

The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.

The symbolic structure represented in this way adds a texture reflected by several cross-sectional layers and reversible shades of light to create the complexity and depth of the concept of desire, projecting the complex nature and real image of the other's desire.  

The aesthetic value of the image of desire of the actual structure according to Choi Chul-joo's concept of desire design process 2 is to decorate the object with a universal color of reality so that the reality of the symbol structure projected in this way has an aesthetic value corresponding to the place as a single stage.     

The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon. 

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

This is an interactive element of unconscious abstraction, objectifying the desires of others through the design process of the concept of desire.

In addition, as an abstract image, an image that combines lines and colors as an unconscious structure, but is not conscious, is an interactive act with the unconscious, and it is the design of unconscious desire according to the desire concept design process 3 by repeatedly designing desire as an image of reality.

 

Louis Choi Chul-joo, morning glory p110-7-window shadow-pond-4-3, a hand-painted picture on a computer 

 

The concept of unconsciously abstracting desire is an image of reality that does not see the object of reality as a shadow of light that can be overturned, and shows another aspect of reality by concealing reality with shadows.

The image of desire is an unconscious mind maintained by the image of reality and the imagination desired by the subject of desire, and it is an idea that cannot be recognized by that image.

This is a storytelling for thinking that enhances the depth of the concept of desire by giving a narrative and context verbally. 

Therefore, the spatial composition of desire, a flat monochromatic painting carved into reality, is a desire conceptual design process 4 that combines the image of thought into a reversible structure of light through conscious movement and designs the space of desire by combining the image of thought into a reversible structure of light.

Desire concept The image of desire that has passed the design process is a form of desire reflected in the mirror.

It is an image of existence seen on the surface of a pond that has disappeared according to temporality, reflecting a conceptual image that abstracts the unconscious needs of social morphemes according to the linguistic correlation of desire.

The gaze at the image of its existence is the external surface of reality, and the concept of desire is a reversible light, and the real image is concealed by the object of abstraction as a correlation of reality with the concept of unconscious desire.

 

Unconscious desire is a correlation between desires concealed in temporality, and Choi Chul-joo's conceptual design of desire is a repetitive design of objects that can be abstracted.

This creates a picture structure in which the object of desire appears as an image, using the subject of design as the other.

In a universal abstract structure suitable for customs, the subject of desire decorates the object with the color of reality so that the reality of the abstract structure represented by the structure of the picture has an aesthetic value corresponding to the place as a single image.

Therefore, the background of desire is the subject of reality in the realm of abstraction, and the existence correlation and the protagonist of the event and performance are determined as an abstract image that satisfies the cause of desire. 

As an abstract image, an image that combines lines and colors as an unconscious structure is repeatedly designed as an unconscious act, and the desire is recognized as a thought image.

The thought image is designed so that the other becomes aware by combining the flat monochromatic paintings carved from reality into a reversible structure of light through conscious movement.

This is an existential reality in which desire is reflected in a mirror as an object that fits the temporality in which the subject existed in order to abstractly appear contemporary events and performance images.

The real image is presented as a concept of desire, and the linguistic meaning is represented as a structure of desire.

 

Desire and the reflection in the mirror are visually sympathized with each other as a structural form of desire as a real image, and are understood as a correlation with desire identified with the real image.

The image of desire reflected in the pond is an abstract concept suitable for the form of desire, and like a mirror of desire designed as a structure of reality, the pond is a form of verbal desire.

/ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)

 

 

Realistic structures reflect the shape by being distorted by light.  It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

 

Louis Chul-joo Choi, Kang Daniel's digital single 'PARANOIA' released-5, a hand-painted picture on a computer, ■ Korea News Cartoon Review with Contemporary Artist Choi Chul-joo's Pop Art Cartoon Abstract Painting [2] Kang Daniel's digital single 'PARANOIA' released : A line News of Choi Chul-joo’s Cartoon Review (ACN・2021.2.18.5:32)/ 

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 117-Kang Daniel's digital single 'PARANOIA' released, 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: In front of the bamboo forest a117-Kang Daniel's digital single 'PARANOIA' released: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p110-7-3-Kang Daniel's digital single 'PARANOIA' released: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. 

 

Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <morning glory p110-7-3-Kang Daniel's digital single 'PARANOIA' released> created by reversible light. In addition, by re-applying the desire formula by linking verbal me taphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.

 

■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

 

 By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

 

 

Realistic structures reflect the shape by being distorted by light.  It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

 

Louis Chul-joo Choi, The special feeling of the body and mind is “Twice”, a hand-painted picture on a computer, 2024

 

Cartoon review: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news

■ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review: 카툰 만평 [7] ABU TV Song Festival: Twice ‘Feel Special’ : A line News of Choi Chul-joo’s Manwha Review (2019-12-29) 

 /Reporter Choi Chul-joo’s Cartoon Review

. The special feeling of the body and mind is “Twice”

. Le sentiment spécial du corps et de l’esprit est « Twice »

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 300-The special feeling of the body and mind, 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: In front of the bamboo forest g300-The special feeling of the body and mind is “Twice”: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p110-9-The special feeling of the body and mind is “Twice”: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. 

 

Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <morning glory p110-9-The special feeling of the body and mind is “Twice”> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.

 

■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

 

 By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

 

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)

 

 

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News 

 

Webtoon News Cartoonist Choi  

Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light. 

 

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

 

Realistic structures reflect the shape by being distorted by light.  It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

 

Louis Choi Chul-joo, <TWICE's "more & more" 6>, a hand-painted picture on a computer

 

Cartoon review: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news

■ Cartoonist Choi Chul-joo, newsmanwha K-Pop Song illustratoin [13] TWICE released <MORE & MORE> : A line News of Choi Chul-joo’s Manwha Review (ACN・2020.6.6.1:27) / Reporter Choi Chul-joo’s Cartoon Review

. TWICE released <MORE & MORE>. (2020.06.01)

. TWICE a publié <MORE & MORE>. (2020.06.01.)

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 112-MORE & MORE, 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: In front of the bamboo forest b112-MORE & MORE-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p110-8-MORE & MORE: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. 

 

Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <morning glory p110-8-MORE & MORE> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.

 

■ Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

 

 By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

 

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 112, a hand-painted picture on a computer

 

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest b112, a hand-painted picture on a computer

 

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p110, 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

 

Louis Choi chuljoo, MORE & MORE-6-1   [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korea News Cartoon Review with Contemporary Artist Choi Chul-joo's newsmanwha K-Pop Song illustratoin [13] TWICE released <MORE & MORE> : A line News of Choi Chul-joo’s Manwha Review (ACN・2020.6.6.1:27) / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, an art critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world.  ■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire,  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 image of desire, which applies 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). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.  ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general 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.

 

現代美術家 チェ·チョルジュ