En tant qu'artiste contemporain, un peintre abstrait conceptuel Louis Choi Chuljoo critique d'art: Abstraction des Concepts Art et Artiste contemporain [7] Critique de l'artiste conceptuel abstrait: Critique de l'art contemporain et du design de l'art con

En tant qu'artiste contemporain, un peintre abstrait conceptuel Louis Choi Chuljoo critique d'art: Abstraction des Concepts Art et Artiste contemporain [7] Critique de l'artiste conceptuel abstrait: Critique de l'art contemporain et du design de l'art conceptuel Résumé Art par l'artiste contemporain Louis Choi Chul-joo, Art contemporain et abstraction des concepts de design contemporain / Critique artistique et design d'artistes contemporains et de concepts contemporains / Critique artistique abstraite contemporaine et design de l'artiste contemporain Louis Choi Chul-joo est une critique et un dessin artistique abstrait basé sur le concept du désir, dans lequel les traces des désirs et de la réalité des autres sont des nuances réversibles de lumière. C'est un dessin qui résume le retour à la peinture comme art conceptuel précoce, c'est-à-dire la critique de l'art abstrait conceptuel et le désir des autres de représenter la réalité réaliste. / peinture abstraite de concepts contemporains [7] Critique artistique et abstrait Critique artistique du peintre conceptuel abstrait: Critiques d'art et œuvres de design d'artistes contemporains et de peintres abstraits de concepts modernes: 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, acrylic and composite materials on cloth, 2024 

 

Le « morning glory window 2024-2-Shadow » est l'image centrale du « morning glory window 2024-2-Shadow », qui produit l'image de fond désirée, signifiant la réalité de la gloire matinale, avec une lumière réversible sur fond. C'est le mouvement moderne d'art abstrait de Choi Chul-joo qui présente le concept du désir par une méthode d'abstraction réaliste basée sur l'image de l'événement de la bande dessinée.

 

Louis Choi Chuljoo, morning glory window p-110

 

La série "morning glory window" est une peinture abstraite moderne <morning glory window p-110> qui symbolise l'image comme une structure sémantique désirée, c'est-à-dire l'image de l'affiche de l'exposition. Une abstraction <morning glory window 2024-2-Shadow> dans laquelle l'image conceptuelle du désir à travers la <morning glory window p-110> constituant l'abstraction avec une image de désir qui ressemble à un regard momentané est créée en reliant la structure à l'ombre d'une lumière réversible.

 <morning glory window 2024-2-light> est une image dans la moitié droite de <morning glory window 2024-2-light> qui produit une image de fond lubrique qui signifie la réalité de la "morning glory" à l'ombre d'une lumière réversible. C'est le mouvement artistique abstrait contemporain de Choi Chul-joo qui présente le concept du désir comme une méthodologie d'abstraction factuelle avec le concept de l'image événementielle de Cartoon Manzai comme concept.

 

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

 

L'objet <morning glory à l'extérieur de la fenêtre 2024-2-lumière> représente la signification d'une forme visible dans un espace sémantique généré par la lumière réversible, structure la signification d'une image cachée dans l'ombre d'une lumière réversible, et forme un espace abstrait capable d'inverser l'objet dans la forme réelle, 

En d'autres termes, l'image du désir reflétée dans le miroir est une abstraction tirée de la <morning glory> au mouvement artistique de l'artiste contemporain Louis Choi Chul-joo en tant qu'image virtuelle non réelle de la critique Cartoon.

 

Le mouvement artistique moderne de Choi Chul-joo, qui présente une méthodologie d'abstraction avec le concept de désir comme art moderne en plus de cette abstraction, est Busan (Haeundae-gu Office Gallery) pour créer l'abstraction du concept du désir à travers une autre image du désir. 

C'est une image qui fixe l'extrémité gauche de la fenêtre < morning glory window 2024-1> au coin du mur pour que vous puissiez voir instantanément le désir d'un batteur qui fonctionne comme un regard dans un paysage déformé.

 

 

Il s'agit d'une planification déformée qui semble avoir le sens constant de la « morning glory » dans la peinture. La « morning glory » est la même que la réelle dans le miroir, mais la forme du fond n'est pas la même. En effet, les formes factuelles non réalistes ayant le même sens que les structures conceptuelles sont abstraites comme des structures conceptuelles, mais les abstractions aux formes différentes sont des images factuelles qui existent en tant qu'êtres abstraits aux couleurs et tailles similaires.

Son existence définit l'espace abstrait comme une forme qui peut être réellement inversée comme une abstraction conceptuelle de l'art conceptuel appliquée à la notion de désir, et renvoie à la signification abstraction d'un art conceptuel de forme factuelle bloquée par un mouvement qui change réellement à l'ombre de la lumière réversible.

 

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

 

En tant qu'image conceptuelle du désir, afin de reproduire l'objet abstrait dans la <morning glory window 2024-2-Shadow> reflétant l'ombre de la lumière réversible sur la surface supérieure de l'objet <morning glory window 2024-2-light>, le système visuel dans le diagramme organique de la perspective de perspective dissimule et produit un objet de structure de désir déficient. Il s'agit d'une peinture abstraite composée d'un événement, d'une image de performance et d'un concept abstrait de désir dans une structure factuelle de l'ombre.

 

En tant que tableau abstrait, <morning glory window> est de former une image abstraite exprimée par les désirs inconscients des autres afin de sortir l'art de la généralité, et de créer des objets en tant qu'êtres, exprimant l'art du drame, de la catastrophe, de l'émeute, de la guerre, et performance avec une image fantastique exprimée par les désirs inconscients des autres.

Son abstraction reprend l'image des événements et des spectacles avec le concept du désir de cacher l'image de l'ombre des désirs des autres, et superpose l'image du désir chevauchant la nature temporelle réversible de la lumière comme image réelle.

De plus, il y a un effet abstrait dans lequel la personne dansant la "morning glory" derrière le désir cache le désir et donne une sensibilité temporelle réversible à l'image de performance pour devenir le désir de quelqu'un d'autre et fixe une position phénoménale pour que l'image de la lumière ne se recoupe pas. Son effet abstrait absorbe la lumière temporelle pour supprimer la représentation symbolique de la surface de l'image, crée une image de désir factuel et cache l'image conceptuelle du désir dans l'ombre réversible de la lumière.

 

 

En tant qu'image de concept de désir, l'objet <morning glory window> tente d'échapper à la généralité et d'acquérir de l'art en dirigeant instantanément des concepts de désir inconscients cachés dans les schémas mécaniques. Par conséquent, la structure abstraite exprimée par les désirs qui apparaissent de l'inconscient réprimé des autres est générée comme un objet, et les désirs déficients qui apparaissent de l'inconscient des désirs des autres sont combinés au même sens que l'image réelle. 

La notion de désir de cacher l'image de l'ombre des désirs des autres est souvent conçue pour des événements et des représentations, et l'image du désir chevauchant la nature temporelle de la lumière réversible est transférée à l'image de la structure consciente.

Ensuite, la personne qui danse la gloire matinale sur fond de désir cache le désir, donne une sensibilité temporelle réversible à l'image de performance et fixe une position phénoménale afin que l'image de la lumière ne se recoupe pas pour créer un effet abstrait. Son effet abstrait absorbe la lumière temporelle pour supprimer la représentation symbolique de la surface de l'image, crée une image de désir factuel et cache l'image conceptuelle du désir à l'ombre d'une lumière réversible.

 L'image du concept de désir développe une abstraction impressionnante à de petits intervalles à l'ombre d'une lumière réversible, de sorte que le danseur en arrière-plan du concept de désir façonne la surface du ciel irréel comme des nuages/  / L'auteur. Choi Chul-joo, ancien conservateur du musée d'art de Seoul (artiste d'art moderne et docteur en design culturel)

 

 

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.

 

l'artiste contemporain, Louis Choi Chul-joo