Art Critic Louis Choi Chul-joo Criticism [63] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Co

Art Critic Louis Choi Chul-joo Criticism [63] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & 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 Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning,

 

Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, 113X165cm, acrylic and composite materials on cloth, 2025

 

Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning

As a linguistic semantic element realized as a unit of abstraction morning glory-dancer desire concept, the Mona Lisa is divided into a transformation form composed of light of a particular shade and the concept of existence of desire.

This is a semantic element obtained from the desires of others in response to the composition of the painting and linguistic semantic structure in which the Mona Lisa takes the morning glory-dancer as an object, inducing several abstract meanings and constructing images as linguistic meanings in the sense of simultaneity of the desire structure.

Here, the abstract meaning is divided into the common points of temporal and phenomenal meanings formed by the difference in the time difference (視差) between the gaze and the visible gaze according to the characteristics of the object. The concept of desire to implement this as an abstract structure repeatedly designs the linguistic meaning as a real image and specifically abstracts it as a virtual reality image.

In other words, as a linguistic semantic element realized as a unit of the concept of abstraction morning glory desire, the Mona Lisa divides into a transformation form composed of light in a specific shade and the concept of desire as being.

This means that the event image embodied as the principle of the simultaneity of Choi Chul-joo's concept of desire is obtained from the desire of the other who, as the subject of desire, induces various abstract meanings and identifies the desire structure as a single semantic image in the same meaning.

The abstraction that emerges here is an abstract meaning, and it is an image that identifies the temporal meaning and phenomenal image formed according to the temporality of realizing the object as a subject of linguistic meaning, and repeatedly designs the linguistic meaning in the actual image to realize the concept of a desire to implement it as an aesthetic structure.

 

Choi Chul-joo's concept of desire realizes an abstract virtual image at the intersection of form and reality as a semantic element by representing a symbolic object with a metaphorical meaning as the same real image as the concept of desire.  

Here, the Mona Lisa is abstracted as a real image as a linguistic meaning of the morning glory-dancer with a desire structure drawn in a linguistic sense through the Choi Chul-joo desire formula to establish the meaning of the phenomenal language as a meaning.

Here, Mona Lisa abstracts the linguistic meaning of the morning glory-dancer with a desire structure drawn in a linguistic sense through the Choi Chul-joo desire formula into a real image, and establishes the meaning of phenomenal language to have the same synchronism with the real image.

The subject of another's desire is an image with the same linguistic meaning between the concept of abstract desire, the image of an event as a phenomenal object, and the actual image opposite to the abstract, that is, the image of the concept of desire morning glory. Through semantic action, behavioral meaning is transmitted as an event image as a background image of a subject object, and an image with the same linguistic meaning acts as a semantic structure at the point where the concept of unconscious desire and the divided real image intersect.

 

The difference between art and non-art as a semantic structure is distinguished by the existence of a real image formed from the point of view of the other's desire from the virtual form as a substance as a reality and as a non-existence. Therefore, the aesthetic condition as a semantic structure is that the material as a reality has an image installed in the place, and the virtual form as a non-existence is a realistic image and reveals an abstract image by realizing the desire of the other as a being in linguistic meaning. 

This completes the meaning of the linguistic meaning as an image as an abstraction of morning glory retroactively to the concept of desire. It also shows that the symbolic meaning obscured in the concept of desire is an abstraction of a real image.

As the subject of abstraction, the semantic element distinguishes the background of the subject and the smile with the object as the subject as the Mona Lisa as a fantastic imagination and Freudian sexual behavior. This represents the desire of the other as a real structure by returning to the image of abstract desire that identifies with the enjoyment object and linguistic meaning in the mirror.

Here, the actual structure depicts a dancer who creates abstract artificial lighting with reversible shades of light and equates the desire structure with a real structure with a morning glory background and a Mona Lisa with a reversible shade of light, unlike the phenomenal description of the subject's background as a color adjustment like Leonardo.

 

Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-sketch 2, 113X165cm, acrylic and composite materials on cloth, 2025

 

Desire according to abstraction The design is the same form that cannot be distinguished between the original and the reproduction. This means that the original is absent. This is because the completed design object can form a virtual image through linguistic meaning or can be re-formed into a cultural form with the desire of the same other. Therefore, the desire of the abstract other, which is difficult to replicate, is designed as an anamorphosis image. Here, the anamorphosis image is non-existent as the whole image, but the Mona Lisa is abstracted as another anamorphosis image as separated from the real image.

In this way, the concept of desire is symbolically identified as the actual structure of the Mona Lisa and the dancer, and as a subject of linguistic meaning, the Mona Lisa identifies the event image with the phenomenal reality image of the concept of desire as an object.

Since the desire structure does not set a reversible lighting setting, it combines several objects into a desire background like a photo collage by contrasting them with shades and shades between objects relative to the subject. Without distinguishing the entire background of the desire structure and the boundary line between the objects, the 'morning glory background' and the object line are clearly removed to create a space that fits the specific linguistic meaning of the desire concept.

The Mona Lisa's gaze is divided into reversible light shadows and gaps that allow the right eye to stare at the front and the rest of the face.

Mona Lisa, a picture of an object composed of reversible light, is an abstraction. An image formed from a virtual object that reproduces a pictorial object is a virtual image that hides reality. A virtual image is recognized in a plane and appears as a virtual image. Here, as a virtual image, Mona Lisa is abstracted into a real image by revealing an object as existence through Choi Chul-joo's Desire Formula. 

Abstraction created as a real image creates a real image with objects and backgrounds as subjects and shades of reality and desire objects as light, and transitions to abstraction of existence as a linguistic semantic element of the concept of desire.

The abstract collages the depiction representing the characteristics of the Mona Lisa on the "morning glory Background" and spaces it with reversible light shadows to form a fragmented space according to the temporality.

 

The space separated from temporality is hidden by the geometric diagram of the perspective visual system that reproduces objects, and is instantly revealed as a gaze from the perspective of desire revealed in the unconscious. As an abstraction, an object acquires an aesthetic structure by creating an object as an being by repeating the design of an anamorphosis image expressed through the desire of the other to acquire artistry beyond generality.

This hides the left and right landscape with different shades of Leonardo's Mona Lisa light, realistically reveals the right eye area to fit the Mona Lisa image as a linguistic meaning, and determines the idealized abstract desire concept as an image set as a specific attribute of Mona Lisa so that it can be recognized as a conceptual object of abstract desire as a real image, and separates the head and back of the hand into shades of light as a character composition.

Here, the intermediate sexual face distinguishes between good and evil forms according to the visible direction. 

The gaze from the front distinguishes the shape and size of the Mona Lisa, but the gaze from left to right expresses the abstract space of the Mona Lisa in a segmental way, embodying an image of desire in a linguistic sense to immobilize the Mona Lisa as a being.

And by identifying the image of the desire structure created by moving the fixed Mona Lisa and the gaze virtually, the gaze shifts to the image of the structure of good and evil as another representation.

Here, the aesthetic Mona Lisa transforms the inner structure of good and evil into a dancer image from the other's desire perspective, revealing its formative existence and representing the autonomy of the concept of desire.

This is a representation of the Mona Lisa in real space, but the image of the desire structure creates a desire space as a superimposed being with the Mona Lisa by moving a virtual gaze made of the same artificial lighting as reversible light.

In this way, the gaze of the dancer as the subject of desire forms a place of desire that cannot be viewed as the real structure of the other's desire as a gaze on the object of desire. Therefore, the real structure of desire is an abstract desire concept, and the real structure designed so that an object can see a dancer as the subject of desire is viewed as a real image in which the concept of desire is abstracted.

Abstraction, which appears to be a gaze, erases the concept of desire according to the timeliness of the actual structure in which reversible light overlaps, and illuminates the representational existence of the past time by artificially reflecting reality as a reversible structure of light.

The gaze made from the light of artificial lighting is specified as a flow of small particles of light that do not look like the light of Newton, and forms a hue as the frequency of light by Einstein, who saw light as a light quantum as a grain.

As a result, the actual image of the concept of abstract desire is abstract. This is because when the morpheme as a language structure was transferred to the Mona Lisa image as a language structure according to symbolic culture, the actual meaning of the past representative concept of desire was transferred to the Mona Lisa image as an abstract structure. In other words, when the morpheme as a linguistic meaning is transferred to the Mona Lisa image, the abstract real meaning is removed from the concept of abstract desire and forms a real image.

 

As a semantic element, the image of the Mona Lisa whose outline is unclear with the existing spumato technique is a shade of scientific artificial illumination, which is a syntagmatic confrontation with religious language meaning, conceals reality as a real image in one language meaning.

The image follows a cultural interpretation according to the timeliness of the reversible light of artificial lighting to express it as an image different from Leonardo's Mona Lisa in a linguistic sense or to distinguish reality only within a linguistic sense.

These images, separated by cultural temporality, are abstractions in which one linguistic meaning does not change into another linguistic meaning in philosophical perception, distinguishing the reality of the Mona Lisa image from the reality of linguistic meaning. 

Therefore, Choi Chul-joo's definition of "Napal Flower" is an image that divides the concept of abstract desire into secondary temporality, and is an abstraction projected as a real image with the same linguistic meaning as the image lacking by the concept of desire without changing from philosophical perception to another linguistic meaning. 

The subject image of linguistic meaning has a holistic culturality that is identified with the concept of desire specified as a subjective scene of linguistic meaning of the event image according to sociality.

 

 

The desire of others has cultural connection through the image of events as an object that is specified as a real image that expresses the linguistic meaning as one in sociality.

Cultural connection as a linguistic meaning refers to a phenomenal reality image that does not specify an object as an image and has a cultural connection with that object.

Mona Lisa cannot verbally specify an image with the linguistic meaning of the concept of desire morning glory, we repeatedly design specific images with aesthetic structures as Choi Chul-joo's desire formula.

The object as reality is a planar structure that has stopped at the limit of impressionistic reality, and is an abstraction of a realistic structure with the concept of abstract language meaning. Here, the realistic structure refers to a scene in which the image of an event and a performance is stopped with a photo. 

This is a realistic image that makes the front and sides illuminated in various directions of a stationary subject look like planes, unlike abstract conceptual art in which images are matched to lines and colors.

Transforming the other's desire into an image as a linguistic meaning creates a position of shape with a reversible shadow of light hidden in the sky.

And the abstract structure formed by light disappears when it makes the existence of the abstract desire concept that existed in the past be recognized as a reversible shadow of light, and the abstract structure disappears when the morning glory is placed on the shadow of the desire structure.     

Mona Lisa's desire is identified as an image of expressive desire that lacks unconscious pleasure in the language of consciousness, and between unconscious desire and culturally deficient desire, it forms an image of the same meaning, identifying linguistic meaning as an image and aesthetic structure. In other words, the concept of desire is abstracted from the concept of abstract desire to meet reality as an installation of visual images to a real image so that it can be seen from a gaze that meets reality.

Therefore, Choi Chul-joo's principle of simultaneity of desire analyzes the object of desire with an invisible gaze, designs the form of desire as a mirror image, reveals the concept of desire in the language structure as an image, and creates a background of desire to reveal the concept of desire as a spatial image in the language structure. And as an abstract linguistic concept representing the concept of desire, it removes the abstract structure of the concept of desire according to the timeliness of reversible light, acquires the aesthetic value of the target image through the shadow of light, and identifies it as a real image of the same concept as the abstract desire image as being.

The object superimposed on the Mona Lisa exists as a realistic desire image as an abstract existence that represents the concept of desire that erases the abstract structure of the concept of desire and expands aesthetic value into the shade of light according to the temporality of light. 

In other words, as the principle of simultaneity of Choi Cheol-joo's desire structure, abstract beings representing the concept of desire are identified with realistic desire images in order to eliminate the abstract structure of the concept of desire according to the temporality of reversible light and acquire aesthetic value in the shade of light. 

Therefore, the principle of simultaneity of the desire structure abstractly designs the concept of desire and implements the object of the image of desire lacking from unconscious desire into the existing structure of reality.

 

Desire images are another woman whose Mona Lisa is unknown, creating mirror images to form a face similar to that of mirror images, and openly decorating the background of desire with linguistic structures to realize a deficient desire structure in which the meaning of the real image seems identical. 

In addition, Choi Chul-joo's abstract design desire theory creates an abstract image of desire in reality, and interprets the concept of abstract desire as a real image by separating the object seen as the gaze and gaze of desire from the image of desire into the abstract existence of unconscious desire.

In this way, when the Mona Lisa expresses the structure of desire as a subject of gaze, it forms the structure of desire by designing the meaning of conscious language as a real image that looks at the meaning of conscious language with a gaze. The Mona Lisa, the subject of unconscious structure, recognizes it as the object of gaze as the subject of desire and creates abstract desire as an image. / Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

 

Choi Chul-joo, a contemporary art critic