Concept Abstraction Design Methodology [3] An example of a contemporary concept abstract design methodology through the News-review Sketch and Concept Abstraction Design Process by contemporary artist and cartoonist Louis Choi Chul-joo./ Conceptual Abstra

Concept Abstraction Design Methodology [3] An example of a contemporary concept abstract design methodology through the News-review Sketch and Concept Abstraction Design Process by contemporary artist and cartoonist Louis Choi Chul-joo./ Conceptual Abstract Design Method: Conceptual Abstract Artist Featuring Louis Choi Cheol-joo's concept of desire, modern art, a painting that conflicts with the concept of linguistic meaning emphasized by metaphysical and philosophical light, this creates dramatic event images with artificial lighting. It presents unique works that reflect desire and social structure. It visually expresses the concept of desire in the shade of reversible light and conveys the concept of deep desire to others through verbal meaning and abstract design./ Examples of Design Works by Conceptual Abstraction (https://opensea.io/Louisland) and Contemporary Art Criticism: Pop Art Abstract Painting & Cartoon, Korea News Cartoon Review with Contemporary Artist Choi Chul-joo's conceptual abstract art: Facebook-news Cartoon review [6] Omicron Spread Restricts Entry of Foreigners from Eight Countries, including South Africa (ACN ・ 2021. 11. 28. 16:21) /Reporter Choi Chul-joo’s Cartoon Review & morning glory 2021-e

 

Contemporary Art Design Review: Choi Chul-joo Contemporary Art Design Review, Famous Painters Abstract Painters Contemporary Art Design Works, Reading New Works, Artworks on Facebook, Media Art, Contemporary Abstract Art, Pop Art, Installation Art & Abstraction Painting

 

■ 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.

 

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 Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design

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)

 

Chul-joo Choi, <Omicron Spread Restricts Entry of Foreigners-4>, a hand-painted picture on a computer

 

News Cartoon: 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:

. Omicron Spread Restricts Entry of Foreigners from Eight Countries, including South Africa

. La propagation de l'omicron limite l'entrée des étrangers de huit pays, y compris l'Afrique du Sud

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 188-Omicron Spread Restricts Entry of Foreigners from Eight Countries, including South Africa, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

 

Desire Concept Realistic Abstract Work: Louis Chul-joo Choi, Bamboo Forest d188-Omicron Spread Restricts Entry of Foreigners from Eight Countries, including South Africa: Lacan's imaginary world and metamorphic formula f(S...)... By repeatedly applying S'S=˜S(-)s, formability is embodied in a reversible shade of light to the image of the work to acquire aesthetic value and its meaning appears

 

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 188, a hand-painted picture on a computer

 

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest d188, a hand-painted picture on a computer

 

Due to the spread of Omicron, foreigners were restricted from entering eight countries, including South Africa. This is because the risk is fast and fatal like an accident on a high-speed train.

Louis Chul-joo Choi, Bamboo Forest 87-Omicron Spread Restricts Entry of Foreigners from Eight Countries, including South Africa 2, a hand-painted picture on a computer, 2019 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Contemporary Art News Sketch Cartoon & Abstraction [1] Pop Art Abstract Painting & Cartoon / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs 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. ▶Omicron Spread _ La propagation de l'omicron

 

- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.

- Cartoon designer Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work

 

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

 

Cartoon review: cartoon designer Choi Chul-joo's Review of Korean News Cartoon [61] an incompetent driver who accidents on a safe railway, (2018.12.12.) / Reporter Choi Chul-joo’s Cartoon Review

. an incompetent driver who accidents on a safe railway.

. un conducteur incompétent qui se trouve sur un chemin de fer sûr.

 

 

Modern art design methodology criticizes the image of desire in socio-cultural phenomena through the design process of Choi Chul-joo's desire abstract concept, combining cartoon satire as an image of events and performances with the abstract painting "morning glory", the background of desire

 

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.

 

■ Contemporary Art Design Method: Designing the exhibition spaces in the railroad cabins

In terms of the possibility to use the railroad cabins as exhibition spaces, if adequate exhibition spaces are provided with a modification to the seat arrangement and a reduction in the number of seats, an exhibition experience is possible although the scale of the exhibition space is small. The scales of exhibits can be diverse depending upon the exhibits, ranging from fine arts materials to daily industrial area. The contents of the exhibition are determined for each theme and the variability of the exhibition spaces is necessary to let the spectators understand the exhibition themes. New display methods for the exhibition spaces to meet the themes of the exhibition plan are suitable in the railroad exhibition spaces and are separate from the fixed idea of display methods for current routine exhibition. The scales of the exhibition spaces in the railroad cabins are determined by the exhibits in the railroad cabins and the spectators’ low lines change depending on the installation positions of the exhibits. Therefore, the exhibition spaces in the railroad cabins should be equipped with standardized wall-partitions for easy installation of the exhibiting lighting in the railroad cabins, and lighting fixtures and devices in the internal spaces, in anticipation of the spectators’ flow lines, should be considered so that adequate exhibition spaces may be formed to meet the exhibition themes. The scales of the design elements in the railroad cabins to configure exhibition spaces are determined depending upon the elements of the exhibition spaces and the design elements, such as reduced partial lighting and exhibition lighting installed at the entrance/exit to avoid possible repulsion against it when entering into the exhibition spaces, internal shape of exhibition spaces including exhibits and show cases, and the internal colors, etc. in combination with the exhibition will be determined by the exhibition themes.

① Designing the exhibition spaces in the railroad cabins for movement

The exhibition spaces in the railroad cabins for movement are designed in consideration of the design elements of possible exhibits by adjusting the number of seats. In order to install exhibition works in the railroad cabins for movement, a certain number of seats should be maintained and it is difficult to display large works; in this case, small moldings or sculpture works are displayed.

<Fig. Ⅲ-5> Inside of the railroad cabin for movement

② Designing the exhibition spaces in the railroad cabins equipped with wall-partitions

The scale of the displayed works in the railroad cabins is limited depending upon the number of seats. In order to configure exhibition walls by removing all of the seats from the cabin with the exception of one seat for the guide, and an increase of displaying works or configurations of exhibition themes, the installation of wall-partitions is required.

<Fig. Ⅲ-6> Inside of the railroad cabin having limited seats and wall-partitions

<Table Ⅲ-5> Comparison of the exhibition space for each theme and the exhibition space of cabins in the railroad cabins (common passenger cabins).

The flow lines in the exhibition spaces for each theme may be diversely and suggestively arranged through the configuration of the theme, but the passages are narrow. The entrances/exits may be clearly distinguished with a configuration of the themes, and the exhibits may be arranged along the flow line of each theme for selective viewing for each subject. In general, the exhibition method should reflect the visitors’ requirements for

an exhibition through the variable exhibition spaces. The flow lines in the exhibition spaces that

③ Designing railroad stations to be used as the external spaces of railroad cabins

The exhibition spaces in the railroad cabins can be used for exhibitions and viewing in addition to movement. Accessibility is the most important factor in the exhibition spaces. The urban railroad stations are designed as the architectural external spaces of railroad cabins where exhibitions and viewing is possible in the urban railroad stations with good accessibility. The urban railroad stations to be used as exhibition facilities are designed so that the external appearance of them may contain local cultural properties in its architectural structure. Urban railroad stations are designed so that the external appearance, which expresses the local architectural properties as cultural spaces, is harmonized with the internal facilities of modern urban railroad stations. Urban railroad stations should be designed so that both movement and cultural experiences are possible through an exhibit after stopping at the railroad stations, or to view the exhibits during movement.

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■ Source of data: “A study on the standards on setting exhibition spaces in the railroad cabins,"Chul-Joo Choi, Suk-Ki Hong, and Tae-Soo Kwon, Theses of the Korean Society for Railway, 2004. P.280

 

Louis Chul-joo Choi, morning glory p9-3, a hand-painted picture on a computer

 

Louis, Chul-joo Choi, morning glory 2021-e, 114X169cm, acrylic and composite materials on cloth, 2021, / 20220301~20220308 Flushing Town Hall, New York.

 

As a conceptual abstraction, "morning glory 2021-e" outside the window is a conceptual image of desire drawn on a cloth with the back surface reflected by hand using a transformed image made of the actuality of the morning glory.

As a desirable structure of desire, the abstract poster of "morning glory" by Louis Choi Chul-joo, and related works of contemporary art desire are exhibited, which is a contemporary conceptual art abstract that symbolizes the design of desire, that is, the conceptual abstraction of painting, as a desirable desire structure.

 

Louis, Chul-joo Choi, morning glory 2021-e, 114X169cm, acrylic and composite materials on cloth, 2021

 

An object (Louis Choi Chul-joo 2022 New York exhibition Morning glory 2021-e), which depicts the meaning of the figure in the semantic space created by the reversible light of non-realistic reality, structures the meaning of an abstract space that can reversibly transform the object into a real shape by concealing the other's desires in the shade of reversible light. The conceptual abstract meaning, or image in the mirror, is a virtual non-realistic image that reveals the place of the other's unconscious desires.

In response, Choi Chul-joo presents the design methodology of contemporary art.

 

This proceeds according to Choi Chul-joo's concept of desire formula. In other words, the image of desire applying Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory' is an image that creates a landscape by floating a morning glory in the sky, and connects the concept of desire with the background of 'morning glory'. In addition, in "morning glory", the formula of desire is substituted "D(I...I')d=I(D'D'i" and the connection effect between the concept of desire and 'morning glory' as an image of desire sets the object as the concept of the image of desire by 'morning glory' to shade the concept of desire in a reversible shadow structure. In other words, the image of desire (I) is the structure of desire because desire (D) is repeated in several images (D...D), and the image of artistic action or desire (I) appears as the concept of desire (I).

 

Choi Chul-joo's Desire Object is an object (morning glory 2021-e) that depicts the meaning of the shape seen in the meaning space created by reversible light. By abstracting the image hidden in the long time period where the desire of the other is shared, the chick structure the meaning of a certain shape in the place of desire reflected in the shadow of reversible light to mean an abstract space that can reversible the object into its actual shape, and Choi Chul-joo refers to the concept of desire, which is covered by actual changed movements, in the shape of 100 exhibition posters set as the place of desire in the abstract space at the 2020 New York exhibition.

This is a dwarf planarity that seems to have a consistent meaning of "morning glory" in painting. The "morning glory" is an abstract place of desire that is the same as the reality in the mirror, but the shape of the background of desire is not the same.

Abstraction as a conceptual semantic structure is abstraction as a conceptual semantic structure of a non-realistic form with the same meaning as a conceptual form, but abstraction as the same meaning with different shapes is an actual non-realistic being with different colors and sizes. However, Choi Chul-joo reconstructs the abstract structure of desire into a real image as a conceptual object.

Its existence defines abstract space as a real reversible shape and mentions the abstract meaning of conceptual art through Choi Chul-joo's "morning glory" exhibition poster, which is set in the hope that the shape will be covered by actual movement in the shade of reversible light.

Chul-joo Choi, <Omicron Spread Restricts Entry of Foreigners-2>, a hand-painted picture on a computer

 

Choi Chul-joo's Desire Conceptual Art Abstraction, which replaced the phenomenal place of abstract meaning with an exhibition poster, can distinguish the place of the shape and conceive the opposite cross-sectional meaning of interpreting the shape. The shape is abstract in color and size similar to the meaning in ideological structure to speak of another meaning, but in the imagination world, the abstract meaning of conceptual art is identified with reality, and the abstract meaning of the object is identified with the image of the object as the same subject, and internally, the subject forms a transformed abstract meaning. This refers to the abstract meaning of a shape, which defines an abstract space that can be actually reversible and refers to the design desire of an abstract shape in which the shape changed by the actual changed movement of the shape is covered in shades.

Its meaning is designed as "morning glory", which is conceptually abstracted as a symbolic language symbolizing desire that imitate the other's desire "Omicron Spread Restricts Entry of Foreigners-2".

Design a shape representing the desire of others in the abstract "morning glory" and reproduce it as an abstract object as an object of the concept of desire. In the desire of the perspective visual system, the object of desire is abstracted as a momentary gaze that is different from the perspective of the desire of the other revealed in the unconscious by creating a place in a shadow with reversible light in which the visual system is concealed.

 

In this way, the object abstracted as Choi Chul-joo's desire conceptual art forms a dwarf contemporary art image expressed through the desire revealed in the other's repressed unconsciousness to acquire artistry beyond generality, creates the object's desire structure as a shade of conceptual formality and exists as a meaning.

As a meaningful being, the object reveals the image of object desire as another being of the object by transforming the image of the object into a structure of meaning from the other's desire point of view, and contains the formative value of the autonomous choice of the other's desire.

And a small piece of the other person's desire, which is pictured in the background of an morning glory or chicken, shows a real abstract space that is actually reversed through a desire intention movement that changes its shape. This is the meaning of the existence of an abstract object, and it lies abstracted in a space where the object can actually be reversible.

 

"Omicron Spread Restricts Entry of Foreigners" approaches historicalization as an image of an event, which was the desire of others in everyday life, rejecting a two-dimensional floor plan and dividing a fantastic plane into two planes, making the shadow of reversible temporality approach recognition. It is difficult to reveal the desire object of the beauty structure hidden in the object of the hidden structure that exists as the attribute of the shadow in a picture that is transformed into a system that approaches recognition as a meaningless being and draws out symbolic expressions.

The perceived symbolic representation is a cross-sectional image and is a linguistic composition without a formative aesthetic structure that is clearly visible. In other words, the recognized symbolic expression is a linguistic composition that lacks the formative aesthetic structure that is clearly visible at the bottom of the image.

It is a virtual image that is recognized as an expression as a flat image but hides reality. The image is a virtual image that belongs to the structure of desire as a hidden aesthetic structure away from the perspective of reality and belongs to the semantic structure.

Therefore, the aesthetic structure of the concept of desire is abstracted in the actual image of the linguistic concept.

 

By manipulating the concept of linguistic desire with reversible light and shading the background, the reflected light becomes an abstract image that expands the plane of an object by superimposing reversible light in an unrealistic picture. The existing reality of universality faced by the morning glory, which represents the desire of the image, overlaps with reversible light, and the entire space is decorated with a linguistic and abstract meaning.

While the morning glory does not have a light setting, the background is drawn in the manner of desire painting. This is a process of transitioning from the imagination to the symbolic world, where non-existence as reality coexists with an image reflected in a mirror in the imagination. It reproduces the reality of the morning glory as a coexisting image, but the background image identifies it with the morning glory, but the metaphorical meaning of reality is not consistent with the image assimilated with the shadow color that is not real. Its meaning is metaphorical like the language structure, so it is not the same as the form of the morning glory. Therefore, the semantic structure of a shadow created by a reversible light whose image is different from that of a morning glory in terms of what reality is is an object as another reality than a non-existent shadow. This is an object of reality as a being who exists through the desire of others, not through an image as a subject.

 

Contemporary Artist, Modern abstract artist Louis Chul-joo Choi's "morning glory" Exhibition with the image of Lacan's object ɑ and Picasso's Anamorphosis, 20220308~20220310 Yeomyeong Hall, New York.

Chul-joo Choi's "morning glory": Exhibition of Louis Chul-joo Choi's "morning glory" with the image of Lacan's object ɑ and Picasso's Anamorphosis, 20.-22. Dec.2021 Gwangan Gallery in Busan.

 

Chul-joo Choi, morning glory 2021-e-back, 114X169cm, acrylic and composite materials on cloth, 2021

 

The image that is out of line with reality as a desire object is consistent with the visualization of a photographic image in collage. This is because it is an image created by the desire of the other with a gaze area regardless of whether it is flat or three-dimensional. In "morning glory 2021-e-back", the morning glory in the lower center of the three morning glory as an object is a dwarf image, and the object of the structure of desire is seen as a gaze. Here, the morning glory refers to the existence of desire stopped by instantaneous gaze in the continuity of reversible time.

 

The image in <morning glory 2021-e-back> shows the existence of reversible temporality by flattening the morning glory according to the perspective visual system margin and the reversible temporality, not the actual object.

However, although the existence of the morning glory is reproduced, the morning glory is confirmed by the background image, but it does not match the object of the desire structure. It is the semantic structure of a shadow created by reversible light whose image is different from that of a morning glory in terms of what existence is. It is an object as a being with a reversible temporality that is different from the non-existent shadow.

Therefore, the object is not an image as a subject, but as a being through the desire of others.

The morning glory at the bottom of the center connects reversible light to determine the place of existence and form the process of time and the space in which it exists. The morning glory formed at one light source point of view does not have good sense. Here, the morning glory is a partial fragmented image like a collage. In this way, each partial image exists in the space as the fragmented shape is exposed at the same time.

The flattened morning glory is the image of the subject created by the observer's gaze. It extracts the existence connected by a single color of reversible light through the morning glory that removes positive sensations, and contrasts the morning glory as an external image with the shadows of reversible light in the background from a perceptual point of view, showing a plane view transformed into a desire image.

 

The perspective of the concept of desire cannot be selected as a visible image that reproduces objects in reality and in reality depending on the viewpoint of view, and Choi Cheol-joo's photographic image that expresses the real image is identified as an image as in reality. Therefore, in an object, existence is a desire image as a reality similar to the object of the concept of desire.

Therefore, the desire gaze to see the shades created by reversible light reproduces the real and non-real objects according to the viewing point of view. The structure of the shade cannot be selected as a visible image, but it refers to the meaning of the concept by looking at the concept as an actual image that reverses the desires of others. And the concept of desire is identified as an image as a non-real world like a cartoon criticism. In other words, the existence of a desire object seems to be a sketch image similar to the reality of desire./ Writing. Choi Chul-joo, Contemporary Art Design Critic (Conceptual Abstract Painter & Doctor of Cultural Design)

 

Louis Choi Chul-joo, a conceptual abstraction methodology designer

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

cartoon designer Choi Chul-joo's Review of Korean News Cartoon [61] an incompetent driver who accidents on a safe railway, (2018.12.12.)/ Choi Chul-joo, a current affairs critic, was a journalist at the culture department of the Busan Internet Newspaper. Choi is a culture design doctor and abstract painter who draws current affairs cartoon news and abstract paintings in modern art and webtoons. / Contemporary Art Design Methods ■ 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.