Art Critic Louis Choi Chul-joo Criticism [65] 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 [65] 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: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.: Jackson Pollock's Dripping Techniques and Action Painting

 

Jackson Pollock, by MoMA

 

Jackson Pollock's Dripping Techniques and Action Painting

Jackson Pollock's dripping technique and action painting are the traces of abstract realism of the concept of paint dripped as a substance that lacks linguistic meaning as a concept of unconscious desire. This is a trace of abstraction that expresses the deficient desire in which the reality in which the subject has disappeared by dripping the other's desire into a conceptual abstract realism image.

The trace is a material image of conceptual abstract realism, interpreting the separation of signifiers and signifiers, i.e., the absence of meaning, as an abstract device that constructs images in accordance with the rules of symbolic desire structures that show traces before meaning is created.

 

The absolute meaning of the symbolic form of the visible image cannot cross the category of imitative painting as a metaphor visible from the painting. Abstract expressionism different from conceptual abstract realism images enters the symbolic world as a given correlation between abstract and expressive images, while abstractly accepting differences between abstract and expressive images in the imagination.

The symbolic metaphor for the visible signifier image of the symbolic world includes signifiers on the canvas in the category of imitation in painting, and painting up to modern times is free from the social constraints that are acceptable in religious practices. The meaning of an image as a linguistic meaning hides the figurative reality in painting and becomes a signifier image as a non-real object whose abstract expressionist meaning transcends the symbolic meaning.

His dribbling develops a structure of desire in which the subject is divided into unrealities on the canvas, leaving traces of nonverbal reality in the shadow of reversible light whose linguistic meaning is ambiguous and thus unimaginable.

 

In the real world as an invisible non-verbal reality, the symbolic signifier image of the invisible metaphor represents expressionism as a signifier image of abstract meaning. Abstract expressionist painting is a signifier image, which is a substantial shape, and the substance of the shape disappears and is a metamorphic fixation as a signifier of an imaginary symbol. In other words, in abstract expressionist painting, the figurative meaning embodied in the absence of desire is transformed into a symbolic form. This breaks down pictorial symbolism by showing traces of desire that are not linguized with abstract images, away from the categories of realistic forms and traditional subjectivity that show the stages of light and darkness.

Abstract expressionist painting is only a continuous symbol of an object and cannot form a pictorial composition. This structure creates an image of a transcendent symbol of abstract reality and becomes a reality as an abstract material separated from the symbolic domain that abstract expressionism does not accept. It is an abstract object that shows dripping techniques and action painting separated from the realm of existential virtual images contained in realism. The symbolic image of the virtual image consistent with the metaphorical subject is no longer covered up, and it is a material object wrapped in a non-verbal sense.

Therefore, action painting before non-verbal meaning is a map image that tracks the object of desire of the cause of failure to express the desire of others as a trace of desire that is not verbalized and drifts the deficient desire to find the original desire of conceptual abstract realism.

The subjectivity of the abstract meaning of finding original desires in conceptual abstract realism paintings rejects the pictorial meaning and reveals the reality of illusions hidden in conventional reason by expressing the other's desire to recognize the concept of desire and identify it with the image of linguistic meaning in a new sense. This is an absolute non-verbal image fixation phenomenon that cannot reveal reality in symbolism as an invisible reality.

 

As a non-verbal image, it abstractly shows the reality of all stages of linguistic ambiguity, which symbolizes abstract metaphor. Its meaning does not equate the unconscious with language like Freud's unconsciousness, but, like Samuel Beckett's theater stage, expresses an abstract structure in which time and space lose reality and lack of linguistic meaning as an absurd image in which insufficient desire disappeared from the place of existence.

Abstract expressionism, although it cannot reveal abstract reality through mirror theory, originates from the imagined world of recognizing signifiant images in mirrors. Abstract representation is formed by recognizing that the abstract signifiant image as the subject differs from the mirror image, through the separation between the symbolic representation of the signifiant image and the abstract reality. Here, the abstract image and reality are shifted through division, and the encounter with reality takes place. As an abstract reality, the signifier image is revealed through action painting, but as a non-reality, it is a meeting with reality in a non-verbal sense.

 

An image in a non-verbal sense is a pre-stage of hieroglyphics and is a non-verbal structure without a symbolic image. This is another language of the unconscious that lacks linguistic meaning in the unconscious, fragmented reality that cannot form a real structure with a dripping image.

The desires of others who have stopped from themselves reflect obscene reality in the mirror, repeatedly drifting the self of divided desires into conceptual abstract realist images, but never leading to the meaning of linguistic desires and encountering abstractions away from fragmented reality./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

 

Choi Chul-joo, a contemporary art critic