Art Critic Louis Choi Chul-joo Criticism [61] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism
Art Critic Louis Choi Chul-joo Criticism [61] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism & 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 Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025 : the object as a specific being is an image in a linguistic sense that symbolizes reality in the process of pursuing abstract desire, and it is a enjoyment reality image that satisfies desire by satisfying the concept that lacks the desire structure of the object that designs color and existential value.
The enjoyment reality structure represents the linguistic semantic relationship between the subject of the object and the concept of desire, and the subject is influenced by the real image, like a shadow of a reversible light.
As such, certain objects expressing desires in recognized colors are transformed into abstractions that are generalized as real images of rational desires abstracted into reversible shades of light, and the other's desires create the reality of desire for line space that experiences pleasure in a consistent sense
Louis Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025
Symbolic representation grammar generated by reversible shades of light
The lack of aesthetic expression in the concept of desire has many real objects and expressions, unlike the expression in other people's unconscious concept of desire.
Thus, unlike simultaneous expression of the other person's unconscious desire in grammatical expression abstractions created by reversible shadows of light, abstract expressions pursuing aesthetic structures as linguistic expressions are revealed in real images. This is an intentional representation according to symbolic grammatical objects, and is represented as an abstract experience that allows others to participate.
An expression image that symbolizes the concept of desire, or a pictorial representation, is an abstract expression made into a symbolic aesthetic structure by the reversible shadow of light when the concept of desire is lacking in the real image that represents the movement of expression between unconscious linguistic meaning and abstract reality.
In Choi Chul-joo's desire structure, symbolic grammar in a reversible shade of light is a verbal image that repeats the cause of the phenomenal image as a sign of the unconscious desire of the other in the line space in the gaze direction of the event image.
This is a shadowy desire image created after the object is hidden by light by the circular object of the concept of desire of the other.
The image is divided into a mathematical function that analyzes linguistic meaning and abstract logic as grammatical expressions in the imagination world. This is a binary relationship, and the concept of desire is the same as the real image by applying the expressive desire value to a symbolic object corresponding to the real image. Thus, as a mathematical function that analyzes linguistic meaning and abstract logic as grammatical expressions in imagination, expressive desire values are applied to symbolic objects corresponding to real images, and desire values as symbolic variables become expressive meanings designed as a chain of real images of desire symbols in abstract desire systems.
In an expressive sense, the pornography of a woman alienated from the Joseon Dynasty is an erotic image in the style of a book called Shin Yoon-bok's Gyeon-Gon-Il-Hoe (乾坤一會帖) against the backdrop of four seasons such as willow trees, and has a high desire value in genre painting. This is a dual relationship with expressive abstraction that imagines sexual behavior, and it shows sexual expression, that is, a lack of desire, as an essential image that combines imitative desire design divided into another symbol beyond ethical genre painting.
Therefore, the expressive image is a shadow created by being blocked by the desire behavior caused by the opaque cause of desire by constructing the image of reality as an unconscious desire structure because the sculpted desire of the event image is obscured from the desire structure of the other.
When a symbolic image in which the overlapping part of the skirt is omitted represents the real image as an expressive image, it forms an abstraction as a realistic structure. This is because the expressive image used the same grammatical semantic structure as the image that abstracted the concept of desire.
In Choi Chul-joo's concept of desire, reversible light, whose altitude and direction of light are not specified, is a being according to temporality and is the cause of creating a grammatical image that constitutes reality like grammar. The traumatic image of an event image as an object of the grammatical substance of an expression refers to the concept of desire to replace reversible light with real existence. Through Choi's desire formula <D(I am...)d=I(D...D'I)i>, meaning appears as the meaning of a separate subject in the abstract concept of desire as an object in the event image.
This is a desire object that realizes abstract desire by representing reality that represents the linguistic meaning of the concept of desire as an image.
Therefore, Choi Chul-joo's desire concept abstract design process is a device in which the expressive image, in which the verbal meaning represents desire as a combination of symbolic effect images and the verbal metaphor represents the whole as a public function, and the expressive image created by the sketch, which constitutes the desire structure as a symbolic grammatical function, forms the result of desire.
Representation images show abstract meanings that represent words that are not related to grammatical sentence interpretation as event images; however, grammar gives logical meaning of abstract nonverbal behavior.
Thus, to interpret the concept of desire as a grammatical linguistic structure, we repeatedly design abstract symbolic patterns of linguistic meaning, and identify images identical to the concept of desire as linguistic and symbolic images that divide them into consciousness and conceptual design.
In addition, when the linguistic meaning of the concept of desire and the symbolic image are clearly defined as desire objects in the identified grammar, the image of existence is surprisingly revealed by light.
As a reversible light from the point of light in temporality, the material is produced as a real image as an object.
In a pond reflecting the image of an event, the concept of abstract desire is expressed by reflecting the desires of others in the real world like a mirror.
Choi Chul-joo's concept of desire, modern art, emerges, in which a painting that collides with the concept of the linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting.
In a pond that reflects the image of an event, the concept of abstract desire is expressed by reflecting the desires of others in the real world like a mirror.
Paintings that conflict with Choi Chul-joo's abstract concept of desire, that is, the linguistic concept of meaning in which modern art emerges and is emphasized from a metaphysical philosophical point of view, produce dramatic event images with artificial lighting.
In dark conventional space, he illuminates several event images like montage as objects that share reversible shades of light and white light overlapping with temporality.
Unlike 18th-century materialism in painting, this interprets the desire of the other as an object beyond the self as a desire abstract rather than a physical perception.
As an imaginary symbolic expression of a dualistic object, the gap between the concept of expressive desire and the image of an event as an act of expression equates the subject and reality of the object as a linguistic meaning. Here, the subject refers to what is the lack of desire by directing an abstract image as a reality in accordance with the principle of spatial composition as an object of the concept of desire under the influence of symbolic expression.
To abstract an image into reality, the color of an object is not recognized as a reflection of light, and the symbolic color of the object is obscured by the illumination of light, so that it is interpreted in the same structure as the image that lacks the linguistic meaning that symbolizes the object. The abstract design process of Choi Chul-joo's concept of desire is to produce the concept of desire spoken by the image of an object as an event image.
This is the structure of the concept of desire as visual information unconsciously experienced the symbolic color of an object perceived as a reversible shadow of light rather than an abstract way. Therefore, in order to identify the symbolic color of the object as the image color in the linguistic sense of the object in a way of experience, the Choi Chul-joo Desire Formula is repeatedly designed.
symbolic colors of objects play an aesthetic role in constructing reality by recognizing the structure of objects in a linguistic sense. The expression of reality as an aesthetic structure is an abstract painting method in which the abstract concept of managing a system of desire is expressed in color as being defined in a linguistic sense,
Here, the object as a specific being is an image in a linguistic sense that symbolizes reality in the process of pursuing abstract desire, and it is a enjoyment reality image that satisfies desire by satisfying the concept that lacks the desire structure of the object that designs color and existential value.
The enjoyment reality structure represents the linguistic semantic relationship between the subject of the object and the concept of desire, and the subject is influenced by the real image, like a shadow of a reversible light.
As such, certain objects expressing desires in recognized colors are transformed into abstractions that are generalized as real images of rational desires abstracted into reversible shades of light, and the other's desires create the reality of desire for line space that experiences pleasure in a consistent sense./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
