Art Critic Louis C [7]: 41~45

Contemporary Art Review by Louis Choi 7

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [7/ 41~45] Contemporary art critic Louis Choi Chul-joo is a contemporary art critic who examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of a work with the theory of visual art. Picture-speaking language structure is a gaze reality image in which the image of abstract desire seems to be the semantic structure of the concept of desire. Contemporary art critic Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with the concept of desire abstract design along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of a work in the language structure and criticizes the reality of the concept of desire. Contemporary artworks review: Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism [36] Example of contemporary artwork: Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art Review : Cartoon Criticism: Korean contemporary cartoonist & contemporary cartoonist and historical artist Choi Chul-joo's Cartoon Design Review – Contemporary Art Cartoon Exhibition Reviews: Manwha critic Choi Chul-joo's Manwha Design Criticism

Korean Contemporary Cartoon Designer Choi Chul-joo's News Manwha Exhibition = News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation: A line News of Choi Kwan-woo’s Manwha Review, Newsbusan Manwha Review, Manwha Review Choi Chul-joo. K-Pop Star 20191129-20191205, Hansae Museum

A realistic abstraction of the concept of desire based on Cartoon Manpyeong, which uses photographs of Choi Chul-joo's events as webtoon news cartoon design works

Louis Choi Chul-joo's "morning glory" refers to the concept of desire and the concept of abstract desire to establish the structure of reality as a subject by using "morning glory" as a real image.

This reality structure identifies Louis Choi Chul-joo's "morning glory" with a real image on a cloth with an immutable image that means the reality of the concept of desire.

Thus, the abstract meaning of the desire to become the reality of the morning glory is a real image created from a crooked image of a misaligned event, painted equally on the fabric on the back.

Korean Contemporary Cartoon Designer & contemporary cartoonist and historical artist Choi Chul-joo's "News Manwha Exhibition": News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation: A line News of Choi Kwan-woo’s Manwha Review, Newsbusan Manwha Review, Manwha Review K-Pop Star

Choi Kwan-woo's cartoon review "a line News of Manwha Review" is a Korean contemporary news manwha with a single cut of cartoon

According to a line of news in the manwha review, it is not an actual news image but a cartoon to show the consciousness of news.

This is because of a line of cartoon review that comics reveal meaning within the realm of news. In other words, the effect of attracting attention to news cartoons is one sentence that reviews the standards of news images.

Euclidean geometry of visual space concept caused the meaning of a new time in Albert Einstein's theory of relativity to perceive the visible space of visual image

In modern times, it is news cartoon art that consists of a phenomenon of formative geometry that reconstructs space into cartoons. This is a contemporary cartoonist and historical painting that shows the same phenomena of events and life as the historical painting until modern times.

Choi Chul-joo(崔徹柱), a contemporary cartoonist and historical artist(現代漫畫美術歷史畫家), speaks of meaning as a line of comic reviews.

Nevertheless, it sheds light on the news through realistic cartoons as an invisible comment.

Therefore, news comics eliminate the illusory space of the figures shown in the news through non-perspective space descriptions to describe the meaning of events without reproducing reality. It's a contemporary cartoon, like Picasso, that expresses the object in time. and reconstructs the pictures of events with a stationary time and draws realistic cartoons with metaphors of a line of review language's concept.

The meaning of a manwha review in a single line of news is a comic image structure in which the meaning of a single line of news is drawn in a single image, resulting in the retroactive meaning of the news, and the metaphorical meaning behind the sentence of a cartoon review is disclosed.

This cartoon is a Korean cartoon, or manwha, with a image of cartoon reviews and a line news of reviews, discussing the authenticity of the incident tailored to the news and portraying its image as a cartoon.

In this way, it's "A line News of Choi Chul-joo’s Manwha Review" and "NewsBusan Manwha Review" to draw the news of the incident in a single cut cartoon and describe the cartoon in a single line reviews. "Manwha Review Choi Chul-joo.Kang Gyeong-ho K-Pop Star" describe the Korean News of incident in a single sketch cartoon

This is the same as cartoon critic Choi Chul-joo's "A line News of Choi Chul-joo’s Manwha Review", as he did of cartoon reviews "Ko Woo-young's Suhoji.“

In other words, there is a retroactive semantic effect in a line of cartoon review, with the simultaneous appearance of language and linguistic expression, and thus an image cartoon meaning the whole cartoon review.

As a contemporary Korean cartoon designer, Choi Chul-joo reconstructs the incident photo of the news as a process of drawing cartoons, drawing a sketch cartoon of the news with the concept of the background of the incident and a line of cartoon reviews. It is a cartoon of several scenes arranged like storyboards with news processes and results in one result of the news like a storyboard.

Therefore, Choi Chul-joo's cartoon review "A line News of Choi Chul-joo’s Manwha Review" is a combination of a realistic cartoon sketch of a photo and a cartoon review in line with the events carried out by the news.

Reconfigure the background picture of an event to match what an event calls a new meaning of cartoon reviews and draw attention to a cartoonized distinct cartoon sketch.

And he draw like a scene in an episode with a realistic cartoon sketch so that the thema of the event and the scene of the incident will be presided over.

Internet newspaper (www.newsbusan.com) NewsBusan, epitomizing the news cartoon make the cut, since September 10 in 2018 and comic sketches and line up in the news.

It is Cartoon reviews Choi Chul-joo and KangG yeong-ho's K-Pop star that made the news of Korean celebrities' incidents into a cut in an episode of a cartoon reviews.

"Choi Chul-joo's Manpyong K-pop STAR" section is newly established in NewsBusan (July 31,19) to introduce cut cartoons and cartoon reviews featuring K-pop stars covering new talents and stars.

In addition, Choi Chul-joo's Cartoon Critic 'A line News is a cut cartoon reviews with events and eye-catching news in the world of the global village.

Cartoonist as a conceptual artist Choi Chul-joo, 'Jeongcho and Inwangsan Tiger,' Marker on Paper, 2010

"A line News of Choi Chul-joo’s Manwha Review" is the same as a sentence in the speech bubble of the cartoon (Jeongcho and Inwangsan Tiger), which was drawn along with Korean first-generation cartoonists Cho Kwan-je, Jo hang-ri, Shin Moon-soo, Kim Ma-jung, Yoon Seong-yoon, Lee Jung-moon, Kang Chang-wook, and Seo seo-young at "The Tiger Year" held in 2010.

Choi Chul-joo's cartoon reviews started with a line news of manwha review that was displayed in a speech bubble(There's a tiger who doesn't even know about Inwangsan!) at "The Tiger Year" held in 2010.

In the exhibition, a line of cartoon reviews (There's a tiger who doesn't even know about Inwangsan!) was displayed in a speech bubble, which is the beginning of the current Choi Kwan-woo cartoon review news drawn by modern historical artist Choi Chul-joo.

It is a cut cartoon with a sentence of cartoon reviews conceived by the tiger proverb at the time, and Jeong-cho, a beautiful woman, and a tiger looking at woman from behind.

This is a modern art work that is shaped as a pop art of modern art, and is a pop art that introduces a new concept that reproduces conceptual art in cartoons.

This a line(sentence) of cartoon reviews depicts a combination of developments and consequences, as the proverb says in a cut cartoon, which reconstructs the truth of the incident, the picture of the incident and the daily story.

It actually provides an image of the contemporary ritualistic phenomenon and the K-Pop entertainment industry's news incident structure through sketch cartoon.

It also provides a glimpse of events and news in the global community and everyday life and death.

For example, at the February 2002 summit between President Bush and President Kim Dae Jung, there was a big difference in views on North Korea. I was going to publish the one-cut and four-cut comic "Dongsangimong" in the newspaper, but I couldn't

Since then, Choi Chul-joo(Choi Kwanwoo), a reporter specializing in news Busan culture, has started drawing "News Busan Manpyeong(satirical cartoon)" in News Busan since 2018 (September 10).

One cut news manwha is a cut cartoon that combines process and results of event with a single sentence of cartoon reviews that match the event in the visual by sketching the character of the incident as a sketch of photo.

One cut cartoon shows its meaning and one sentence of the cartoon review takes its meaning by enjoying the cartoon image. The meaning here is equated with the image of the cartoon and becomes a significant space for the viewer to see its meaning.

The space embodies the nature of the news cartoon reviews by allowing emotion to look like the main character of the event and the actual event scene.

Choi Chul-joo's Cartoon News is a cartoon that presents news. The comic strip depicts the vibrations of events as a single cut cartoon with the beat of the news repeated over and over again.

Thus, the cartoon equates any outward image of the event scene to a level of meaning in the structured cartoon centered on the actuality of the news.

The news in a chain of space-levels vibrate like the everyday life of the global village.

Go to the review of cartoons and review them to match the events, making the news of the cartoon review and adapting the images of the news to the event like cartoons. / Writing. conceptual artists.Louis Chul-joo Choi (historical artist & cartoonist)

Contemporary Art Critic Louis Choi Chul-joo

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation: Newsbusan Manwha Review

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review & Manwha Review K-Pop Star

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review & A line News of Choi Kwan-woo’s Manwha Review

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : A line News of Choi Kwan-woo’s Manwha Review

News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star

The concept of desire is realistically abstracted as a historical painting based on the photograph of the event by using the photograph of Choi Chul-joo's case as a design work for webtoon news cartoon review

Louis Choi Chul-joo's desire concept image in an event Historicalization: Great powers are selling weapons to the brink of war amid trade tensions with smaller nations

Louis Choi Chul-joo's desire concept image in an event Historicalization: When you see gain, you throw away what you think

Louis Choi Chul-joo's desire concept image in an event Historicalization: judge a country's crisis and eliminate its pitfalls

Louis Choi Chul-joo's desire concept image in an event Historicalization: The Bank has begun scaling back its size and staffing as part of its role in social makeup

Louis Choi Chul-joo's desire concept image in an event Historicalization: It is a crime to turn your life around by attacking people who are moving your country

Louis Choi Chul-joo's desire concept image in an event Historicalization: China fought back in a trade war with the United States

Louis Choi Chul-joo's desire concept image in an event Historicalization: Chinese feet to match American shoes

Louis Choi Chul-joo's desire concept image in an event Historicalization: Mexico 'Don't be stimulated by US immigration dispute' by immigration dispute

Louis Choi Chul-joo's desire concept image in an event Historicalization: throw away the polluting water that would be catastrophic and cause disease

Louis Choi Chul-joo's desire concept image in an event Historicalization: Reconciliation takes precedence over politics

Louis Choi Chul-joo's desire concept image in an event Historicalization: Stocks lose money even if they think carefully

Louis Choi Chul-joo's desire concept image in an event Historicalization: Theresa May to drop out and Britain to welcome new Prime Minister

Desire Concept Image Installation Design: The "K-POP STAR" section was newly established in News Busan (July 31, 2019), introducing the activities of K-POP stars that encompass stars in cut cartoons and cartoons.

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 41

Art Critic Louis Choi Chul-joo Criticism [41] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: 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 Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: Manet (1832-1883), Le d'ejeuner sur l'herbe: Manet emphasizes the presence of the canvas and emphasizes that private images can be aesthetically visualized without restrictions. He shows the image of reality as an artist's subject in the form of a monotonous sitting naked woman exposed to light. While showing a woman dressed in a traditional painting as a background, the meaningless clothes of painting are removed from the symbolic world and converted into a symbolic image of reality through a sitting naked woman.

Le d'ejeuner sur l'herbe 1863. oil on canvas, 208×264cm (81.9×103.9 in), Musée d'Orsay, Paris

Le d'ejeuner sur l'herbe

In "Lunch on the Grass" (L'dejeuner sur l'herbe 1863), a naked woman expresses the duality of objects as a modern substance. Baudelaire, who influenced modern artists, emphasized artists who seek the beauty hidden in the duality of the artist.

As Baudelaire thinks, Manet (1832-1883) doubly expresses the situation at the time and a naked woman. In "Lunch on the Grass", a prostitute of the time appeared, revealing the real situation of a naked woman and the duality of a naked woman as variable elements. The roots of the dual image of "Lunch on the Grass" were simultaneously spread to the painters in a form produced with a religious and mythical theme.

It imitates the symbolic image of Raimondi in "The Judgment of Paris", a copycat of Raffaello's "The Judgment of Paris". There, the image of a prostitute was revealed as a variable reality with the contemporary situation. This reveals the reality of known images of the past as contemporary images.

Manet shows the actual representation of social mannerism in "Lunch on the Grass". The image as a reality is featured in a flattened painting space. It emphasized that this is a reproduced painting, not a visual image of reality. Here, the image of a nude woman is a symbolic image containing contemporary sociality. In other words, it approached with the meaning of reality and revealed the contemporary social image. Looking at this as a symbolic image of reality, Manet reproduces a non-realistic painting as a variable element of art and the intention to reveal the social image.

Painters' painting styles from the Renaissance to the mid-19th century were mired in mannerism that adhered to the fashionable style. Except for the painters who drew portraits of royalty and aristocrats, most of the painters were in need of life. The only paintings they completed as a means of livelihood were those reflected in the mirror that Lacan spoke of.

The boundary of the canvas is the boundary of a schematic visual range, but in Manet's "Lunch on the Grass", the planar expression of the person and the background exposes the boundary of the canvas to the audience. Thus, by focusing on the flatness in the speech method of "Lunch on the Grass", he actually expressed the contrast of an invisible object as a reality that has transferred from the contemporary mannerism, which is a symbol as an invisible reality, to the real world. He expressed subjectively from his point of view, away from the traditional expression method. In the welcoming painting of perspective, it imprinted that it is a flat canvas as another reality.

"Lunch on the Grass" was criticized for being inappropriate for painting in Paris, France, the center of art at the time, but it influenced early impressionist painters to break away from mannerism and find objects in everyday situations. The nude of a woman who failed at the Salon in 1863 and was exhibited at the exhibition "The Fallen Exhibition" shows a real person and contains the social image of the time on the canvas. Looking at the expression method, the nude of women was omitted from the amount of time and did not provide a detailed shape. The color is a simplified color, and contrast is drawn out. It was a different method from the contemporary expression method. Therefore, the image on the canvas was recognized as the subject of the element of actual visual effect that was separated from the manneristic reality.

He did not use the ideal image of a nude woman with formality as a material for reconstructing symbolism based on a myth. It is a postmodern drawing that rejects perspective description and shows monotonous cotton processing like prints. As a result, the relational description of the representation based on reality and myth that existed in perspective space disappeared.

The transformation of these symbolic representations into a system of signifiers reduces flat two-dimensionality to the essence in painting. He was a nude woman outside Paris, making him stare at the duality and real situation between a prostitute and a dressed man. Through a nude woman, a dual image that shows a woman in everyday life and a woman in a prostitute at the same time is presented.

In Lunch on the Grass, the image deviates from the perspective visual system, that is, the Quatrocento style. The margins and objects are also filled with characters and backgrounds according to his imaginary calculation, not real. In this way, Manet flattened the illusionary image of the painting and approached the perception that it is only a painting. This is consistent with the process of confirming that the image, the desire of the child, which is the object of Lacan, does not exist in the imagination.

In "Lunch on the Grass", the men dressed in suits and the women in nude are arranged horizontally, so there is no depth between the characters. By ignoring the stage of conversion using the color of the character as a monotone, in "Lunch on the Grass", there is no illusionary image of the subject by light, that is, the image of a quattrocento painting. The figure in the foreground has no light setting, while the woman who bent over the background is drawn in a Quattrocento styles. This is the process of transitioning from the imaginary world to the symbolic world, and non-existence as a reality and image, that is, image reflected in the mirror in the imaginary world, coexist

It reproduces the contemporary reality, but it is different from what was shown in contemporary paintings. The images of the characters reveal what they are saying. Here, the image identifies with the characters, but does not match.

It is metaphorical like the language structure, so it is not the same as the shape of a person. That is why we want to reveal what reality is as a reality that differs in shape and image. Here, the reality is an object as another reality from the object that does not exist in the Quattrocento art of Sandro Botticelli (1445-1510), depicting <Annunciation, 1489-1490>. This is an object of reality as a being who is not an image as a subject but as the desire of others. As a symbolic system, a woman's nude shows the concept of metamorphosis in which reality exists.

In this way, the view of women's nude as a fixed concept is expressed as a metaphor that appears as an object of another image as a mythical goddess. Contrary to this point of view, Manet created a space of reality as a non-display of the backside and object of society by revealing the reality of a naked woman. He shows the symbolic 'nude woman', that is, his idea, as a subject in the sense of reproducing a manneristic social image in the dual representation of form and reality revealed in society.

A woman wearing clothes in the background is expressed in Quattrocento's style, and a woman wearing a nude sitting is omitted from the volume in a monotone form. In other words, in terms of thinking, as an external image, it shows a nude woman sitting compared with a woman wearing clothes in the background.

As a result, Manet emphasizes the presence of the canvas and emphasizes that private images can be aesthetically visualized without restrictions. He shows the image of reality as an artist's subject in the form of a monotonous sitting naked woman exposed to light. While showing a woman dressed in a traditional painting as a background, the meaningless clothes of painting are removed from the symbolic world and converted into a symbolic image of reality through a sitting naked woman. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 42

Art Critic Louis Choi Chul-joo Criticism [42] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: 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 Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: Louis Chul-joo Choi, morning glory window 2024-9-the gaze of desire:

In cartoons that have satirized politics since modern times, the sound has been expressed with oval speech balloons

Comic sound expression uses speech balloons to convey the subject's intention through text. Therefore, visualizing the concept of desire shows meaning through abstraction.

The abstraction is a real image that avoids decomposing shape into lines and colors.

This does not separate the shape components like cubism, but creates a place of desire separated by the shadow of reversible light and is fixed as an abstraction of a real image as a conceptual art of desire.

Louis Chul-joo Choi, morning glory window 2024-9-the gaze of desire, 160X113cm, acrylic and composite materials on cloth, 2024

The Design Process of Abstract Art to Find the gaze of Desire

The gaze of desire appears as an image that affects abstract values from the universal perspective of desire as a subject. The image of the subject is the image that meets the morphological criteria that the desire of the abstract concept constitutes. The image adjusts the compositional form to reversible temporality by adding abstract desire to the concept and compositional form of desire.

This represents an image in an abstract sense as a correlation of facts intuitively designed by abstract desires.

According to the process of Choi Chul-joo's concept of desire, the image defines the abstract meaning as a real image by determining the object that exists in the meaning and embodying the abstract formative element. In other words, it takes the meaning of existence by inductively inferring the meaning of abstraction as a real image from verbal abstraction.

In addition, the concept of desire is abstracted from the perspective of an image to the outside of real, and the image of reality as an object of abstraction is designed as the correlation between real and real. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire.

In this way, Choi Chul-joo's Desire Concept Design Process 1 does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with the real image to escape the misunderstanding that transfers from the abstract concept to the real structure.

The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as the shade of the concept of desire resulting from the real image. In addition, the conceptual process 2 of Choi Chul-joo's desire follows the process of decorating the object with the color of universal reality suitable for custom in order to have an aesthetic value suitable for its position as a single image.

The aesthetic structures obscured by realistic colors are distinguished by clouds and obscured by shaded light, obscuring abstract concepts in real images.

In "Gaze of Desire", the morning glory background and the woman of desire abstracts the morning glory background as a stage of desire and creates an abstraction that contrasts with the past and desire that stopped with the color of desire.

The abstraction takes on the form of women in the past and present stopped by desire, and is a form of desire for women in the same linguistic sense as the female abstraction of the past and the female reality of the present. The background of the morning glory that existed in place of its appearance seems to be a viewpoint shot of desire.

The politician's perspective practices ethics in the public interest in the name of the interests of voters seeking power, but girl group singers have musical talent first. Their YouTube views are higher than those of politicians. Nevertheless, politicians broadcast on YouTube to increase their value by contacting voters as Internet users.

The force in the direction acting on the YouTube screen is a vector.

In the politician broadcast screen, a vector in which shorts in a certain direction are connected only shows continuity, but does not reveal the concept of desire. On the other hand, the girl group broadcast screen can visualize the concept of desire in vectors in multiple directions by shorts in opposite directions. The vector is a motion vector as a force in which a line of desire's gaze is connected to the subject changes the dynamic direction between the subject and another object. It symbolizes the concept of desire as a visual vector as a movement in various directions.

Therefore, YouTube videos of girl groups with high motion vectors get more favorable responses than those of candidates for Seoul mayor.

Here, the image of the concept of desire is a psychological vector, and the involuntary desire is another gaze, staring at the concept image.

Recognizing the image as abstraction is the result of an image based on the correlation with desire as an object of reality in the process of representing a subject of a desire structure created in a social environment as a being in the past.

In other words, the subject who painted abstraction implements 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 the design process 3 of the concept of desire abstract art that repeatedly designs desires that combine lines and colors in thoughts but are not conscious as unconscious actions.

The unconsciously abstract concept of desire is a sculpture image 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.
The image is the design process 4 of the concept of desire abstract art that constitutes a space of desire by combining it into a reversible light structure through conscious movement of flat monochromatic painting carved from reality.
This is Choi Chul-joo's concept of desire Abstraction. The concept of desire Abstraction created by the design process of art reveals a desire object as another skewed reality in the perspective visual system.

Until modern times, Cartesian consciousness recognizes objects that have been identified as verbal meanings through conscious action and correlations between meanings and objects, but Choi Cheol-joo's concept of desire expresses verbal abstraction as a real image as a semantic correlation. Therefore, the real image of the concept of desire is regarded as an abstraction independent of the phenomenon.

Here, the "desire gaze" creates a metaphysical image in which the object of a desired existence generates the subject of that existence, and creates a structure of unconscious desire with the image in a reversible shade of light. And it faces the gaze of looking at the abstraction in which the structure is painted.

Abstraction drawn in this way is a linguistic meaning, and an abstract object that deviates from generality abstracts the image expressed through the desire revealed in the unconscious of the other into a structure of meaning. And it gains aesthetic value by autonomously choosing the desires of others as beings and creating a desire object as another structure of a desired form.

The structure of unconscious desire and the image created by another form of desire are the structure of the subject's desire unconsciously expressed by the image that appears to be an object of the desires of others.

As the abstraction of the concept of desire that embodies the structure as an image is repeatedly drawn, abstraction is separated from the object of desire and exists as a real image by connecting reality to the abstraction drawn by impulsing the desire that is lacking as the subject of desire.

The image is identified with the real image as the subject of desire and forms the meaning of the other abstracted from the concept of desire. This is the imagination enjoyed in the realm of motherhood as an infantile imagination. Here, the correlation with objects seen in infants is achieved through a shared relationship with the desires of others in the realm of protection. This is where a politician who hides desire and wears a false mask expresses the linguistic meaning of the imagination of reality.

Therefore, by viewing the imagination as a metaphor as an object reflected in a mirror, infants abstract from the linguistic semantic structure to create an object of desire as an image that satisfies the image of an actual object and an image as an infant.

Politicians are the users who cover their faces, hide their misaligned desires, and reveal heroic aspects. They embody social desires by wearing masks that represent the desires of others.

This is a direct effect that mediates the desires of others who embody the desires of politicians as an object of social desire, and as a result of the concept of desire, abstracts the representational real image of the object indicated by experience.

In other words, it interprets the actual image in which the concept of desire affects behavior as an abstraction as a correlated action. This interprets the concept of desire as an allegory that goes beyond abstract symbols in reality with similar linguistic meanings.

However, for politicians, masks only reveal images of faces tailored to voters' desires, like ornaments on election grounds that avoid voters' eyes.

This is a symbolic impression of a politician as a still mask image with the desires of others as the subject.

As a symbolic correlation with the voter's subject, the desire of the other is specified as an abstract reality structure transferred from an irreversible and still symbolic image. Then, an abstract space suspended in the shadow of reversible light is created, and the sound of desire is abstracted from the movement of light that forms that abstraction.

The sound of desire is clearly conceptualized as a text, and the concept is inductively visualized as an abstract image of desire as a universal sphere. This is similar to the meaning of desire delivered as a text image.

This recognizes only the concept of desire, excludes the image, embodies the concept, and instantaneously meets and imitates the abstract image as reality through the distinction between meaning and reality. And through the realistic image, the momentary encounter with reality is achieved, and the abstract image as reality is modeled.

In cartoons that have satirized politics since modern times, the sound has been expressed with oval speech balloons

Comic sound expression uses speech balloons to convey the subject's intention through text. Therefore, visualizing the concept of desire shows meaning through abstraction.

The abstraction is a real image that avoids decomposing shape into lines and colors.

This does not separate the shape components like cubism, but creates a place of desire separated by the shadow of reversible light and is fixed as an abstraction of a real image as a conceptual art of desire. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)

Contemporary art Critic Louis Choi Chul-joo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 43

Art Critic Louis Choi Chul-joo Criticism [43] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: 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 Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: Louis Choi Chul-joo, morning glory 2021-e, 114X169cm, acrylic and composite materials on cloth, 2021

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'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.

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.

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

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)

a contemporary art critic Louis Choi Chul-joo

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 44

Art Critic Louis Choi Chul-joo Criticism [44] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: 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 Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2021

Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2021(*Extended exhibition period: 2020.12.11- 2021.1.29)

the background of the concept of desire: morning glory B-06

The thread painting "morning glory B-06" is an image drawn on a cloth-like material of an object made by custom. "morning glory" is a method of drawing an image that is reversed from left to right by constructing an image of the concept of desire on a cloth-like material in a shape representing an object.

Therefore, his painting is a double-sided painting that does not distinguish between the front and the back. It is to express an image with practical and cursive characteristics that fit the subject. Here, painting as an object of change in wind speed is another image that appears to be an object. It disappears into the reality of the object being painted, hidden in small pieces that are invisible in space.

A small object as a central point of desire shows a space that can actually be flipped through the thought movement of the shape. This refers to the meaning of a shape that defines a space that a small object can actually flip, and a shape that is covered by the actual movement of the changed shape.

The position of the object is determined by the inevitability of the impressive space, and the small object broken in the concept of desire is the color of light and the form of material such as cloth. And it forms the structure of traditional painting by stopping the object of light and place. It is a space where you can stay with the inevitability of a stationary structure.

Thus, the meaning of the actual structure of the picture where the shape has stopped is formed by the reverse idea movement. Its conscious meaning as a structure is just a small piece of space that finds its place properties of matter. This small piece coexists as a properties of matter in numerous spaces when it is a similar object. The position is inserted into several spaces by the meaning of the thought movement, where one phenomenon and other meanings intersect. This is a thread painting, <the morning glory> which was created by repeating another space as an thought movement in the space of positioning.

The space as the background of the concept of desire disappears and the <morning glory B-06>turns into the color of light.

However, as a semantic effect of the painting, the painting is selected with the color of light on the fabric-like material or thread that has disappeared from the past space. Here, the painting distorts the image by turning the light into a line within the desire-concept space that connects the surface of the morning glory with the light.

Thus, since the composition of the invisible space of desire cannot draw flowers, the space separates the background space of the concept of desire by sketching stems and leaves on real structures and drawing flowers. However, the real picture of the concept of desire is an image of reality that depicts the shape of light by separating various sides of an object at rest.

This is a thread painting limited to fabric in an empty space and the more you limit the habitual object to the shape, the more empty the space becomes, rather than the actual place, so it decorates the inner surface of the hidden cloth to find the meaning of the space as a small piece of artistic shape. As such, <the morning glory> is painted on cloth-like materials, forming an abstract spot with the inevitable spatiality of the object, thus gaining aesthetic value as a real habitual painting art.

Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2020

In addition, by having originality based on the image and shape of media art and process media art, the actual painting of the still image as a media art image according to its timeliness has another originality. This is because each still image is a real painting in the context shown on the monitor. It shows various abstract exhibition forms as a formative real painting that extends the still image of media art with the same artistic meaning as painting into a reversible light structure.

The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.

The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin.

This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location.

Thus, the image color, which is the background of the concept of desire, decorates the reality of the conventional universality of looking at an object through the color of light. In contrast to the light of this decorated shape, a dark space is a shadow that stops and looks at in one place. Here, the color as a real object is the fragmented desire of the enlightened custom seen through the gaze.

The image of the object that has been enlightened with the structure of desire stopped in a conventional place of life is repeatedly designed on a cloth-like material with a color of light, and a color of a reflective margin that is difficult to distinguish. Here, when a desire conceptual painting is enlightened by custom or found in place, it unravels the structure of desire as a real being in the form of that color.

However, the concept of desire in an empty space is an abstraction that cannot reproduce timeliness, so it seems to be a suitable color for the subject's material. Unlike the color of light, abstraction captures the familiarity of light with the inevitability of 'morning glory', a past space that depicts the structure of abstract desires such as desire. / Writing. Choi Chul-joo, Contemporary Art Critic (Conceptual Abstract Artist & Doctor of Cultural Design)

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 45

Art Critic Louis Choi Chul-joo Criticism [45] Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: 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 Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: Louis Choi Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024: Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.

In addition, as a design process of the concept of desire, the object of desire is symbolized as a conceptual subject, forming the reality expressed through desire revealed in the suppressed unconscious through design and revealing abstraction as being.

Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024

Abstract Design Process of Desire Concepts: The Missing Pond

The border of the pond, where water is collected on the surface of the earth, inside the tangent line of the earth's surface to the water surface, is the same as the geometric tangent line in the shape of the water surface.

The missing pond is a structure of light that deviates from the concept of instantaneous desire as a shade of reversible light, and perspective objectivity distorts the range of the sky and the size of the perspective with reversible light on the object superimposed on the water surface.

It opens its eyes in the pond and emerges an aesthetic structure of desire that casts leaves and flowers on fish and water hovering in the direction of desire.

The concept of desire that emerged in this way abstracts to fit a pond in a realistic hue with a reversible shade of light.

Choi Chul-joo's concept of desire in the disappeared pond does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided into a design, resulting in an abstract real image as a correlation between real images.

In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.

And the view of 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 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.

Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.

The aesthetic structure obscured by images designed by the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as images 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 of the past and is recognized as an abstract image. And the subject who depicts existence as an actor implements reality that symbolizes the concept of desire and transforms abstract desire into a mental phenomenon of an image.

And Choi Chul-joo's concept of abstract desire is created by the imagination desired by the subject of desire in selecting the image of the object of abstract painting in the unconscious.

Desire Process As an abstract picture image, the Desire concept design process 3 is an unconscious act that is thoughtful but unconscious, and is to repeatedly design a desire that combines lines and colors and transfer it to a real image.

The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.

The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.

Desire concept design process 4. is to design the space composition of desire in which the image of the idea is a flat monochromatic painting carved from reality by combining it into a reversible structure of light through conscious movement.

Therefore, the temporality of a linguistic image according to reversible light presents the image of reality as a being through existential-theoretic interpretation, like Aristotle's time.

Here, Choi Chul-joo's Desire Concept Abstraction Design Process 5 represents the linguistic meaning to present the concept of desire. This is a correlation structure of elapsed time, which is abstracted by simplifying a specific surface of the image while converting to an actual image.

Thus, by simplifying the actual image that embodies the abstract structure, the contrast of the cross section is eliminated with reversible shades of light, and the essence of abstraction is flattened into the cross section. This is an image that revives the essence of abstraction in the linguistic and temporal sense of concealing the same object that exists in the present.

In this way, Choi Chul-joo's concept of desire design emerges as an object of desire as another abstract reality in the perspective visual system through his desire design process.

The expression of water as a structure of the object of desire contrasts with the sense of reality and the flat abstract gaze of the lotus, which gave a sense of motion to the flow of water by the movement of the fish,

The perspective simplifies the real image of recognizing the object of a reversible perspective in a linguistic sense from abstract thinking to a phenomenal structure. In other words, it brings the error of abstract perception to a reversible perspective and designs it as a real image that avoids the unconscious surreal formative structure.

Reality creates boundaries of realistic structures and specifies the meaning of images in terms of time as empty spaces abstracted by the concept of desire.

Like Jugendstil, an abstraction of morning glory in linguistic abstraction that specifies the concept of involuntary desire, this abstracts the rhythm of the object and transforms it into a flat design form, but interprets it as reversible light. Therefore, it is not an impressionistic image that captures the moment of 'the disappearing pond' as an impression, but a symbolic image of existence that verbally interprets the abstract meaning of 'the disappearing pond' in an explicit temporality as a shade of reversible light.

Therefore, determining the object of abstract desire as a correlation in reality is the starting point for abstracting the concept of involuntary desire as a being. This is in accordance with Choi Cheol-joo's process 1 of the concept of desire, which abstracts the structure by presenting the present image, that is, the image of temporality verbally, in the shade of reversible light that embodies the concept of desire in the present place.

By simplifying the real image that embodies the abstract structure of desire and eliminating the light and shade of the cross section into reversible light and shade, the essence of abstraction is flattened into a cross section. This is an image that returns the essence of abstraction to temporality in a linguistic sense.

The abstraction of the concept of desire creates an image of a pond that existed in a linguistic sense as a shade of reversible light tailored to the linguistic logic in which the shadow of the existing light returned to temporality.

The pond captures the lotus and the fish whose temporality is superimposed on the waves as the subject of desire. This is a linguistic demand separated by abstraction, and the aesthetic value in the pond is recognized in an abstract sense as a structure of desire and as a symbolic structure of the concept of desire.

Therefore, we follow the Desire Concept Design Process 2 to harmonize the concept of desire and abstraction, where symbolic meanings are fantasized to conform to the concept of esthetic values and desires, in which reality represented by the abstraction of linguistic meaning is distinguished.

In linguistic abstraction, as the philosophical logic approaches, images formed in the structure of letters are tailored to art to form a formative structure.

Choi Chul-joo's abstraction of the concept of desire is the same as abstracting the concept of biblical desire as a real image by personifying a divine character in the Bible, like the the theological formative structure of a Renaissance church that attributed philosophical logic to religion.

Although the artistic inspiration of early Dadaist conceptual art cannot be ignored, Choi Chul-joo's concept of desire in contemporary art, whose conceptual abstraction deviates from the Bible, is a concept of installing flat images in conceptual art with literal concepts and linguistic meanings as sketches through images reflected in a pond.

The unconscious abstraction, in which abstract words are drawn in a linguistic sense, is difficult to interpret as an image of an idea as the content of the mind, and the concept of abstract desire is an annular structure.

Therefore, according to Desire Concept Design Process 3, it is to repeatedly design images generated by abstraction as reality that symbolizes desire and express actual images of desire with arbitrary unconscious actions desired by desire.

On the other hand, it is conceptual art in a linguistic sense that expresses abstract concepts as real images. Therefore, Choi Chul-joo's conceptual art of desire transfers the structure of Idea to the structure of reality. And abstract works show real images as images of the subject's events and performances.

The image is a conceptual abstraction that goes beyond the limits of the real image of impressionist painting. It illuminates the impressive abstraction of the concept of desire in photographs with instantaneous impressions of images of events and performances. And it clearly realizes the concept of unconscious desire as an image in a linguistic sense.

In this way, the realization of the concept of desire is abstracted into an effect specified as unconscious action, a universal reversible being created by the imagination desired by the subject of desire illuminated in the reversible shadow of light.

Therefore, it is according to Desire Concept Design Process 4 to select thoughts that cannot be subconsciously recognized in universal reality as fragmented planar structures to form meaningful spaces "morning glory, bamboo forests, and ponds" as frames of desire.

Desire that existed in the "disappeared pond" is abstracted into a real image tailored to the conditions of correlation with past experiences of the unconscious as an essential image of linguistic meaning.

Here, a superimposed image of meaningful desire hidden in temporality appears in the pond as an image of reality, but the entire image is an abstract composition that deviates from the perspective visual system. Its planar shape simplifies the image of the past concept of desire and abstracts the existence of unconscious desire into an objective image of reality.

Choi Chul-joo divides desire into background and actor as the subject of the abstraction. He structures the image of morning glory, bamboo forest, and pond in the desire background and expresses the actor of desire as an objective correlation of the concept of desire. The desire realistically abstracts the landscape in the linguistic sense as a correlation in which a reversible shade of light structurally directs desire.

It shows the impression of desire perceived as a real meaning of desire that is abstracted as a realistic structure. In other words, the background of Choi Chul-joo's concept of desire is the morning glory, which is the structure of desire. The shadow is the linguistic meaning, which is a phenomenon of life through events and performance images, and the mirror image is hidden in a bamboo forest. And the image reflecting the shadowy structure in the pond represents the cause of desire in reality as the existential meaning of timeliness according to reversible light as the background of desire.

Therefore, it follows the desire concept abstract design process 5 to represent the existing linguistic meaning in temporality to the hidden real structure of unconscious desire.

This reveals the impression of the concept of desire in a reversible light that is passively set in the imagination, and as a cause, an abstract deviating from the impression that the actor, the subject of desire, represents desire.

The stray abstraction of the impression faced by the phenomenon representing desire is the reality of desire that is invisible to the imagination. This has a linguistic meaning along with the form of an abstract desire image reflected in the pond.

The concept of desire, which represents linguistic meaning in a painting as a metaphor, does not fall outside the scope of an imitation painting. However, when the concept and image of desire representing invisible reality in the imagination are the same, they turn into conceptual abstractions.

This is a symbolic system that constitutes a structure with social rules, and it is an image of a desire structure that equates the symbolic meaning invisible to the image of abstract reality.

Therefore, the subject of the image of desire is the object as the subject of desire. The object enters reality from the symbolic world of abstract desire by accepting the symbolic meaning invisible to reality as the subject.

In the category of imitability in painting, the real image, which appears to be a symbol with the object of desire as a conceptual subject, has been accepted in religious customs until modern times. In addition, by obscuring the concept of desire as a social constraint, it hides the figurative reality of nude in painting and is symbolized as an illusion based on a mythical story. In the imagination of painting until modern times, the symbolic meaning, which is socially taboo, has no difference from the image of morphological reality.

Choi Chul-joo's abstraction of the concept of desire is an image of a substantive shape, and the formative meaning in which social desire is embodied is transformed into a symbolic shape. In other words, paintings up to modern times are modern paintings that break away from the category of realistic formativeness and conventional abstraction that revealed the stage of contrast and destroy the symbolism of the other's desires as invisible reality, making it an abstract desire concept.

This abstracts the reality of fish by expressing the flatness of painting in monotone with the outline of fish as an image of desire as an abstract structure revealed by the desire of the other in <Disappeared Pond>.

The pond shows contemporary social reality and reveals the image of reality hidden in conventional reason, reflecting the pictorial meaning of desire through communication with its reality.

The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.

In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.

Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".

Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.

In addition, as a design process of the concept of desire, the object of desire is symbolized as a conceptual subject, forming the reality expressed through desire revealed in the suppressed unconscious through design and revealing abstraction as being./ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)

Choi Chul-joo, a contemporary art critic