Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 10
Art Critic Louis Choi Chul-joo Criticism [10/ 56~78] 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: Contemporary Abstract Art Artist Louis Choi Chul-joo's "morning glory" Art Review: 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. Modern Korean Painting Art Review News - Read New Artwork: Modern abstract artist Louis Chuljoo Choi's Thread painting <morning glory outside the window 1>
Modern Art and Cultural Design [13] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Choi Chul-joo Art Review: Work posted on Facebook: Louis Choi Chuljoo, a morning glory outside the window 2023-1
Louis Choi chuljoo's "morning glory woman" Exhibition poster An image of desire based on the cartoon review concept as an object ɑ of the concept of desire, 20230704~20230714 Haeundae-gu Office Gallery, Busan.
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.
Louis Choi Chuljoo, a morning glory outside the window 2023-1, 151X178cm, acrylic
■ In <Choi Chul-joo Morning glory Window>, desire's art theory is repeatedly applied to abstract painting and converted into a symbolic image to formalize desire's art theory as a method of abstract painting. This means expressing other people's desires in paintings by repeatedly applying desire's imagination and fantasy formula, and as a result of applying Lacan art theory to paintings, it gains aesthetic value by having a formative meaning in the image that appeared as another's desire.
■ <Choi Chul-joo morning glory> is not the subject of the subject, but the cultural and spatial background of other people's desires. It is the same as a consistent life space like the sky. It connects to Cartoon Lib and Pop Art, which represent the space of life, but does not criticize and judge, and reproduces real images as news with photos of events. And the reality of the object symbolized by the news is conceptualized as the desire of others. The effect is to complete the concept of desire with abstraction by structuring it into a shade of reversible light.
Thread painting = Louis, Chul-joo Choi, a morning glory outside the window 1, 151X178cm, acrylic and composite materials on cloth / Object design symbolizing a shape image as a semantic structure : a realistic abstraction of a figure image as an object of desire by transforming it into a semantic structure that emerged as a reversible shade of light
Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life.
It's a work of art as a treacherous conceptual art called realistic abstraction, the cartoon news of modern art abstraction.
Exhibition of Modern abstract artist Louis Chul-joo Choi's "morning glory" with the image of Desire's object ɑ and Picasso's Anamorphosis, 20220301~20220308 Flushing Town Hall, New York.
Louis Choi Chuljoo, morning glory p26-2-7
<morning glory p26-2-7> is an image of desire created as an abstract image that means the reality of morning glory.
In New York (Flushing Town Hall & Yeomyong Hall), 100 posters with the design concept of desire structure were produced as posters of contemporary art related to the solo exhibition of Louis Choi Chul-joo. It is a modern abstract painting that symbolizes the design of desire image, that is, exhibition poster image of abstract painting, as an abstract semantic structure.
The object <morning glory>, which depicts the meaning of the shape seen in the meaning space created by reversible light of the shape of non-real reality, represents an abstract space that can reverse the object into a real shape by structuring the meaning of the image that hides the desire of the other in a reversible shade of light, and shows an abstract image that reveals the place of the other's unconscious desire as a virtual non-real image.
The object "morning glory" which depicts the meaning of the shape seen in the meaning space created by reversible light, refers to an abstraction in which a structure with an abstract shape hidden in a long time in which the desire of others is fossilized turns things into real in the shadow of reversible light, and the reality of the exhibition poster is hidden by the shade of reversible light, that is, abstract.
Louis, Chul-joo Choi, a morning glory outside the window 1, 151X178cm, acrylic and composite materials on cloth / Object design symbolizing a shape image as a semantic structure : a realistic abstraction of a figure image as an object of desire by transforming it into a semantic structure that emerged as a reversible shade of light
The abstract area of painting, which has a specific effect on the desire structure as a meaning of <morning glory outside the window 1> as a conceptual art, is an existential abstract that hides an image that can instantly see the desires of others functioning gazing in the landscape with reversible shades of light.
This is a perverse planarity that seems to consistently mean "napal flower" in painting. The morning glory is the same as the mirrored reality, but the shape of the background is not the same. This is because abstraction as a conceptual semantic structure with a non-realistic shape with the same meaning as a conceptual semantic structure, but abstraction as the same meaning with different shapes is a non-real form as a conceptual non-formal existence with different colors and sizes.
Its existence defines abstract space as a real reversible shape and refers to realistic abstraction as a conceptual art of the image of the exhibition poster, whose shape is obscured by the actual change of movement into a reversible shadow of light.
Desire Concept Art abstraction, which replaces the phenomenal place of the abstract meaning with an exhibition poster, can distinguish the place of the shape and abstract it as a different meaning to interpret the shape.
The shape is abstract with a color and size similar to that of an abstract structure to say a different meaning, but in the imaginary world, the abstract meaning of conceptual art is identified with reality, and the image of the object and the abstract meaning are identified as the same subject, and the subject internally forms a modified abstract meaning. This refers to the abstract meaning of the desire, which defines an abstract space that is actually reversible and refers to the abstract image of a desire in which the shape changed by the actual changed movement of the shape is shaded.
The morning glory outside the window, which designed a figure that represents the desire of others in the abstract <morning glory>, abstracts the realistic image as an abstract object. In the diagram of the perspective visual system, the visual system creates a shaded place with reversible light concealed, and each object as a different instantaneous gaze is abstracted from the other's desire perspective revealed in the unconscious.
An object abstracted as a desire conceptual art refers to the existence of abstraction in meaning by abstracting a distorted image expressed through the desire revealed in the other's suppressed unconsciousness to obtain artistry beyond generality and creating an object as a shadow of poster formality with the desire of the other. As a semantic entity, the object reveals the abstract object as another entity of the object by transforming the object's image into an abstract structure of meaning with a distorted image from the other's desire perspective, and contains the formative value as an autonomous choice of the other's desire.
In addition, the small piece as the other's desire hidden in the background of the morning glory shows a real abstract space that is reversible through the thought movement of the image that actually changes the shape. This is a place of abstract objects in a space where the other's desires can be actually reversible in the meaning of the existence of the desire.
morning glory outside the window 1 / Object design symbolizing a shape image as a semantic structure : a realistic abstraction of a figure image as an object of desire by transforming it into a semantic structure that emerged as a reversible shade of light
The virtuality of abstract exhibition posters is structured as conceptual cartoons, similar to gaze images that virtually reproduce distorted images that cannot be expressed on the same plane, or as if they represent real places with desires as links to images.
The connected part of the other person's desire is clearly concealed without being revealed as an object reflected in the mirror, and the reality of a person looking at the other person's object exposed in the mirror with reversible light is not visible.
However, the person who drew the picture replaces the other. And the image revealed by staring at the abstract image of the structure of desire is an abstract place. Existential reality is the object revealed by the position of the subject as a gaze from the perspective of the other's desire to move to the position of the subject (atopia) that appears at the point of disappearance throughout the virtual image.
The structural physicality of reality has a number of cross-sections in a three-dimensional form, and conceptualization captures the multifaceted conceptuality of the morphological structure as an object with one cross-section and two sides within one concept.
Therefore, in a space that conceptualizes the desires of others as a subject, a three-dimensional pop art space made up of reversible shades of light reveals the desire behavior as a physical reality and makes the object look real.
This is the physical structure of desire that results in real and non-real. The structure has several crooked cross-sections in a three-dimensional form, and abstracts the pictorial image as a conceptual art into a multi-faceted image of the semantic structure as an object in a concept.
Louis Choi Chuljoo, a morning glory outside the window 2023-1, 151X178cm, acrylic and composite materials on cloth, 2023
"morning glory window" repeats the concept of desire to cover the shadow image of others' desires and collects images of desire in which external light overlaps with timeliness.
In "morning glory window", a person dancing against the backdrop of morning glory overlaps like a small pillar to cover and hide the shade.
It gives reversible time sensitivity to shades, becoming the desire of others, and has the effect of setting phenomenal positions so that images of light do not overlap.
Louis Choi Chul-joo's "morning glory window" absorbs temporal light and removes symbolic representation on the image surface.
In this way, it creates an image of desire and is obscured by reversible light, leading to the concept of desire in the shadow.
The image of the morning glory and the dancer is abstracted into a realistic image that recognizes the reality subordinated to the gap as the concept of desire and is objectified by the moment of desire.
Combined with images of reality with reversible light, including a desire for abstraction.
The image of desire repeats the process of directly acquiring the concept of the aesthetic structure of the real world that is subordinate to the concept, a reality that embodies the abstraction of desire as an event and facilitates performance.
The fact that the concept of desire cannot overlap with the image of reality is that factual abstraction is a treacherous conceptual art.
Abstracted realistic concepts reveal realistic figures similar to reality, but they momentarily pause space-time with the light of a conceptualized landscape like clouds.
Abstracting from the back of the morning glory landscape undermines timeliness, realizes the past time-adjusted traces of desire and the present overlapping landscape of color, and transfers images of desire into the painting.
It also doesn't represent the symbolic ideas abstracted from the image in a hidden form of color, but it gathers the image in shades of light in several directions.
In this way, the painting becomes a desire concept as a result of desire, dismantling abstract images interacting in real space
It shows a differentiated impression with a realistic abstraction that transforms the situation of desire in abstraction into a real world.
It shows aesthetic value by shading bright and dark parts in a distorted landscape and drawing a desireful meaning with a realistic expression.
Louis Choi's painting recreates the image of desire of the past time and combines the color of light with time.
It sculpts concepts into images of desire with reversible colors of light that stop with images that contrast with timeliness.
Desire concept superimposes abstractions on morning glory and bamboo forests with dual landscapes, leaving fragmented real space in the gaps of light without disassembling and unifying symbolic images, and then repeatedly portraying reality over the present representation and the gap in between.
In this way, desire creates a gap of desire and repeats the image of desire in the gap of reality, although the world that does not change is meaningless. And the dual semantic structure abstracts the unchanged reality by adding desire in the shadow to the image of the missing reality. / Writing. Art critic Louis Choi Chul-joo (Ph.D. in cultural design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 56
Art Critic Louis Choi Chul-joo Criticism [56] 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, the intersection of desire outside the window
Louis Choi Chul-joo, the intersection of desire outside the window
Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.
As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.
In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.
Louis Choi Chul-joo, the intersection of desire outside the window
the intersection of desire outside the window
A window where reversible light intersects that makes up the structure of desire can face multiple intersections of desires according to temporality.
Through the window at the intersection of desire, the selector of desire creates a double place as a concept of desire and overtakes the linguistic meaning of the concept of desire to emerge a real image as the semantic substance of the abstractly deficient desire structure desired by the selector of desire as the subject.
Desire created as a subject outside the window is identified with the lack of desire in which the deficient desire protrudes into the linguistic meaning of the concept of abstract desire dominates the subject's desire, causing the subject of that desire to be lost, and the reduced desire is identified with the deficient desire that dominates desire.
Existential images reveal the intrinsic nature of a particular object as an existing existential image by transforming the concept of abstract desires into reality by desires concluded according to ex post facto characteristics (Nahtraglichate).
This does not come into contact with the reversible shade of light in the target space of desire, but forms a form that intersects the present in another empty space. When it comes into contact with another object at that intersection, it comes into contact with the temporality of the object's space.
Therefore, when light encounters multiple objects as subjects of a desire to be the object of insufficient desire, existing and past objects create a place of light according to multiple temporality in one place and form a point where desires intersect between unconscious and consciousness.
Desire seen as the light of temporality intersects with the difference in distance from the current form in which the direction and size of the actual image are separated.
It is an ego that tries to grasp the object of desire reflected in the pond as a concept of abstract desire, and performs a conscious movement that creates an expressive image generated by desire.
As a result, desire, divided by temporality, is a conscious movement in which different forms of desire intersect with each other to produce a gradual change in desire, and desire appears as a real image in a shadow of reversible light. This is the intersection of the desire to face reality between the cultural background that varies according to temporality and the desire of others to see existing objects.
The lack of desire that meets at the intersection of desire exchanges images in a place specified by the structure of the object as a reversible shade of light.
In addition, as a subject, desire maintains an abstract existence as the inevitability of the concept of desire as a selector of desire and exchanges the lack of desire into an image of a specific place, the image of reality that interprets linguistic meaning as a result is specified as an object of desire.
The selector of the concept of desire forces a specific object into a real image by the desire of the other, a reversible shadow of light with temporality forms the direction of the image, and a vector in the opposite direction to the concept of desire is connected to create a lack of desire as an image.
In a lecture on November 4, 1971, Lacan said that desire is a mathematical sign and that a lack of desire is a mathematical element.
As a proposition, a mathematical statement has a linguistic meaning that logically judges desire. It determines the linguistic meaning so that the lack of desire can determine a specific object, judges the concept of desire as the same desire without distinguishing it from the actual image, and does not distinguish the concept of desire from the actual image by constructing a specific place where the meaning of consistent desire can be experienced as a conscious movement at the intersection of desire.
Although it is not possible to convert the other's desire to a numerical image of a vector at the intersection of desire, it limits the real image to the deficient desire structure and realizes the abstract other's desire as an alienated linguistic meaning.
By inductively illuminating the concept of the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.
As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.
In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, a contemporary art critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 57
Art Critic Louis Choi Chul-joo Criticism [57] 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, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024 = The lack of desire that meets at the intersection of desire exchanges images in a place specified by the structure of the object as a reversible shade of light.
In addition, desire as a subject structures the structure of reality that interprets the linguistic meaning as an image of desire, and the event or performance image as an opportunity for desire as a result of other desires, and the subject of desire structures the linguistic meaning spoken by the unconscious.
The structure interprets linguistic meaning as an image, but abstracts linguistic meaning into the inevitable specific object the other person wants, equating it to a real image.
Here, as the subject of abstracting desire, the window limits desire to a real image as an empirical illusion, and selects one of the other's desires to reveal the real image.
Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024
Rendering the intersection of desire outside the window
Reversible light-crossed windows that make up the structure of desire can face multiple intersections of desires depending on their temporality.
Through the window at the intersection of desire, the selector of desire creates a double place as a concept of desire and overtakes the linguistic meaning of the concept of desire, and the actual image emerges as the meaning substance of the abstractly deficient desire structure desired by the selector of desire as the subject.
The aesthetic value of a real image as a semantic being of desire is possible as a real being formed in the concept of desire by rendering the image as if it were a real thing to form a virtual shape. Here, rendering under the condition of an aesthetic work expresses materiality by rendering a flat structure composed of reversible shades of light, the concept of desire becomes a real image to express the image in reversible shades, and applies the Choi Chul-joo Desire Formula as a mathematical design process to realize the existence of an image at the intersection of desire outside the window.
Desire created as a subject outside the window is the linguistic meaning of the concept of abstract desire, and insufficient desire dominates the subject's desire, loses the subject of that desire, and desire reduced by division is identified with the deficient desire that dominates desire.
The object of desire is rendered as a distorted image containing the desire of the other person, which is difficult to replicate the same image as the linguistic meaning.
Here, the distorted image is a real image as the existence of desire as another reality separated from the entire image of the object of desire.
Real images reveal desires as existing real images by transforming abstract concepts of desire into reality by the structure of the linguistic meaning of the unconscious according to the deferred action meaning of the unconscious experienced in the past.
In the structure of desire, unconscious desire through past visual experiences becomes a verbal meaning according to delayed desire, and the object of the same visual experience appears as the object of desire in the present. This forms an intersection where the concept of unconscious desire and the image of conscious reality overlap by grasping the reality of the desire structure experienced in the past time reflected in the window beyond temporality and interpreting the concept of abstract desire reflected in the window as the meaning of delayed desire.
The reversible shadow of light at that intersection forms a real image that intersects the present in another empty space without contacting the object space of desire. At that intersection, the structure of desire hidden by the concept of ex post desire in the current real image meets reversible light.
The concept of unconscious desire and the object of conscious desire intersect when insufficient desire meets several objects as the subject of the desire to be the object of ex post desire. And at that intersection, the concept of unconscious desire is transferred to a real image designed to identify with the concept of conscious desire as a semantic function and a divided subject.
Here, unconscious desire design has an artistic meaning as autonomous creativity by rendering the other's suppressed unconsciousness into an aesthetic image suitable for reversible light timeliness in order to acquire artistry beyond generality.
Desire, which appears to be the light of temporality, shows the image as a difference in distance, like a window, and the current form that distinguishes the direction and size of the image intersects outside the window.
As a result, an object that appears to have stared at the intersection of desire outside the window is revealed as the intersection of light reflected in the eyes of the other, the subject. This is not an unrealistic image viewed from the perspective of desire from the perspective of the unconscious, but a real image viewed from the gaze system of desire from the perspective of the suppressed unconscious.
This is a concept of abstract desire, such as a mirror image, and in order to identify other objects of desire reflected in the pond, a conscious image that generates an expressive image generated by desire as a subject can be designed with the Choi Chul-joo Desire Formula.
As a result, desire, which is distinguished by temporality, is a concept of conscious desire in which different forms of desire intersect to achieve a gradual change in desire, and desire appears as an image of reality in a reversible shadow of light. This is the intersection of desire that meets reality between the desire of others to look at the object of desire and the cultural space that differs according to temporality.
The lack of desire that meets at the intersection of desire exchanges images in a place specified by the structure of the object as a reversible shade of light.
In addition, desire as a subject structures the structure of reality that interprets the linguistic meaning as an image of desire, and the event or performance image as an opportunity for desire as a result of other desires, and the subject of desire structures the linguistic meaning spoken by the unconscious.
The structure interprets linguistic meaning as an image, but abstracts linguistic meaning into the inevitable specific object the other person wants, equating it to a real image.
Here, as the subject of abstracting desire, the window limits desire to a real image as an empirical illusion, and selects one of the other's desires to reveal the real image.
In the concept of desire, the selector as a divided subject forces a specific object into a real image reflected in the pond by the other's desire, a reversible shadow of light with temporality creates a window as an abstract virtual frame, and the vector that forms the direction of the real image beyond the window at the intersection of desire outside the window connects the desire concept to the image vector, and creates an image that the selector lacks in the concept of desire.
In addition, although the other's desire cannot be transformed into a numerical image of a vector at the intersection of desire, it realizes the abstract other's desire as a real image by limiting the real image to a deficient desire structure and equating it with an alienated linguistic meaning.
In a real image, a specific object composed of a psychological vector of the concept of unconscious desire and an instruction vector in which desires are opposed to each other's gaze creates a lack of desire. In a 1971 lecture, Lacan expressed desire as a mathematical sign, explaining the lack of desire seen as a gaze as a mathematical sign.
As an axiomatic proposition, mathematical statements contain linguistic meanings that logically judge desire. This determines it as a real image with the same desire structure as the concept of desire without distinction from the real image by defining a linguistic meaning so that insufficient desire can determine a specific object.
In this way, mathematical statements 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.
In this way, 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 rendering of the real image resulting from the intersection of the concept of desire and the abstract structure overlaps the real image in the same position as the outline of the meaning abstracted by the concept of desire with a shade of reversible light, resulting from the intersection of the concept of desire and the abstract structure, creating a flat image by shadowing the three-dimensional shape in which the shade of reversible light overlaps with the real image in the same position as the outline of the meaning abstracted by the concept of desire.
The rendering at the intersection of desire outside the window created by the morning glory, the background of insufficient desire, and the abstraction of the concept of unconscious desire, which forms the meaning of the concept of unconscious desire as a real image in a specific place, are drawn according to Choi Chul-joo's desire formula.
Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to produce a desire image of polynomial products by linking the number of design images with event and performance images.
The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire. This image creates a window as a frame of the real structure so that the subject of insufficient desire makes the concept of desire hidden in the shade of reversible light appear as a real image, and constitutes a line space as a being in which a specific concept of desire can gaze as a real image as an abstract symbol.
Desire design creates an aesthetic for the object of desire by flattening the concept of desire into abstract symbols. Here, the abstract symbol is the expressive semantic structure of desire as being. The structure transitions to abstraction through the Choi Chul-joo concept of desire, which connects the unconscious meaning of the concept of desire and the design balance with the real conscious image as an abstract symbol.
As a design process with a mathematical desire formula of desire structure, the design is repeated until the metaphysical desire concept is identified as a symbolic aesthetic image.
In this way, the concept of desire is interpreted as an aesthetic abstraction.
The concept of desire that can accurately respond to formal aesthetics is interpreted as an aesthetic abstraction, and it is a new modern art that applies the image of the concept of desire to the Choi Chul-joo Desire Formula without conforming to the trend of emphasizing the aesthetic pleasure of contemporary art as sentimental acceptance aesthetics, forming the history of the abstract art movement with real images.
Therefore, the abstraction of the concept of desire envisions the concept of linguistic desire that reproduces the real subject. This is a stereoscopic conceptual work that visualizes reality that divides abstract structures into reversible shades of light.
The structure of desire, which repeats the design that simplifies the actual structure flat so that the actual image in the linguistic sense can be observed by overlapping the reversible shadow of light and the formability of reality according to temporality, constitutes a reality identified with the entire image in the place of being created by weaving the linguistic meaning inherent in the concept of unconscious desire.
Additionally, as a framework for the actual structure, the desire structures of several pieces outside the window differ in the direction of the reversible light, and the illuminated pieces alternate with each other to form an intersection. This is not absorbed by the reversible light shadow, but is captured by a white intersection that illuminates the place of reality as a being like a star according to temporality.
The actual structure of temporality is interpreted as a meaningful image at the time of existence. Therefore, according to temporality, the existential reality image is abstracted as a reversible non-existence of time. The desire structure consists of a general real image, starting with the existing one as a linguistic meaning that unifies the past and the future into the present.
This constitutes a structure as a causal object of the concept of desire by summoning the real image transferred from the existing symbolic relationship at the intersection of desire outside the window so that the abstract past and future images cannot return to their original state,/ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, a contemporary conceptual abstract artist----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 58
Art Critic Louis Choi Chul-joo Criticism [58] 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, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024 : Shadows that are continuous with light are divided between beings by covering the whole or pointing out them in yin and yang like stars. Therefore, another reality separated from reality is formed through the introduction of a new concept that deviates from reality in the virtual image that started from pictorial representation.
While the object of the concept of desire is a shape that can be perceived in the perspective visual system, it is an image of the linguistic meaning of the abstract concept of desire and specifies the object in a reversible shade of light
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Louis Choi Chul-joo, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024
Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire.
As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.
Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
Overlapping multiple spaces in one place depending on the time
The current space existing in several spaces overlapped in one place according to temporality is the structure of an image in the current space in temporality. In other words, it is an image structure in the temporal present according to temporality perceived by the subject of space. This is the aesthetic temporality that shows the structure of the current image.
It does not exceed the scope of imitative painting as a metaphor seen in painting as a linguistic meaning of the abstract desire of aesthetic temporality. In the category of imitability in the painting, the notation is contained on the canvas, and painting until modern times is a social constraint (制約) that can be accepted in religious customs. In painting, the meaning hides the figurative reality of nude body and is symbolized as an illusion based on a mythical story. In the imagination world, socially taboo signifiers have symbolic meaning, but morphological signifiers do not differ.
Therefore, Choi Chul-joo's concept of aesthetic desire, which abstracts into the same real image as the linguistic meaning of the concept of abstract desire, illuminates abstract desire in a specific place as the present temporality from the timelessness of the past to the shadow of reversible light. Here, the present real image identified by the linguistic meaning of the concept of abstract desire results in the reversible light shade structure.
The image creates a place of abstract expressive meaning by continuing the desire structure of existing reality in temporality with reversible shades of light.
Invisible reality as the meaning of abstract expressions, the morphological signifiers of visible metaphors are transferred to the sign of abstract meaning. Painting is a signifier that is a substantial shape, and the substance of the shape disappears, and it is a metamorphic fixation as a signifier of an imaginary symbol. In other words, the significance as a social constraint in painting transforms the figurative meaning embodied by the artist's desire into a symbolic shape.
Painting until modern times remained in the category of realistic formability and conventional subjectivity that revealed the stage of contrast. Choi Chul-joo's concept of desire to escape from the subject of the concept of desire seeks an aesthetic abstraction that is real beyond symbolism as a visible reality.
When applying aesthetic logic, it interprets it as a philosophical basis related to art to avoid errors and develops the desire formula and abstract design process as a modern abstract art movement exemplified by Choi Chul-joo's modern art abstract design methodology as a Ph.D. in cultural design.
In Choi Chul-joo's abstract art theory, it is an abstract world in which reality recognizes the subjectivity of the concept of desire in his "morning glory" and identifies it with the real image and the concept of desire. From the era of expressing the real image in painting to the 19th century, the real image is the structure of painting perception according to continuous social regulations. Unlike the abstraction of the concept of desire, his abstract world recognizes that the real image of the linguistic meaning of the concept of desire is the subject of desire in the place of desire in which reality is temporal.
Several spaces overlapped in one place according to temporality are aesthetic abstractions, creating a place of reality in which temporality does not distinguish the image of existence, but overlaps with the simultaneity of a concept of desire hidden in a reversible shadow of light, and continuously captures the image of the other's desire.
Modern conceptual art by abstract artist Louis Choi Chul-joo is an art that abstracts the concept with traces of actual formability and reversible shades of light as a non-reality subject to the desire of others. This is an abstraction that abstracts the desire of the other to represent the place of realistic reality, that is, the return of pictoriality as a concept of early conceptual art.
Therefore, the abstraction of the concept of desire creates the linguistic meaning of the concept of abstract desire in the dual structure of abstraction and reality, and creates the image of events and performances as a semantic entity of insufficient desire chosen by the subject of desire in a reversible shadow of light.
In this way, the image of events and performances with the concept of abstract desire in the linguistic sense is identified with the actual image in which the subject of abstract desire is divided into a real structure according to the lack of desire. Unlike the anti-artistic form, this is a real image of abstract desire using the form of an object as the same verbal meaning as the concept of desire as the actual image of events and performances.
Choi Chul-joo distorts the concept of abstract desire into reality by expressing the real image of abstract desire as abstraction in the linguistic meaning of the sign from the desire sign in a new signifier. He shows the contemporary social reality as a cartoon of a social column and communicates with the substance.
In the cartoon, the subject of events and performances rejects the pictorial meaning of the imagination by abstracting the concept of desire and revealing it as reality by expressing the concept of desire as a real thing, and reveals the reality of the imaginary world hidden in conventional reason as the abstract world of the concept of desire. This destroys the nihilistic anti-artistic minimal art as an existing conceptual art as a fixed phenomenon of absolute metonymy at the same time, revealing reality as the concept of desire as an image.
Therefore, the concept of desire art points to the abstract concept of desire as an image of reality, not as an anti-artistic minimal art of nihilism. In other words, it shows the image of events and performances as the same linguistic meaning as the concept of desire.
As a reality, the image of events and performances constitute a place of actual consciousness according to several timeliness with the structure of unconscious desire as reversible light.
In this way, the image of events and performances with the concept of abstract desire in a linguistic sense is identified with the actual image in which the subject of abstract desire is divided into a real structure according to the lack of desire.
The image in the linguistic meaning of abstraction represents abstraction because it is impossible to reproduce abstract reality by presenting an image of reality and calling it abstract rather than reality. It is Choi Chul-joo's modern concept abstraction movement, which aesthetically designs abstract desire and an image of reality that is the same as linguistic meaning.
The effect of abstract design with Choi Chul-joo's concept of desire as a linguistic meaning is that the beneficiary who experienced reality as a desire for the other party is passive, but the person in power who can actively implement it from the perspective of the perpetrator puts it into practice with the same desire as the sympathizer. When the powerful person provides the benefits of power or the sympathizer receives it, the sympathizer becomes the same desire and becomes the subject of the actual action.
The other person's desire, which is hidden here, generalizes the actual actions of the inappropriate powerful and sympathizers to another object of desire and acts like the victors of the war. However, if the actual effect as an act overshadowed by reversible light is not generalized to public action, the subject of inappropriate desire is turned away from the other person's general desire for inappropriate power and sympathizers and is antagonized by the other person's desire.
When light creates a shadow and reflects reversible light on the shadow of the desire structure, it forms a shadow in a dark place with the linguistic meaning of the concept of abstract desire. The shadow is a linguistic meaning of desire, and the reality that dominates ex post desire is divided into a symbolic image, and desire as a real image symbolizing the subject appears.
Desireful reality is another reality separated from the overall shape as a dwarf image. Here, the abstract image represents the expressive reality of the abstract desire concept under the condition of functionality that the abstract design movement repeats the abstract image of the concept of desire and the same image as the mirror image of reality under the condition of the same linguistic meaning of the concept of desire.
Currently, the shadow overlaps into several shadows according to the gaze, and the subject divided into images weaves the real image by matching the abstract desire structure with the same image as the real mirror image.
In this way, the structure of desire creates an abstract place by linking the design of symbolic images in shades in reality. This is a linguistic meaning in which unconscious desire forms a structure from a mirror image to a real image specific to a reversible shadow of light and generalizes it to the structure of the desire of the other.
Therefore, the desire structure is created by creating shadows in multiple real images with reversible light shades tailored to a specific gaze, erasing multiple shadows from the desire structure, and creating an unconscious abstraction as an image representing conscious reality in one place of desire.
Here, abstraction as a real image erases the mirror image in the same linguistic sense as the abstract desire concept through the abstract design process and links the real image into design according to Choi Chul-joo's desire formula.
Shadows that are continuous with light are divided between beings by covering the whole or pointing out them in yin and yang like stars. Therefore, another reality separated from reality is formed through the introduction of a new concept that deviates from reality in the virtual image that started from pictorial representation.
While the object of the concept of desire is a shape that can be perceived in the perspective visual system, it is an image of the linguistic meaning of the abstract concept of desire and specifies the object in a reversible shade of light./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 59
Art Critic Louis Choi Chul-joo Criticism [59] 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, a pond reflecting the image of one's present desires-sketch 3, 113X165cm, acrylic and composite materials on cloth, 2024 & Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025 : the concept of desire as an actual desire image as a predictive value that can be stared at when the texture color of an object becomes metamorphism depending on the illumination color or is perceived as a different color is reflected in reversible light.
In the fixed sketch image of the concept of desire, the linguistic meaning is retroactive, and the desire structure is completed on the surface of the pond.
The object of desire stitched by reversible light that reflects the surface of the pond is composed of the unique colors of reality.
And a reversible light is projected onto an object of desire, sculpted and reflected in the shadow of reality, resulting in a real image that is stared at.
Thus, unlike perspective visual systems, Pond rendering, which reflects current desires, repeatedly designs symbolic reality images with overlapping surfaces and backs depending on the temporality of the desire structure to outline them, and creates the texture of desire with multiple reversible lights on the same surface to achieve the same structure as a single image.
Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025
Choi Chul-joo's concept of desire, or modern art, appears, and a painting that conflicts with the concept of linguistic meaning emphasized by metaphysical and philosophical light creates a dramatic event image with artificial lighting.
Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire.
As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.
Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
Pond Sketch Reflecting Current Desire
Choi Chul-joo's image of desire is an object, and it is reflected in the pond as an image representing the linguistic meaning of the concept of abstract desire as a diachronic desire of current affairs news that specifies desire.
The physical structure specified as a reality in which the object reflected in the pond is dominated by its own desire and the subject of that desire has been lost represents diachronic desire as a phenomenal subject image of continuous desire.
It shows the process of being formed as a phenomenal subject, that is, a real object as a being, as a signifier image by designing and applying an aesthetic structure from diachronic desire through the Choi Chul-joo Desire Formula. The path of diachronic desire is from applying the desire formula to the abstract design of the desire structure to the installation of a real image.
This recognizes the image of desire as a being in the visual domain as a real image, delivers the event image as an object to the news from the perspective of unconscious desire, and recognizes the object as a phenomenal image as the presence.
Here, the existence of abstracting the subject of a phenomenal image in a pond with a mirror structure divides into signifier images in a linguistic sense, creating an image of desire that lacks social visibility. The image is formed in a pond where a continuous sculpture of desire is reflected in the social structure.
The surface of the pond reflects the image of reality like a mirror. This is an ideal aesthetic structure, and the desire of others is abstracted and recognized as an image of modern realism painting to reproduce. This is an image created by the desire interaction of the self as a subject who reflects the scene of events and performances on the pond and sees the desire of others with reality.
Therefore, through the abstract design process of the concept of desire connecting desires and the design of phenomenal images as an aesthetic structure, Choi Chul-joo's abstract design process is applied to appear the concept of desire as a real image and a distorted image revealed in the desire of others as the same concept of desire.
Choi Chul-joo's desire formula is a multilateral version of Leon Battista Alberti's concept of contemporary abstract desire from the proportion and concept of a subject as a perspective composition in Renaissance scientific thinking overlapped with religious constraints until modern times. Unlike modern ideal abstraction, this embodies the structure of desire as a real image by regressing Alberti's perspective with a shade of reversible light through his abstract design process.
The real image of the desire structure is recognized by instantaneously identifying the event image with the desire structure in the gaze area as an object in the abstract space staring at the other's desire. This is expressed by the desire suppressed by the unconsciousness of the other person. The visual characteristics of the object that are perceived in this way are existence and abstraction.
As a gaze image, the continuous shape of an object and the immutability of the structure of desire are stared at as a momentary image when it is perceived as the same concept of desire over time. The object of desire appears in a different background as time passes, but its reality does not change, but the point of time when it stares at it is transferred to make it appear as a distorted image. Choi Chul-joo's abstract design process realizes this as a distorted image seen as a gaze from the concept of desire to gaze at the object of desire created in a reversible shadow of light as the desire of others.
Here, as a distorted image, "morning glory" refers to the structure of desire as the background of desire. Therefore, not as a background of the painting, but as a piece of desire, "morning glory" as a subject of the landscape, like Leonardo da Vinci's De saint "Arno Landscape", is a background that represents visible desire in real. This conceptual abstraction distorts objects flatly by aligning them with real space in a flat structure to focus on the gaze of desire. In the linguistic sense of the concept of desire, the image of events and performances is drawn in the same flat structure, that is, "morning glory" as a cartoon image in a reversible shadow of light, and overlaps it with an event image. In addition, the pond reflected in the image of desire in the presence is decorated with a reversible shadow of light to create a place of desire as a subject.
The concept of desire in the presence, which forms the image reflected in the pond as the subject, is an image of an involuntary desire structure as a object who realizes the abstract non-existence as Hegel's Existenz, who directly relates to the concept of desire as an object in the existing spatial structure.
Through the process of perception of cognitive gaze from abstract non-existence, the concept of desire is recognized as an object that designed the image of an event as a visual design and forms the formative aesthetic value of the object that exists through gaze perception. The image formed in this way reveals the aesthetic value of the contemporary time and understands the reality of the image through the concept of desire of others.
This is to apply the process of creating an object by the gaze of the other in the area of the desire structure to abstract design in the process of forming the other's desire as an object, and as a result, form an object as a distorts desire image as another being separated from the reality of the object and the desire object. Therefore, it forms an object that reveals the desire structure of the other and transitions to another recognizable existing image.
Here, temporality secures a reversible spatial structure by leading real images that form the visual structure of existence to reversible shadows of light.
The new mathematical figure structure is abstract Choi Chul-joo's Desire Formula, an abstract formulation for designing aesthetic structures as a result of the concept of desire.
The concept of abstract desire represents the desire structure of others as an abstraction that actualizes desire when it has an aesthetic meaning for the desires of others in the image of an event.
Pond Rendering Reflects Current Desire
As an aesthetic structure of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.
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.
This is because 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.
Like Kant, the mythical object of the same structure as humans and the logical facts within one structure are included in one structure as contradictory antinomic relationships that are compatible on equal grounds.
The interpretation of the concept of desire in a linguistic sense in which the abstract image and reality of the concept of desire are the same represents the structure of desire by forming a semantic relationship with antinomic desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire.
Therefore, 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.
Object rendering process of the concept of 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.
Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025
Pond Rendering Reflects Current Desire
A new mathematical structure is Choi Cheol-joo's Desire Formula to design an aesthetic structure as a result of the concept of desire
As an object of a pond reflecting the present desire, when it has an aesthetic meaning by facing the desire of the other in the image of the event, it represents the concept of abstract desire as an actual abstraction and the structure of the desire of the other.
As an aesthetic structure in the pond of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.
The concept of absolute desire in the form of a pond in the present desire is a symbolic metaphor seen in abstraction, and the concept of desire abstracts the desire of others, but does not exceed the category of imitative painting.
While accepting the difference from the actual image in abstract desire as the meaning of the linguistic concept, it abstracts the actual structure created by the linguistic meaning of desire facing the abstraction that constitutes the structure of desire and relationship with desire. This is Choi Chul-joo's conceptual abstraction of desire, which is free from the social constraints (制約) that can be accepted in religious customs and hides the formative reality of desire in painting and abstracts the event image based on the news of reality.
Therefore, the subject that speaks linguistic meaning is an act of speech (enunciation) that specifies the elements that depend on the news for the viewing effect of colloquial language and event video broadcasting as an expressive aesthetic structure of enunciation, and represents abstraction, the true value of the concept of desire.
The interpretation of the concept of desire in a linguistic sense in which the abstract and reality of the concept of desire are the same represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire. In other words, antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aporia image.
In the abstraction of real image as a desire structure, the morphological image of visible metaphor is transferred to abstract language meaning. The abstraction is a transitional fixation as an abstract meaning in which the desire structure of the shape is obscured as a real image. In other words, in abstraction, the actual form meaning is transformed into an additional form by the desire of others as an image of social events.
Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans and includes antinomic distribution as a single structure.
Therefore, through the gaze of the rational subject, the object as an event image, which is the same rational object as the linguistic meaning of the desire structure, is recognized as a real image that cannot be seen by the subject staring from an antinomic position.
In Manet's "Lunch on the Grass", seen as the concept of Choi Chul-joo's desire, the man in a suit is a symbolic world that identifies his image while recognizing subjectivity as a toddler. A man in a suit is a structure of perception of an infant by continuous social regulations from the time when he dressed up and expressed a rational view of morality to the 19th century. It recognizes that it is wrong for women and men to take off their clothes in an open space exposed to the outside reflected in the same mirror structure as a pond, and recognizes that a man in a suit is the subject of the image, unlike a nude woman.
This is a real image of a mirror structure that deviates from incomplete abstraction lacking desire due to the subordination of the desire structure to diachronic sociality and returns the cause of the desire concept to the object by rendering the desire structure.
In this way, the rendering of the pond image as a mirror structure is a flat sign that will be real in the concept of abstract desire, and the event image carves the abstract desire that expresses the concept of desire of others into reversible light shades and obscures it into the dimension of the image projected in the visual range.
In the pond image, the subject of desire rejects the pictorial meaning of abstraction and reveals the reality of the illusion hidden in conventional reason by revealing it as an image of reality rather than an abstract structure by fluid fixation. This reveals the real image as a reality of invisible desire, destroying the fixation of the contemporary absolute illusion in "Pond Rendering Reflecting Current Desire".
The abstract concept of desire, in which the desire structure represents a mirror, is confirmed as reality the unstable self of desire, which represents the place of the real space, and the image of desire reflected in the pond is composed.
This is a realization of the desire image as a shaded contrast structure of reversible light by contrasting the involuntary desire that reflects the symbolic meaning of the concept of desire on the surface with the real image.
Here, the pond divides the desire structure as a mirror structure and equates the desire of the other with the self by reflecting the concept of desire on the surface as a real image.
The desire is an object, and the event image and linguistic meaning are connected structures, and instead of abstracting desire after serializing design, the linguistic meaning as the subject of the concept of desire is directed as a real image.
In this way, the subject that identifies the image of another's desire reflected in the pond reveals the linguistic meaning of the structure that symbolizes the concept of unconscious desire of the self in reality, and leaves the image of desire and gaze in the shadow.
Therefore, in order for the actual image reflected in the pond to be close to the actual rule of reality in which desire is hidden in the shadow structure, Choi Chul-joo's abstract design process connects the concept of desire and sketches the height of the texture of the object according to the multi-reflection of light on the water surface.
The background of desire and the object spectral rendering are performed by superimposing multiple lights in the same place when illuminated on a pond sketch reflecting the present desire.
This fixes the concept of desire as an actual desire image as a predictive value that can be stared at when the texture color of an object becomes metamorphism depending on the illumination color or is perceived as a different color is reflected in reversible light.
In the fixed sketch image of the concept of desire, the linguistic meaning is retroactive, and the desire structure is completed on the surface of the pond.
The object of desire stitched by reversible light that reflects the surface of the pond is composed of the unique colors of reality.
And a reversible light is projected onto an object of desire, sculpted and reflected in the shadow of reality, resulting in a real image that is stared at.
Thus, unlike perspective visual systems, Pond rendering, which reflects current desires, repeatedly designs symbolic reality images with overlapping surfaces and backs depending on the temporality of the desire structure to outline them, and creates the texture of desire with multiple reversible lights on the same surface to achieve the same structure as a single image. / Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 60
Art Critic Louis Choi Chul-joo Criticism [60] 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 2025-2-Desire structure of objects in a pond reflected by reversible white light, 113X165cm, acrylic and composite materials on cloth, 2025 : 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.
Louis Chul-joo Choi, morning glory 2025-2-Desire structure of objects in a pond reflected by reversible white light, 113X165cm, acrylic and composite materials on cloth, 2025
Choi Chul-joo's concept of desire, or modern art, appears, and a painting that conflicts with the concept of linguistic meaning emphasized by metaphysical and philosophical light creates a dramatic event image with artificial lighting.
Linguistic representation images as objects represent abstract meanings that represent words unrelated to grammatical sentence interpretation as event images. However, grammar gives logical meaning to abstract nonverbal behavior.
Thus, interpreting the concept of desire as a grammatical linguistic structure requires the design of abstract symbols in linguistic meaning repeatedly.
Images identical to the concept of desire produce images as the presence of objects when clearly defined through consciousness and conceptual design.
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.
Desire structure of objects in a pond reflected by reversible white light,
As an object of the concept of desire, the light discoloration as a reversible light overlapping the surface color contrast effect of the event image reflects the event image hiding the desire hidden in the reversible light projected into the pond, representing the shadow color of the desire structure like a spectrum.
The concept of abstract desire through the desire of the other constitutes the subject of desire lacking as a symbolic structure.
This is the result of being divided from symbolic existence by repeating the design according to Choi Chul-joo's desire formula to create the image that the subject aims for, and the real image appears as the subject with the concept of desire lacking the event image.
In Choi Chul-joo's desire structure, the shadow of reality in the shadow of reversible light results in a phenomenal image as a sign of the unconscious desire of the other in the line space in the direction of the gaze of the event image.
This is the shade created after the object because the circular object of the concept of the other's desire is hidden by light.
In the object's desire structure in the pond reflected by reversible white light, the subject of deficient desire imaginatively equates the event image reflected in the pond with the concept of abstract desire to constitute the subject of deficient desire.
The event image reflected in the pond creates a real image with the same meaning by stating the concept of insufficient desire as a conscious movement.
Here, in the desire structure, the shadow is a composition lacking in the other's desire structure, and the event image is carved and obscured.
This is a shadow created by being blocked by actions induced by the opaque cause of desire in the image of reality as a structure of unconscious desire.
In the concept of Choi Chul-joo's desire, reversible light, whose altitude and direction are not specified, shows reality as a being according to temporality.
It refers to the real image as the existence of reversible light that identifies the traumatic image of the event image as the structure of the desire of the object in the pond reflected by the reversible white light.
This is a desire object that realizes abstract desire by representing reality that represents the linguistic meaning of the concept of desire as a shaded image of reversible light.
The object repeatedly expresses the linguistic meaning of the concept of desire as a real image by repeating the design through conscious movement that identifies the image of the event and the reality that symbolizes the lack of desire.
And while determining the relationship between the real image and the subject of desire, the subject transitions to the real image so that the subject cannot imagine the concept of desire. It provides the cause of causing the phenomenon of desire as an event image, from the real image that the subject cannot return to the concept of desire as an object of desire.
Here, the object that causes the phenomenon of desire is Choi Chul-joo's desire formula, repeating the design to create a real image as a linguistic meaning of the concept of abstract desire, and abstracting the meaning of desire lacking the image.
In the shaded image, the object turns red as the white light as a being that has stopped in time is absorbed into the background, and the blue, green, and yellow colors that are absorbed into the morning glory background are the same shaded structural colors as the desire background of the 'morning glory'. Here, the contrast effect visible from the visual system is the color of the absorption spectrum in which the color reflected from the object changing light is projected onto the pond.
This means that abstract desire changes from the natural real color of a real object to the concept of desire as a linguistic meaning, and like the chemical reaction of reversible white light, the shadow of the morning glory defines desire by designating white light as the color of desire, and is parallel without distorting the size of the shadow like the sun light.
Therefore, it is expressed in flat red regardless of the direction of the light. A bright shadow diffracted by light consists of an overall reversible shade of light, which is not distorted into the shape of an object. This painting is actually painted using the light of the sun as a light, just like an ink-and-wash painting.
Abstracting the meaning of desire that lacks an event image as an object of the desire structure of an object in a pond reflected by reversible white light, the reality in the shadow of reversible sunlight supports abstract desire. Additionally, the concept of lack of desire is linguistic consciousness, creating a reality that exists in the line space that specifies the place of desire./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 61
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 Choi Chul-joo's New Work Modern Art Reading: Contemporary Art Works Published on Facebook and Instagram: 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
Choi Chul-joo's concept of desire, or modern art, appears, and a painting that conflicts with the concept of linguistic meaning emphasized by metaphysical and philosophical light creates a dramatic event image with artificial lighting.
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)
Choi Chul-joo, a contemporary conceptual abstract artist----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 62
Art Critic Louis Choi Chul-joo Criticism [62] 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: the literary probability of successfully conveying desire: Because the image is virtual, it recognizes the linguistic meaning of the concept of desire, which is different from the real image, the same as the real image.
At this time, the virtual image is a virtual image that reproduces abstraction as a pictorial image, and another reality separated from reality is abstracted through the introduction of a new concept of desire formula that deviates from reality.
Therefore, it is difficult for an object to construct probability as a realistic structure as a medium of desire. However, the notion that abstractly deficient desires apply event and performance images to desire formulas as real images has the potential to be subject to probability abstraction
Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire, 113X165cm, acrylic and composite materials on cloth, 2025
Choi Chul-joo's concept of desire, or modern art, appears, and a painting that conflicts with the concept of linguistic meaning emphasized by metaphysical and philosophical light creates a dramatic event image with artificial lighting.
the literary probability of successfully conveying desire
The linguistic meaning of the concept of desire forms spatial relationships that mediate visual grammar.
It is a cultural observation that participates in the desires of others and builds a real image as a perspective structure based on the place of desire. This is a literary probability that can successfully mediate the cultural desire to participate in the desires of others and build a real image as a perspective structure based on the place of desire.
As an object arranged in the place of desire in the image, the concept of subjective desire in the event image is created as a difference from reality.
Here, abstraction is composed by giving a real image consisting of the continuity of the shaded form of abstract and reversible light presented as a lack of desire, and a reversible light and shaded form.
Abstraction is a vector that targets the subject of desire, and it deviates from the essence of Freud's afterlife so that the concept of desire cannot be transferred to a real image by dividing the existence of desire that is alienated from the symbolic world into a real image. Choi Chul-joo's concept of desire is a reversible shadow of light, and retroactively creates a real image as a result.
This is to face Lacan's dwarf reality as a planar reality image. The desire structure in which reversible shades of light are expressed as a desire medium closes to the abstract world of deficient desire that divides reality and the concept of desire with possessive attributes. In other words, the abstract image is integrated into reality as a linguistic meaning by setting a space for desire that is lacking in the abstract world.
The concept of desire is designed as a real image, and the concept of desire is structurally expressed in a linguistic sense in several existing frames. This is a picture image of a lack of desire as a linguistic meaning caused by a common lack of desire.
During the election, Trump avoids a political crisis beyond deficient desires through connections to becoming a presidential candidate through photographic images that connect deficient desires.
This becomes the image of a political leader that is the top priority in the visual political image, influencing the presidential election, leading to a follow-up relationship with the voters
Like directing popular BTS music, he formed a symbolic winning structure as a political image manipulating voters by meaning it as a symbol of the U.S. president as an image set in the American flag.
Here, the concept of abstract desire becomes an abstract reality image that has developed into a universal aesthetic concept of the same reality as a linguistic meaning separate from the American flag as a symbolic object rather than based on political reality.
He broke away from the traditional sociality as an possessive attribute of crisis needs in the universal value system, triggering economic and political disputes with excessive administrative intervention and political power as a personal desire. In addition, actual welfare is undermined as a distorted politics that asserts a welfare state with the visual grammar of insufficient needs, and the market economy is monopolized to justify it.
The medium of successful desire is the property of possession of crisis desire, the visual grammar of deficient desire, combined with the culturally transformed field of painting
Desire system In linguistic function, the advanced visual grammatical image has an abstract meaning.
Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire-sketch, 113X165cm, acrylic and composite materials on cloth, 2025
Therefore, the actual image as a linguistic meaning of the concept of abstract desire according to Choi Chul-joo's desire formula is abstract painting.
The abstraction that created the real image is a pictorial image that constitutes the same concept of abstract desire as the real image reflected in a divided mirror. Images reproduce real images by constructing images that can predict the concept of desire on behalf of reality, like mirrors that state them in a linguistic sense.
In addition, the ego that emerged from the same concept of desire as the real image equates the linguistic meaning of the image to the desire of the other as a reversible light shadow structure.
The reversible shaded structure of light makes the desire of the new deficient other an ideal issue and represents reality in a linguistic sense as a visual composition.
This segregated structure creates a visual grammar of linguistic meaning that contrasts deficient desires with abstract forms to reproduce real event images.
As an object, the representation of the event image proceeds as an abstract desire concept as a structure of insufficient desire, and the image shares the actual structure and event image that directed the desire of others.
The production of the event image embodies an effective place of reality in which unconscious desire is a real structure of linguistic meaning and a shadow of reversible light that returns the desire lacking at the time of the abstract desire concept, and determines an image in which the other's desire interprets the same linguistic meaning as a specific object.
Because the meaning of grammatical language cannot be identical to the abstract desire it lacks as a medium of successful desire, it creates a dual semantic structure, choosing to deviate from the actual fantasy structure desired by abstract desire and have a real image on demand. The selected real image is a correlated object that conveys the illusion in reality that is the same as the property of possession that desire inevitably possesses, and a real image with connection is selected as a correlated object that conveys the real illusion to the same reality as the property of possession that desire inevitably possesses.
This creates a specific image of desire by narrowing the distance from the cultural desire background that is correlated with the concept of desire. Additionally, it is possible to induce the desire of others to perspective by choosing the linguistic meaning of desire in an object decorated with mathematics of geometric concepts, such as the Choi Chul-joo Desire Formula, which multiplies image design, when constructing a real image that deviates from the frame of the abstract desire concept's perspective as a vector as a size of a reversible light direction and shade in the desire structure.
Therefore, rather than a perspective description of an object, it is a three-dimensional structure that determines the position of an object as reality, a picture that depicts an abstract desire concept in accordance with a mathematical theory of geometric reality on a plane, that is, an image of desire that focuses on the instantaneous gaze that creates the structure of desire in the structure in three dimensions through aesthetic abstraction.
Euclidean vector of desire, which shares a mathematical size and direction, creates a geometric object that designs the structure of reality as a medium of successful desire in Euclidean space. It reproduces the real image as an event image and embodies the nature of desire lacking an image in the linguistic sense that mediates the concept of desire as a being of lack.
And it is composed by superimposing morphemes as a linguistic reality in which the structure of insufficient desire is transferred to language and abstract enjoyment in the conscious structure is eliminated.
Louis Choi Chul-joo, morning glory p137-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer
According to the grammaticality that constitutes the morpheme, the image of the concept of desire is the same as finding a structural order in the linguistic sense, like the structuralist linguistics that speak meaning.
Linguistic abstraction as an image is the process of constructing morphemes as real images according to grammatical rules.
This means a metaphorical symbol that distinguishes words from real images as linguistic meanings as the meaning of sentences in the process of constructing sentences.
Therefore, abstraction is a picture that composes symbolic morphemes into arbitrary real images as the linguistic meaning of events and performance images in the concept of Choi Chul-joo's desire. An attempt to grammatically dismantle abstraction has a dual structure that consists of flat meaning and empirical and objective reality, like Kant, as a visual and aesthetic expression. This is to transfer the linguistic meaning of abstraction to an image of reality by constructing the linguistic meaning of desire induced by the concept of desire inherent in reality as an image and sacrificing lack of desire, unlike the grammatically dismantling of the linguistic meaning of desire induced by the concept of desire inherent in reality.
In this way, images of events and performances are expressed in linguistic meaning, and images of the structure of consciousness are made meaningful
By grammatically dismantling the linguistic meaning of abstraction derived from unconsciousness into the dimension of linguistic behavior while shifting from enjoyment of desire to castration, Choi Chul-joo's abstract painting has an aesthetic desire concept, that is, an abstract beauty like Kant, as a principle of subjective purpose.
The attribute structure of desire as a medium of desire is completed into a real image in a reversible shadow of light. In other words, the other's desire to express deficiency as a medium of successful desire is revealed by the actual structure of the linguistic meaning that exists at the same time as abstract desire. This is the actual structure of abstract desire that leads the concept of desire that fits the meta-lingual function to the linguistic meaning of the actual image.
Therefore, to reproduce the actual structure into the linguistic meaning of the image, the attribute as the subject of the grammatical object's deficient desire defines the aesthetic meaning as the same symbolic painting image as abstract reality according to the linguistic desire background, the place of desire, and the possession attribute of the event image as an object.
This is not an abstraction as an abstract reality, but creates a desire double place in an image and repeatedly designs an abstractly deficient desire image as an existing real image, erasing the size of abstraction as a linguistic concept with a reversible shade of light and limiting the position to the scope of reality.
Therefore, abstract symbolism as a linguistic concept of desire plays a cultural and structural role as a symbolic image with a phenomenon of insufficient desire.
In other words, the artistic structure of the symbolic form is transferred to a pictorial reality image so that the meaning of linguistic symbols can be stared at by the other in line with the symbolic criminal code of the other's desire.
In this way, the desire structure that the other person can look at is an image that reproduces the existence attribute of desire that is lacking in the event image as an object in its real form.
Images are represented by the concept of abstract desires, and insufficient desires based on culturality are transformed from images of instantaneous events into symbolic abstractions tailored to the cultures consumed.
The abstraction is a narrative existing vector image of culturality and is divided into a literary narrative image and a conceptual lack of desire.
Here, as a linguistic meaning of the concept of desire, the event image is a grammatical vector as a verb that displays an action. In other words, a vector is a verb that acts on the concept of desire, but it cannot visually express its linguistic meaning, so it abstracts the concept of desire and visualizes it as a real image identical to the linguistic meaning.
In this way, the linguistic meaning of the concept of desire is repeated to fit the image in a symbolic way so that it can be visually expressed, and the abstract concept of desire is determined as a narrative image in a reversible shadow of light in the range of cultural sociality.
Additionally, the object's concept of desire as a medium of successful desire—a rhetorical image in a linguistic sense that rejects abstract answers as a metaphorical reality—is reflected in the pond in the dark side where reversible light shines in the shadow of light, hiding the lack of desire on the back and reflecting the object's appearance as a gaze on the object possessed by the lack of desire.
Literary probability that can successfully mediate desire is logos (argument) that infers as a logical reality image away from the manipulation of abstract desire, and rhetorically establishes a linguistic meaning that persuades abstraction as an object and judges the image of reality through argument that proves the desire of others.
Therefore, even if the event image is given literary probability as a logical reality image, it follows the universal argument of desire to explain the outcome of the event as a probable reason because the probability of the event and the performance image proved by desire are real facts. In this way, the process of argument for telling the outcome of the event is tailored to the abstract design process that actually constitutes a shadow of reversible light as a consistent setting for desire.
To construct the existence of an object realistically as a linguistic meaning, abstract design that constructs a real image consistently maintains the concept of desire of a particular object. It also draws out the aesthetic characteristics of a particular object of desire and abstracts the concept of desire into a real image so that abstract desire is not triggered by an image.
The actual image as a result of the possibility of the possessive object of the lack of desire due to this rhetorical judgment follows literary universality, so when expressed as a picture, it is abstracted according to literary probability.
In other words, a pictorial image is acquired from the image of desire lacking in abstraction that embodies linguistic meaning as a real image with the possibility that the possessing object of desire with rhetorical judgment has a causal composition with abstract probability.
This newly defines the abstraction of real images by having a method of process constituting abstraction. Through the abstract design process using the Choi Chul-joo desire formula determined in this way, the concept of desire forms a material object called abstraction. In addition, the object that possesses insufficient desire determines the relationship with reality with abstract probability, and from the perspective of others, the concept of abstract desire becomes abstract as a subject that constitutes the linguistic meaning as a real image.
Painting probability as the subject of the concept of desire results in the other's desire keeping the promise of meeting abstraction and reality in a single linguistic sense.
Because the image is virtual, it recognizes the linguistic meaning of the concept of desire, which is different from the real image, the same as the real image.
At this time, the virtual image is a virtual image that reproduces abstraction as a pictorial image, and another reality separated from reality is abstracted through the introduction of a new concept of desire formula that deviates from reality.
Therefore, it is difficult for an object to construct probability as a realistic structure as a medium of desire. However, the notion that abstractly deficient desires apply event and performance images to desire formulas as real images has the potential to be subject to probability abstraction./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 63
Art Critic Louis Choi Chul-joo Criticism [63] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning,
Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, 113X165cm, acrylic and composite materials on cloth, 2025
Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning
As a linguistic semantic element realized as a unit of abstraction morning glory-dancer desire concept, the Mona Lisa is divided into a transformation form composed of light of a particular shade and the concept of existence of desire.
This is a semantic element obtained from the desires of others in response to the composition of the painting and linguistic semantic structure in which the Mona Lisa takes the morning glory-dancer as an object, inducing several abstract meanings and constructing images as linguistic meanings in the sense of simultaneity of the desire structure.
Here, the abstract meaning is divided into the common points of temporal and phenomenal meanings formed by the difference in the time difference (視差) between the gaze and the visible gaze according to the characteristics of the object. The concept of desire to implement this as an abstract structure repeatedly designs the linguistic meaning as a real image and specifically abstracts it as a virtual reality image.
In other words, as a linguistic semantic element realized as a unit of the concept of abstraction morning glory desire, the Mona Lisa divides into a transformation form composed of light in a specific shade and the concept of desire as being.
This means that the event image embodied as the principle of the simultaneity of Choi Chul-joo's concept of desire is obtained from the desire of the other who, as the subject of desire, induces various abstract meanings and identifies the desire structure as a single semantic image in the same meaning.
The abstraction that emerges here is an abstract meaning, and it is an image that identifies the temporal meaning and phenomenal image formed according to the temporality of realizing the object as a subject of linguistic meaning, and repeatedly designs the linguistic meaning in the actual image to realize the concept of a desire to implement it as an aesthetic structure.
Choi Chul-joo's concept of desire realizes an abstract virtual image at the intersection of form and reality as a semantic element by representing a symbolic object with a metaphorical meaning as the same real image as the concept of desire.
Here, the Mona Lisa is abstracted as a real image as a linguistic meaning of the morning glory-dancer with a desire structure drawn in a linguistic sense through the Choi Chul-joo desire formula to establish the meaning of the phenomenal language as a meaning.
Here, Mona Lisa abstracts the linguistic meaning of the morning glory-dancer with a desire structure drawn in a linguistic sense through the Choi Chul-joo desire formula into a real image, and establishes the meaning of phenomenal language to have the same synchronism with the real image.
The subject of another's desire is an image with the same linguistic meaning between the concept of abstract desire, the image of an event as a phenomenal object, and the actual image opposite to the abstract, that is, the image of the concept of desire morning glory. Through semantic action, behavioral meaning is transmitted as an event image as a background image of a subject object, and an image with the same linguistic meaning acts as a semantic structure at the point where the concept of unconscious desire and the divided real image intersect.
The difference between art and non-art as a semantic structure is distinguished by the existence of a real image formed from the point of view of the other's desire from the virtual form as a substance as a reality and as a non-existence. Therefore, the aesthetic condition as a semantic structure is that the material as a reality has an image installed in the place, and the virtual form as a non-existence is a realistic image and reveals an abstract image by realizing the desire of the other as a being in linguistic meaning.
This completes the meaning of the linguistic meaning as an image as an abstraction of morning glory retroactively to the concept of desire. It also shows that the symbolic meaning obscured in the concept of desire is an abstraction of a real image.
As the subject of abstraction, the semantic element distinguishes the background of the subject and the smile with the object as the subject as the Mona Lisa as a fantastic imagination and Freudian sexual behavior. This represents the desire of the other as a real structure by returning to the image of abstract desire that identifies with the enjoyment object and linguistic meaning in the mirror.
Here, the actual structure depicts a dancer who creates abstract artificial lighting with reversible shades of light and equates the desire structure with a real structure with a morning glory background and a Mona Lisa with a reversible shade of light, unlike the phenomenal description of the subject's background as a color adjustment like Leonardo.
Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-sketch 2, 113X165cm, acrylic and composite materials on cloth, 2025
Desire according to abstraction The design is the same form that cannot be distinguished between the original and the reproduction. This means that the original is absent. This is because the completed design object can form a virtual image through linguistic meaning or can be re-formed into a cultural form with the desire of the same other. Therefore, the desire of the abstract other, which is difficult to replicate, is designed as an anamorphosis image. Here, the anamorphosis image is non-existent as the whole image, but the Mona Lisa is abstracted as another anamorphosis image as separated from the real image.
In this way, the concept of desire is symbolically identified as the actual structure of the Mona Lisa and the dancer, and as a subject of linguistic meaning, the Mona Lisa identifies the event image with the phenomenal reality image of the concept of desire as an object.
Since the desire structure does not set a reversible lighting setting, it combines several objects into a desire background like a photo collage by contrasting them with shades and shades between objects relative to the subject. Without distinguishing the entire background of the desire structure and the boundary line between the objects, the 'morning glory background' and the object line are clearly removed to create a space that fits the specific linguistic meaning of the desire concept.
The Mona Lisa's gaze is divided into reversible light shadows and gaps that allow the right eye to stare at the front and the rest of the face.
Mona Lisa, a picture of an object composed of reversible light, is an abstraction. An image formed from a virtual object that reproduces a pictorial object is a virtual image that hides reality. A virtual image is recognized in a plane and appears as a virtual image. Here, as a virtual image, Mona Lisa is abstracted into a real image by revealing an object as existence through Choi Chul-joo's Desire Formula.
Abstraction created as a real image creates a real image with objects and backgrounds as subjects and shades of reality and desire objects as light, and transitions to abstraction of existence as a linguistic semantic element of the concept of desire.
The abstract collages the depiction representing the characteristics of the Mona Lisa on the "morning glory Background" and spaces it with reversible light shadows to form a fragmented space according to the temporality.
The space separated from temporality is hidden by the geometric diagram of the perspective visual system that reproduces objects, and is instantly revealed as a gaze from the perspective of desire revealed in the unconscious. As an abstraction, an object acquires an aesthetic structure by creating an object as an being by repeating the design of an anamorphosis image expressed through the desire of the other to acquire artistry beyond generality.
This hides the left and right landscape with different shades of Leonardo's Mona Lisa light, realistically reveals the right eye area to fit the Mona Lisa image as a linguistic meaning, and determines the idealized abstract desire concept as an image set as a specific attribute of Mona Lisa so that it can be recognized as a conceptual object of abstract desire as a real image, and separates the head and back of the hand into shades of light as a character composition.
Here, the intermediate sexual face distinguishes between good and evil forms according to the visible direction.
The gaze from the front distinguishes the shape and size of the Mona Lisa, but the gaze from left to right expresses the abstract space of the Mona Lisa in a segmental way, embodying an image of desire in a linguistic sense to immobilize the Mona Lisa as a being.
And by identifying the image of the desire structure created by moving the fixed Mona Lisa and the gaze virtually, the gaze shifts to the image of the structure of good and evil as another representation.
Here, the aesthetic Mona Lisa transforms the inner structure of good and evil into a dancer image from the other's desire perspective, revealing its formative existence and representing the autonomy of the concept of desire.
This is a representation of the Mona Lisa in real space, but the image of the desire structure creates a desire space as a superimposed being with the Mona Lisa by moving a virtual gaze made of the same artificial lighting as reversible light.
In this way, the gaze of the dancer as the subject of desire forms a place of desire that cannot be viewed as the real structure of the other's desire as a gaze on the object of desire. Therefore, the real structure of desire is an abstract desire concept, and the real structure designed so that an object can see a dancer as the subject of desire is viewed as a real image in which the concept of desire is abstracted.
Abstraction, which appears to be a gaze, erases the concept of desire according to the timeliness of the actual structure in which reversible light overlaps, and illuminates the representational existence of the past time by artificially reflecting reality as a reversible structure of light.
The gaze made from the light of artificial lighting is specified as a flow of small particles of light that do not look like the light of Newton, and forms a hue as the frequency of light by Einstein, who saw light as a light quantum as a grain.
As a result, the actual image of the concept of abstract desire is abstract. This is because when the morpheme as a language structure was transferred to the Mona Lisa image as a language structure according to symbolic culture, the actual meaning of the past representative concept of desire was transferred to the Mona Lisa image as an abstract structure. In other words, when the morpheme as a linguistic meaning is transferred to the Mona Lisa image, the abstract real meaning is removed from the concept of abstract desire and forms a real image.
As a semantic element, the image of the Mona Lisa whose outline is unclear with the existing spumato technique is a shade of scientific artificial illumination, which is a syntagmatic confrontation with religious language meaning, conceals reality as a real image in one language meaning.
The image follows a cultural interpretation according to the timeliness of the reversible light of artificial lighting to express it as an image different from Leonardo's Mona Lisa in a linguistic sense or to distinguish reality only within a linguistic sense.
These images, separated by cultural temporality, are abstractions in which one linguistic meaning does not change into another linguistic meaning in philosophical perception, distinguishing the reality of the Mona Lisa image from the reality of linguistic meaning.
Therefore, Choi Chul-joo's definition of "Napal Flower" is an image that divides the concept of abstract desire into secondary temporality, and is an abstraction projected as a real image with the same linguistic meaning as the image lacking by the concept of desire without changing from philosophical perception to another linguistic meaning.
The subject image of linguistic meaning has a holistic culturality that is identified with the concept of desire specified as a subjective scene of linguistic meaning of the event image according to sociality.
The desire of others has cultural connection through the image of events as an object that is specified as a real image that expresses the linguistic meaning as one in sociality.
Cultural connection as a linguistic meaning refers to a phenomenal reality image that does not specify an object as an image and has a cultural connection with that object.
Mona Lisa cannot verbally specify an image with the linguistic meaning of the concept of desire morning glory, we repeatedly design specific images with aesthetic structures as Choi Chul-joo's desire formula.
The object as reality is a planar structure that has stopped at the limit of impressionistic reality, and is an abstraction of a realistic structure with the concept of abstract language meaning. Here, the realistic structure refers to a scene in which the image of an event and a performance is stopped with a photo.
This is a realistic image that makes the front and sides illuminated in various directions of a stationary subject look like planes, unlike abstract conceptual art in which images are matched to lines and colors.
Transforming the other's desire into an image as a linguistic meaning creates a position of shape with a reversible shadow of light hidden in the sky.
And the abstract structure formed by light disappears when it makes the existence of the abstract desire concept that existed in the past be recognized as a reversible shadow of light, and the abstract structure disappears when the morning glory is placed on the shadow of the desire structure.
Mona Lisa's desire is identified as an image of expressive desire that lacks unconscious pleasure in the language of consciousness, and between unconscious desire and culturally deficient desire, it forms an image of the same meaning, identifying linguistic meaning as an image and aesthetic structure. In other words, the concept of desire is abstracted from the concept of abstract desire to meet reality as an installation of visual images to a real image so that it can be seen from a gaze that meets reality.
Therefore, Choi Chul-joo's principle of simultaneity of desire analyzes the object of desire with an invisible gaze, designs the form of desire as a mirror image, reveals the concept of desire in the language structure as an image, and creates a background of desire to reveal the concept of desire as a spatial image in the language structure. And as an abstract linguistic concept representing the concept of desire, it removes the abstract structure of the concept of desire according to the timeliness of reversible light, acquires the aesthetic value of the target image through the shadow of light, and identifies it as a real image of the same concept as the abstract desire image as being.
The object superimposed on the Mona Lisa exists as a realistic desire image as an abstract existence that represents the concept of desire that erases the abstract structure of the concept of desire and expands aesthetic value into the shade of light according to the temporality of light.
In other words, as the principle of simultaneity of Choi Cheol-joo's desire structure, abstract beings representing the concept of desire are identified with realistic desire images in order to eliminate the abstract structure of the concept of desire according to the temporality of reversible light and acquire aesthetic value in the shade of light.
Therefore, the principle of simultaneity of the desire structure abstractly designs the concept of desire and implements the object of the image of desire lacking from unconscious desire into the existing structure of reality.
Desire images are another woman whose Mona Lisa is unknown, creating mirror images to form a face similar to that of mirror images, and openly decorating the background of desire with linguistic structures to realize a deficient desire structure in which the meaning of the real image seems identical.
In addition, Choi Chul-joo's abstract design desire theory creates an abstract image of desire in reality, and interprets the concept of abstract desire as a real image by separating the object seen as the gaze and gaze of desire from the image of desire into the abstract existence of unconscious desire.
In this way, when the Mona Lisa expresses the structure of desire as a subject of gaze, it forms the structure of desire by designing the meaning of conscious language as a real image that looks at the meaning of conscious language with a gaze. The Mona Lisa, the subject of unconscious structure, recognizes it as the object of gaze as the subject of desire and creates abstract desire as an image. / Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 64
Art Critic Louis Choi Chul-joo Criticism [64] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025
Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window-sketch, 113X165cm, acrylic and composite materials on cloth, 2025
a portrait of a mirror reflecting its desire on the window
The mirror applies a red pigment, an oxide of mercury and lead, to the back of the glass plate as a material, blocking light, illuminating the object head-on and reflecting light to make it look the same as the object.
Therefore, when the back of the glass is dark, the left and right are reflected in a changed shape when looking forward like a mirror.
A picture image is an image of a canvas that has been drawn so that you can observe and see the same image as the mirror.
The linguistic meaning of the concept of desire, which consists of a glass-reflected portrait in a reversible shade of light, is an image of the same structure as a photo mosaic image of a small glass.
It shows an event scene or a realistic structure of images composed of reversible shades of light in several directions.
The symbolic structure in the scene of the event is an image in which the subject is divided by lack of desire. This is identified with the linguistic meaning of the concept of desire and the meaning is repeated through the design of the image.
In this way, as the image becomes symbolic according to causality in the symbolic structure, the essential image of the deficient desire is reflected on the window.
Windows focus their eyes on the inside and outside, depending on the brightness of light. When the inside of a window is dark, it reflects the outside image like a mirror.
This allows the structure of desire as a subject to derive a phenomenal image so that the linguistic meaning of the culturally deficient concept of desire coincides with the actual structure.
The cross section of the window repeatedly reflects a fixed subject and specifies a bright area with artificial lighting.
The atmosphere containing air as a medium of light is different from what it looks and what it looks like, and the light in the sky comes from temporal and diverse cultural positions.
It sends reversible light from the sky. The light from the sun illuminates objects that exist for a long time but are now.
This abstracts the desire of others in past event images into the same real structure as the linguistic meaning, and reflects sky light through windows and windows, showing the reality of the essential image of desire that is lacking as a conceptual subject of desire.
In this way, the subject of the absence of desire identifies the portrait of the mirror reflected in the window with oneself, like an imaginary infant.
Portraits reflected in windows form self-identity in the shade of reversible light, and the linguistic meaning of the concept of desire is reproduced as a mosaic photographic mosaic image of a small glass to form the self as the same image.
The portrait of the desire mirror in the window created in this way constitutes a portrait depicting the abstract concept of desire as an event image as the same image as the linguistic meaning, or depicting the person seen through the window as a meaningful action of the concept of desire.
Therefore, a portrait of a particular desire structure reflected in a window reflected in a mirror is like an abstract painting that does not exist in the visual system. This creates a phenomenal structure for an abstract linguistic image that does not exist as a being facing the desired gaze drawn on the canvas.
As an abstract structure that communicates with the desires of others, the existential structure that communicates with the linguistic meaning of the concept of desire to equate the concept of desire with abstract existence looks different in the hue of fixing shape and light depending on artificial lighting.
Thus, abstract design methods of desire structures capture existential structures and repeatedly design real images in reversible shades of light, so that the structure of the gaze and the gaze seen by the gaze become objects of the same meaning.
Image painting the subject of desire structure makes abstract desire concepts into rough sketches of images in the linguistic sense, making the desire background a reversible shade of light.
Unlike visible light, which distinguishes the phenomenal structure, reversible light returns to the position of an object shared with the previous time. It is reflected in the direction illuminated on the dark window surface or bent in shape as the fish in the pond moves.
In this way, the subject of the desire structure is reversible light, and the meaning of unconscious language is structured as an image.
Additionally, it is confirmed that the image of the abstract desire concept cannot match even though the linguistic meaning is the same by deriving the deficient desire of a specific desire structure as a phenomenal image and interpreting it in a linguistic sense. As a result, the image becomes abstract even though the linguistic meaning of the desire concept can be transformed into a real image.
Here, the reality of the linguistic meaning desired by the subject of desire lacking to be abstracted as a real image is specified, and the object is matched to a portrait of a carved mirror as the existence of desire lacking in the window.
In this way, the abstract concept of desire is an image in a linguistic sense, and the object reflected in the window faces the object of reality as the left and right change.
In other words, as an object of desire, the image of the event is identified with the image of meaning according to linguistic sociality, and the mirror image reflected by reversible light on the window is portrayed as the desire of the other.
In the linguistic sense, the desire structure interacts with the poetic perception of the real image in the concept of abstract desire.
In social phenomena, this expresses the subject of desire in reality as the same concept of event image and desire structure.
Morning glory Poster 139 Image
Reversible light abstracts reality as a shadow of light because it becomes phenomenal when viewed in detail as a specific invisible desire structure.
Here, when drawing an event image as an abstract desire object, the progression applying the Choi Chul-joo desire formula is designed as a desired and noticeable characteristic reality of the linguistic meaning of the abstract desire concept specified as a specific phenomenal structure of the other's desire to acquire a realistic image that obscures the abstract desire structure.
In this way, the abstract design method according to the desire formula conceals the linguistic meaning of a specific abstract desire concept with a reversible shade of light and draws abstraction as a realistic image.
Therefore, abstraction as a realistic image is a correlation between the linguistic meaning, or desire concept, interpreted from the other's desire specified in the abstract desire concept, and the linguistic meaning structure inductively interprets the other's desire as an event scene in which the abstract linguistic meaning is related to the inevitable reality based on objective standards.
However, it is challenging to match the grammatical structure with the linguistic significance of the abstract desire concept as a reality. As a result, a formal grammatical structure creates a sentence using the concept of abstract desire that can be seen as a phenomenon, and the meaning of a generated grammatical language is transformed into a formative image as a shaded structure contrasted with reversible light.
Therefore, in the process of realizing the concept of desire, the object is transferred to a real image as the existence of a specific deficient desire as an act of linguistic meaning and expression desired by the subject of desire.
In this way, the concept of desire is repeatedly designed to reveal a portrait of a mirror reflecting desire in the window by equating the image as a conscious reality structure in the process of unconscious linguistic meaning.
This distinguishes between a figure that looks like a mirror portrait of desire in a window, and the object around it, but the perspective size of the object is not applied and emphasizes the subjective effect of the desire structure as a shaded complementary color afterimage of reversible light.
The linguistic semantic structure expresses an abstract image based on the subject of the other's desire according to culturality. This is a representation of the concept of desire that avoids unrealistic abstraction, and by drawing the symbolic symbolic symbolic system as a real image, it becomes an abstraction in which a realistic image that deviates from the perspective system is collaged.
The symbolic subject of the abstraction is a symbolic system that correlates with the desire of others who identify with the linguistic meaning of the concept of desire.
This is a portrait of a mirror reflecting desire on a window that identifies the symbolic subject of the symbolic world and the image of Choi Chul-joo's pond, the background of desire./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, a contemporary art critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 65
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: 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----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 66
Art Critic Louis Choi Chul-joo Criticism [66] 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: Picasso's "Virgin of Avignon (Le Bordel d’Avignon)" VS Choi Chul-joo's the definition of conceptual abstract realism abstraction
"Virgin of Avignon" by MoMA
"Virgin of Avignon" by MoMA
Picasso's "Virgin of Avignon (Le Bordel d’Avignon)" VS Choi Chul-joo's the definition of conceptual abstract realism abstraction
In Picasso's "Virgin of Avignon," the virgins as a signifiant image are subjective objects of symbolic structure, with desire as an unconscious linguistic meaning created by Picasso.
As a symbolic structure, the face and mask of a virgin are symbolic devices of the symbolic world that cover the desires of others with masks, creating a gap that is divided from reality. By seeing the gap as a reversible light, it allows us to recognize the structure of realism in reality. This defines conceptual and abstract realist paintings as a methodology for drawing the present subject.
Therefore, the definition of conceptual abstract realism abstraction is that the subject's structure is realized as a shaded structure of reversible light because it repeatedly visually recognizes the illuminated form according to the past temporality. In other words, the object is repeatedly shown with the present gaze according to the temporality, and the philosophical result that the concept of the object can be predicted with abstract causality is conceptual abstract realism abstraction.
In the symbolic world, the other's object is alienated from the lack of desire as a non-verbal meaning and loses its essence as the subject of desire, dividing it into Avignon's virgins, regarded as an abstract desire concept according to grammar disclosed as a symbolic image of existence in the previous stage of linguistic meaning.
As a result, Avignon's maidens choose the other's desire structure and make it meaningful as seeing the maidens in a linguistic sense rather than the image of the maidens as the subject of the desire structure.
In this way, virgins are images that lack linguistic meaning, and the desire structure is re-embodied, and the image of linguistic meaning becomes a new conceptual abstract realism image by repeating the design as an ex post effect of another desire structure.
Therefore, the direction and viewpoint of reversible light are all stages of the perspective visual system according to temporality, and the line space of the visual structure, that is, the linguistic image constitutes the desire structure, and the reversible light that constitutes the effect of the post-image has a intersection in the existential position with continuity.
At the intersection, the maidens create a multi-loyal structural image of the linguistic meaning of the unconscious structure composed of shades from the perspective and the multiple points of reversible light separated from the perspective of perspective, and the maidens are abstracted as divided subjects as flesh that can be momentarily stared at while being dismantled from the point of view of the stereophonic monolith.
As a divided subject, it acts as an existential image of the concept of abstract desire as an image with the same linguistic meaning as a virgin and self as a mirror image reflected in a pond.
Divided into the structure of desire in imagination, "Virgin of Avignon" consists of real images as self by equating conceptual abstract realism images with mirror images by mistaking chicks for young chickens in imagination.
Here, by equating the other's desire with the mirror image and stating the linguistic meaning of the image as a statements image, the ego acts as a linguistic meaning representing the other's desire.
As a linguistic meaning, the subject of the image structures the image like grammar with an object that specifies unconscious desire.
Picasso's "Virgin of Avignon," viewed from Choi Chul-joo's conceptual abstract realism perspective, is a prototype abstraction of conceptual abstract realism that reveals the dismantling structure of reality and desire before language beyond the conceptual abstraction of stereotacticism.
This is not a stereoscopic painting that simply dismantles the sign and reconstructs the structure of desire, but creates traces of desire that have not been linguized through the separation of signified image as a form and meaning as a linguistic meaning. This collides with the Lacan imagination and the real world and is read as Choi Chul-joo's conceptual abstract realism.
As the gaze of the other, the eyes of the maidens stare directly at the viewer, and form a structure in which the viewer is staring and staring at the same time, forming a visual structure with the concept of the other's desire.
The visual structure of the concept of desire interprets the nude images of virgins as a visual device in which sexual desire and death impulses intersect. In particular, as a structure of desire, it is interpreted as a visual device that creates a conceptual abstract realism image by colliding the African mask of the two women on the right with the female image in a linguistic sense as reality.
In "Virgin of Avignon," the clash between linguistic meaning and image implies an irony between the image of "Virgin" and its linguistic meaning, and its image and meaning reveal a division of desire through inconsistency.
As a reversible shaded structure of light, the linguistic instability of the lack of desire transfers to a conceptual abstract realist image as the present existential image, as the nude of the maidens equates with the principle of simultaneity of Cubism on both the front and the side with a reversible shaded light that does not distinguish direction and position.
The five virgins, interpreted as the other's desire structure, are no longer subjective characters, but symbolic desire beings composed of the other's desire structure. In particular, the African mask faces of the two characters on the right are traces of the other's gaze dismantling the subject of the desire structure.
The destruction of a viewpoint using Picasso's principle of synchronicity is the same as the multiple viewpoint in which Choi Chul-joo's desire structure is used as an image in a linguistic sense. This is not just a visual experiment, but it symbolizes the collapse of linguistic unity. In other words, it is a visualization of the divided self of modern people and is the core structure of conceptual abstract realism.
The composition Picasso borrowed from Cezanne's "Women in the Bath" is not just an imitation, but the same as creating an image by connecting the present with a shade of reversible light in Choi Chul-joo's conceptual abstract realism. This is not just an homage, but functions as a device of symbolic reproduction through repetition and difference of the desire structure.
Therefore, the 'Virgin of Avignon' is not just an image of the concept of Cubism, but a cause of the structure of desire that interprets the visual language meaning that reveals the structure of unconsciousness and desire in modern society as an image. This is a philosophical result that cannot abstractly define the structure of desire according to the object and causal relationship that embodies the structure of desire.
This is a philosophical result that cannot abstractly define the structure of desire according to objects and causality that specify the structure of desire, establishing events as a subject image of desire as an exemplary example of conceptual abstract realism through the dissolution of reality before language, the desires of others, and symbols.
Here, conceptual Abstraction Realism Abstraction is constructed to question the philosophical consequences that can be predicted by causal relationships, and the subject image asks what the desires of others want. And it maintains the abstractly specific subject of desire that must exist as a concept of desire as a conscious action.
The conscious behavior dismantles symbolic language and embodies a visual object in which significance separates it from the image of the signifiers as a linguistic meaning. And the object designs an image of linguistic meaning at the level of statements consciousness as an image and is transferred to the desire structure of unconscious images in the dimension of enunciation act.
Therefore, the conceptual abstract realism painting of desire becomes a structure of desire that visualizes the philosophical psychological structure as a conceptual abstract realism of the concept of imperceptible desire and the linguistic desire at the level of expressive consciousness and becomes a device of desire that painterly reveals the image of reality before the linguistic meaning. Here, it becomes an object of desire at the intersection of conceptual abstraction and unrealistic realism that represents insufficient desire.
In this way, conceptual abstract realism abstraction is a map of unconscious desire that reveals the hue and form of invisible desire in reversible shades of light./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, a contemporary art critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 67
Art Critic Louis Choi Chul-joo Criticism [67] 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: <Choi Chul-joo, Island Gyebangdaedo>, which became a landscape as a meaning of an old story
Louis Chul-joo Choi, 최철주섬계방대도(崔徹柱剡溪訪戴圖), 6X6cm, acrylic and composite materials on vinyl, 2021
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)
Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.
A shape abstracts the concept of a realistic structure and determines its shape by a reversible shade of light, but as the entire shape is obscured, the shape is summed up in monotone.
Louis Chul-joo Choi, 최철주섬계방대도(崔徹柱剡溪訪戴圖), 6X6cm, acrylic and composite materials on vinyl, 2021
<Choi Chul-joo, Island Gyebangdaedo>, which became a landscape as a meaning of an old story
Choi Chul-joo's Island Gyebangdaedo is a landscape painting composed of paintings of the ancient Chinese Yuan Dynasty, and is the same as the Island Gyebangdaedo. The realistic structure is abstracted into hues by inserting reversible shades of light into the island's atmosphere.
It is not just a landscape painting, but a conceptual realist image that combines literary old stories and conceptual abstract realism art. This work is a modern reinterpretation of the old story of the ancient Chinese Yuan Dynasty's Hwang Gong-mang, "Island Gyebangdaedo (剡溪訪戴圖)" which visualizes abstract concepts as realism paintings through reversible shades of light according to each other's desires and timeliness.
Therefore, images are abstractions that match shapes and concepts with contrasting light that illuminates the place of the shade with shades.
Choi Chul-joo is a representative example of conceptual abstract realism painting as a treacherous conceptual art that attempts a conceptual return of contemporary painting through this work and replaces the place of reality with the desire of others.
He abstracts abstract concepts like Jasson Pollock's dripping paint as "a landscape that stops temporality in abstract space and is fixed as an object without a subject" and abstracts past the boundary between existence and non-existence as materialistic realism paintings.
Rather than an aesthetic structure that forms the value of an image in a phenomenal concept, it is a literary painting that speaks of life experiences in accordance with abstract concepts and the meaning of death. It looks like a Time landscape from the past time when I saw it as a discipline, not distinguished from images.
This does not simply reproduce images of conceptual abstract structures as landscapes featured in old stories, but abstracts realistic structures into shades through reversible shades of light.
Hwang Gong-mang's Island Gyebangdaedo (剡溪訪戴圖) drawing forms linearly and determines perspective treatment as a joke of ink, but Choi Chul-joo Island Gyebangdaedo darkens the shadow of the object with reversible light with pointillism, overlapping the experience and timeliness of the impression with color points.
It refers to an island by exaggerating the small stream of water in the valley in contact with the landscape with its color tone and the structure of the shade treated with reversible light.
Wang Ja-yu, who visited his friend there by boat, was excited and went there, but after God disappeared, he described mountains and water, saying, "Do I have to meet you?" (何必見戴), but it is the same as Choi Chul-joo's "Island Gyebangdaedo" and "morning glory", which represents desire.
The "morning glory" conceptual abstraction by mirroring the unrealistic desires and unrealistic objects of desire.
As an imaginary world, Choi Chul-joo's "Island Gyebangdaedo" calculates the difference between the mountain and the river's landscape facing the desires of others by the color of the river.
This was adapted to the subject of the concept of artistic desire by representing the romantic historical events with the desires of others.
Like the consultative mise-en-scène of ancient history, desire and valleys are equipped with color dots as visual materials.
From the water surface of the valley to the outline of the mountain, the surface of the mountain, which is overlapped with the maple color according to time, is composed of very short color dots.
Composition conveys the meaning of old stories and combines perspective and color to form an inseparable volume.
By fixing the perspective shape with color dots, the volume is formed with a color tone simply treated with color sensitivity.
This is a formative effect that embodies the meaning of an old story, but it does not reveal reality like a pictorial photograph, but expresses formative reality through literary recognition. In other words, it is a beautifully abstract painting with the meaning of the previous story as an abstract landscape
By stopping repetitive temporality in abstract space, the picture is fixed in abstraction as an image of an object without an object.
This is a physical shading structure in which reversible light is added to the color tone, unlike the picture of the Hwang Gong-mang's painting, which sweeps the contour into a shading structure. The structure abstracts the concept of referring to an object in which realistic outlines and abstracts are non-realistically overlapped, such as the 'Choi Chul-joo morning glory'.
Louis Chul-joo Choi, 최철주섬계방대도(崔徹柱剡溪訪戴圖), 6X6cm, acrylic and composite materials on vinyl, 2021
In "<Choi Chul-joo, Island Gyebangdaedo>", pointillist treatment superimposes the experience of temporal and landscape impression with color dots instead of the traditional Zen tombs of the Yuan Dynasty, expressing the phenomenal structure with paint as a new technique of material realism.
<Choi Chul-joo, Island Gyebangdaedo> is a conceptual abstract reflection of non-realistic objects, that is, a non-realistic image centered on the desires of others, reflecting the concept of desire like a mirror, blurring the boundary between reality and imagination.
The "Island Gyebangdaedo" is an imaginary world, and the difference between streams and arithmetic is calculated in color as a pointill on the mountains of streams faced by the desire of others. Therefore, as the same literary conceptual painting image as "morning glory", it is defined as a conceptual abstract realism painting that unravels the meaning of an old story through life experiences and philosophical thoughts, not a simple aesthetic structure.
It visualized abstract concepts through shadow structures in which light disappears and reappears, unlike classical shades. Through the interaction of light and shadow, the traces of temporality and existence were expressed as the desires of others, and the abstract concepts were visualized through reversible shades of light.
The color point, which expresses the surface of the mountain as very short and small points, is a way to express the overlapping of the passage of time and the sense of color by emphasizing the phenomenal structure instead of the line drawing through point-by-point color processing, and it formed an aesthetic space by connecting it with the blank beauty of oriental ink painting.
This communicates the meaning of the old story, combining perspective and hue to form an inseparable volumetric landscape, repeating the volume of the landscape in hue, and forming a fixedly colored perspective in hue.
In addition, the expression of arithmetic is the same as Choi Chul-joo's Thread Painting, which uses thread and paint together to break the boundaries between embroidery and painting, and expresses the timeliness of sensory desire, combining the physical texture of modern painting with color points.
Abstract landscapes are images composed of the desires of others by applying non-existent concepts to express reality as literary perceptions like realist photographs, reflecting reality like mirrors, but forming a structure that does not exist. The landscape in the picture image of the old story is composed of a subjectless gaze, and the structural boundary between existence and absence is produced by material realist paintings.
And by fixing the painting as an aesthetic object without a subject who has stopped temporality by repeating the design in the abstract space, <Choi Chul-joo, Island Gyebangdaedo> conceptually returned to the Yuan Dynasty's ancient island-Gyebangdaedo as a literary painting structure and composed a conceptual abstract realism painting as an image of life's philosophy and linguistic meaning structure.
By stopping repetitive temporality in abstract space, the picture is fixed in abstraction as an image of an object without an object.
This is a physical shading structure in which reversible light is added to the color tone, unlike the picture of the Hwang Gong-mang's painting, which sweeps the contour into a shading structure. The structure abstracts the concept of referring to an object in which realistic outlines and abstracts are non-realistically overlapped, such as the 'Choi Chul-joo morning glory'.
The conceptual art of "Choi Chul-joo morning glory" is an abstract idea attributed to the art theory of the concept of desire. As a result, the concept is abstracted into traces of practical formality and reversible shades of light as a non-realist with the theme of the desire of others.
This place where abstractions are illuminated forms a stream of abstract concepts where the realistic structure is omitted.
The creek is positioned by irregular dots that extend to the middle of the mountain and its shape structure reflected in the stopped waves. This forms the aesthetic needs of the literary old story where the life seen as a dot has settled, and shows linguistic sensitivity by illuminating the value of life in the stream with the imaginary mountain as a reversible color point of light. And it makes a mountainous landscape appear as a reversible light with a volume of a dot about a life hidden in a stream. This refers to the value of life as the cognitive structure of desire hidden in timeliness time. It is an abstraction of the non-real structure as a conceptual form as a structure of the same meaning.
"Choi Chul-joo Island Gyebangdaedo" is a modern conceptual art that abstracts the meaning of an old story in the process of realizing the concept.
This creates a life pattern according to the symbolic landscape of the story and abstracts it in abstract shades.
The Island Gyebangdaedo, where one meaning that does not distinguish the genre of the image has become a conceptual landscape, faces the gaze from an abstract perspective./ Writing. Art critic Choi Chul-joo (abstract painter & Doctor of Cultural Design)
Choi Chul-joo, a conceptual abstract realism painter----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 68
Art Critic Louis Choi Chul-joo Criticism [68] 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: In Renaissance art, which opened up the image of contemporary art, "2025-Mona Lisa"
Leonardo di ser Piero da Vinci, Mona Lisa, 77×53cm, Collection: Louvre Museum
In Renaissance art, which opened up the image of contemporary art, "2025-Mona Lisa"
In Renaissance art, which opened up the image of contemporary art, "2025-Mona Lisa (La Joconde)" refers to the aesthetic desire that spread from aristocrats to merchants. This is where the desire of the other to monopolize the artistic value of contemporary art is established.
The concept of desire is humanism, which deviates from religious creativity.
"Mona Lisa" abstracts the mysterious image saved by Da Vinci(Leonardo di ser Piero da Vinci)'s sfumato technique as the outline of reality as an image beyond the mysterious atmospheric effect of the color of the object, which is the background of desire.
Abstraction is established as an aesthetic effect of safe desire with object on the face of the Mona Lisa and a background on the left.
From the background, the image of desire mediated by object and Mona Lisa is repeated, showing an abstract reverberation effect in the shadow of reversible light.
As a reverberation effect, the background of desire were properly placed behind the object so that the gaze could lead from the object to the Mona Lisa, the background of desire, and the gaze was focused on the object and connected to the face of the Mona Lisa as the subject of desire.
And by creating a position facing the Mona Lisa in the obect, the gaze is directed to the Mona Lisa, the subject of desire.
The metaphor for the concept of desire The Mona Lisa is replaced with a desire image in the object, and the object is demarcated into the background of desire. Here, the gaze of desire focuses on the Mona Lisa with a red window structured into a frame.
As a Renaissance thinking, it has a desired meaning with the object of desire, as an allegory.
The object is an abstraction that shows the real world of desire as a subject by linking the image of desire with a sensus allegoricus that explains other meanings beyond the literal meaning, and the object window interprets the demarcation problem between objects and desires as a symbolic metaphor in the meaning of the text.
Unlike the conceptual art of Dadaism, which transforms the image of the object as meaning, this materializes the object of desire and realizes the subject's desire structure in the shadow of reversible light.
As a reality, the desire structure is the object, and the Mona Lisa becomes the object of the cause of creating the desire structure as an image symbolized in the object through the relationship of symbolic expression made by the Mona Lisa as a object.
The simultaneous function of the desire structure and the real image reveals the underlying image in which the meaning of the concept is integrated into the desire image as a retroactive effect, and the Mona Lisa, who metaphorized the image, hides in the desire concept.
As a fundamental image, the Mona Lisa is disclosed as the first concept of desire and reaches a symbolic conceptual abstract realism image as a deliberate abstraction. / Writing. Art critic Choi Chul-joo (conceptual abstract realism painter & Doctor of Cultural Design)
Choi Chul-joo, aconceptual abstract realism painter----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 69
Art Critic Louis Choi Chul-joo Criticism [69] 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: Millais's Ophelia Choi Chul-joo Art Criticism
John Everett Millais, Ophelia, 76×112cm, collection: Tate Britain
Conceptual Abstract Realism Painting of the Theater Scene, Millais's Ophelia Choi Chul-joo Art Criticism
John Everett Millais's Ophelia visualizes Ophelia's death in Shakespeare's Hamlet, creating a naturalistic detailed background and tragic romantic image of Ophelia reflecting the desire for love reflected in the pond structure.
The surface of the water, which is placed alongside the structure of a pond that has stopped in the flowing river, transforms into a mirror image when viewed forward like a mirror in the dark. As a result, Ophelia is a realistic image that is drawn so that it can be seen by observing the same appearance as a mirror image.
The Ophelia image, which is a linguistic meaning of a desire death composed of reversible light shades, shows a realistic structure in which images illuminated by reversible light shades in several directions produce a single theatrical scene.
This is an image that divides the contrasting description of nature and death as a desire that lacks a symbolic structure in the theatrical stage scene according to its scientificity. As the subject of desire, the linguistic meaning of death and the image described by observing the pond are identified, making a tragic death that is closer to a fantasy than reality ideal.
The symbolic structure in the theatrical stage scene is an image in which the subject is divided by insufficient desire. This is identified with the linguistic meaning of the concept of desire, and the meaning of death repeats through abstraction as a conceptual image of death set in the image of a pond where the river flowing as a symbol of tragic love and war stopped.
Here, Ophelia's tragic symbol is a theatrical theme, "Wrong love and war end in death," and Ophelia's death becomes a tragedy caused by the conflict of love and power.
It accurately depicts Ophelia as a botanical form in harmony with the plants and plants around the drifting river, contrasting Ophelia's tragic moment of death with the pond structure that stopped the drifting river, giving it a stronger emotional shock.
As such, he reflects the essential image of death as a desire lacking in the pond structure by becoming a symbolic being according to causal relationships in the symbolic structure.
The water surface of the flowing river draws attention in and out depending on the brightness of the light. When the inside is dark, it reflects the external image like a pond. This derives a phenomenal image with the desire structure as the subject so that the linguistic meaning in the culturally deficient theatrical structure is reflected according to the idealistic structure of Pre-Raphaelite and reflects it according to the realism image. It was pure and honest artistic idealism, which contrasted the pre-Renaissance pure and honest artistic idealism with the pond structure in and around Ophelia, stopping the association of death with the head and upper body and giving the lower body a sense of rhythm in the flowing river.
In the early Renaissance, it emphasized elegance by regenerating transparent colors as a pre-Raphaelite art, and captured the complexity of human emotions and the purity of flowing rivers and desire in Ophelia's facial expressions and postures with a realistic image of idealistic structures through detailed natural depictions.
The flowing river repeatedly reflects the stationary subject and specifies the bright part in the solar light.
The atmosphere, which embraces air as a medium of light, sends the light directed at the place where the theater stage is reconstructed according to the temporal and various directions of the sky light. The light starting from the sun shines on Ophelia as an object in the present, even though it is at a long time.
This shows Ophelia's reality as an essential image of desire that is lacking as the subject of the concept of desire for cultural desire. Like the image of a window in which sky light permeates through a window, Ophelia's reality as an essential image of the other's desire in Shakespeare's plays as an essential image of a past theater image shows the reality of Ophelia as an essential image of a desire that is lacking as a subject of the concept of desire as an actual stage structure of a window through which sky light passes through a window with the same linguistic meaning.
As such a lack of desire, the subject of death equates Ophelia reflected in the pond with the character of the play in the imagination, and although Ophelia's death is a tragic and dark event in Shakespeare's original work, Milay aestheticizes death and reconstructs it into a beautiful and peaceful image from a cultural perspective.
By illuminating Ophelia as the main character in a reversible shade of light, the identified self is formed, and the linguistic meaning of the concept of desire is reproduced as a mosaic pond image in a small piece in an Ophelian image to form the Ophelian self with the same image. The stage image of Yeonguk created in this way constitutes a realistic portrait of Ophelia drawn as a meaning action of the concept of desire. In other words, it is an abstract painting that is "a painterly attempt to sublimate death aesthetically" as a conceptual realism painting and provides viewers with a new sensory aesthetic experience of death.
Ophelia's concrete structure of desire reflected in the pond structure that brought the river to a standstill is the same as the abstraction that exists in the visual system. This is a phenomenal structure in which the boundary between nature and humans is dismantled by realizing an image of abstract linguistic meaning that does not exist as a being facing the desired gaze drawn on the canvas.
He said that the moment the boundary between nature and man is blurred in Ophelia, Ophelia's body is floating in the water, but the nature surrounding her is lively and detailed, blurring the boundary between death and life.
He tried to aestheticize death as an abstract structure that communicates with the other's death in order to equate the concept of desire with abstract existence, and the existential structure that communicates with the linguistic death meaning made the concurrent color tone look different depending on the spatial structure.
Accordingly, the abstract design method of the desire structure captures the existential structure and repeats the real image as a shaded color of reversible light so that the gaze and the structure of the gaze subject are the same object of meaning, expressing Ophelia's death as a beautiful and peaceful image rather than painful.
Drawing the subject of the desire structure as an Ophelia image as a theatrical character creates an abstract desire concept with an image in a linguistic sense as a theatrical stage space to match the shape and color of the desire background with a reversible shade of light.
Unlike visible light, which distinguishes the phenomenal structure, reversible light returns to the position of the object that was shared with the previous time. This is either reflected in the direction illuminated by the dark river surface, or when Ophelia lying in the river moves, the light bends and refracts.
Millais explores new possibilities of painting through extremely realistic natural descriptions of Ophelia. This is an experiment that expands the language of painting, and Ophelia's facial expressions and postures as a linguistic meaning of death are a preliminary stage of linguistic meaning, revealing the inner psychological state as a visual image.
As Ophelia moves, it bends in a direction reflected in the direction reflected on the dark surface or bent in shape.
In this way, the subject of the desire structure is reversible light, and the meaning of unconscious language is structured as an image.
Additionally, it is confirmed that the image of the abstract desire concept cannot match even though the linguistic meaning is the same by deriving the deficient desire of a specific desire structure as a phenomenal image and interpreting it in a linguistic sense. As a result, the image becomes abstract even though the linguistic meaning of the desire concept can be transformed into a real image.
Here, it specifies the substance of the linguistic meaning desired by the subject of desire, which does not need to be abstracted into a real image, and matches the object with the pond-structured Ophilia created by the pieces of the river as the existence of the desire lacking in the river.
By visualizing inner conflict and death as objects of desire, the theatrical image is identified with the image of meaning according to linguistic sociality and abstracted into the desire of the other reflected by the light that can return to the pond-structured.
Desire structure in a linguistic sense is an abstract concept of desire and correlated with intermittent perception between real images. It represents the real desire subject as the same concept between Enkuni image and desire structure in social phenomena.
It abstracts certain desire structures that are not seen as reversible light as "betrayal conceptual art" that visualizes concepts as realist images instead of recreating reality.
Here, when drawing a theatrical image as an abstract desire object, the progression applying the Choi Chul-joo desire formula is designed as a desirable and noticeable characteristic reality of the linguistic meaning of the concept of abstract desire specified as a specific phenomenal structure of the other's desire to acquire a realistic image that obscures the abstract desire structure.
In this way, the abstract design method according to the desire formula conceals the linguistic meaning of a specific abstract desire concept with a reversible shade of light and draws abstraction as a realistic image.
Therefore, abstraction as a realistic image is a correlation between the linguistic meaning, that is, the desire concept, interpreted from the other's desire specified in the abstract desire concept, and the linguistic meaning structure inductively interprets the other's desire in a specific phenomenon of the actual structure as a linguistic grammar structure in which the abstract linguistic meaning is related to the inevitable reality based on objective standards. .
In other words, Ophelia's inductive interpretation as a linguistic grammatical structure is a victim of love and power in Shakespeare's plays, but emphasizes the natural landscape in the painting as an abstract image of desire that visualizes the landscape of inner desires and emotions.
However, it is challenging to match the grammatical structure with the linguistic significance of the abstract desire concept as a reality. As a result, a formal grammatical structure creates a sentence using the concept of abstract desire that can be seen as a phenomenon, and the meaning of a generated grammatical language is transformed into a formative image as a shaded structure contrasted with reversible light.
Therefore, in the process of realizing the concept of desire, the object is transferred to a real image as the existence of a specific deficient desire as an act of linguistic meaning and expression desired by the subject of desire.
In this way, the concept of desire is repeatedly designed to reveal Ophelia reflecting desire in the river by identifying the theatrical image as a conscious reality structure in the process of unconscious linguistic meaning.
This distinguishes between Ophelia and its surrounding objects, but emphasizes the subjective effect of the desire structure as a shaded complementary color afterimage of reversible light without applying the perspective size of the object.
And according to the reversibility of the subjective existence, Ophelia's image reveals how the desire structure, in which the boundaries between life and death, love and hatred, reality and fantasy are reversed and intersected, transcends artistic reality.
Ophelia's death is interpreted as a symbol of pure and oppressed women in Shakespeare's original work, but Millais visually recreates the image of purity and women as the meaning of death. It is also linked to a Victorian female figure at the time, and at the boundary of death, Ophelia's image of death acquires a sacrificial image in a linguistic sense.
The linguistic semantic structure expresses an abstract image based on the subject of the other's desire according to culturality. This is a representation of the concept of desire that avoids unrealistic abstraction, and by drawing the symbolic symbolic symbolic system as a real image, it becomes an abstraction in which a realistic image that deviates from the perspective system is collaged.
The symbolic subject of the abstraction is a symbolic object that correlates with the other's desire, which is identified with the linguistic meaning of the concept of desire.
It has the meaning of a conceptual abstract realism abstraction based on Ophelia, which reflects the image of desire, which designs the flowing river as a pond, the same as Choi Chul-joo's pond structure, which is the symbolic subject and background of desire.
Ophelia, which reflects desire, is a conceptual abstract realism painting drawn from abstract structure as realism in a linguistic sense, and is an aesthetic image as an abstract being that exists in the real world.
As an aesthetic structure, a picture has a linguistic meaning that literary distorts the reality distinct from the image existing in the real world in an abstract concept.
This is realism, which interprets the concept of abstract desire as an expressive image with linguistic meaning and an actual structural image.
Here, by applying existential semantics using the object of the realist structure as a theatrical image, it is an image depicting the death of Ophelia in Shakespeare's Hamlet, and it is specified as a realism abstraction by equating the abstract structure with conceptual reality.
The actualization of Ophelia as a shaded structure of reversible light by the subject's structure specifies the present object as reversible light so that the illuminated form can be repeatedly visually recognized according to the temporality of the last play. And according to that temporality, Ophelia's death is directed with the present gaze.
Ophelia's desire, which is lacking as a non-verbal meaning in the present time, is alienated and the essence as the subject of desire is lost, and it is disclosed as a symbolic image of existence in the entire stage of linguistic meaning. The image is divided into a realist image, which is regarded as an abstract desire concept according to grammar, and the realist image of death as the subject of the desire structure has meaning verbally and anachronistically in the play.
Thus, as an image lacking the linguistic meaning of love that Ophelia abstracts, the desire structure is re-embodied, and the image in the linguistic sense is repeatedly designed as an ex post effect of another desire structure. According to the chain of design, the direction and viewpoint of reversible light constituting the image are all stages of the perspective visual system according to temporality, and the line space of the visual structure, that is, the space-time in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image are abstracted as images with the same linguistic meaning at the intersection.
This is an abstraction of Ophelia's desire as a conceptual abstract realism, which visualizes the philosophical and psychological structure as a conceptual abstract realism of insufficient and linguistic desires that cannot be recognized at the level of expression consciousness, and abstracts as a linguistic realism that intersects unrealistic and conceptual abstractions to express images of insufficient desires. "Conceptual abstract realism painting is a conceptual abstract realism abstraction that reveals the hues and forms of realism in the reversible shadow of light that obscures the desires of others, and as a map of unconscious desires."
The linguistic meaning in the symbolic world is only a continuous symbolic existence for abstract objects. The rendering of this existence as a conceptual abstract realism image is a Signifiant image. Conceptual abstract realism is abstractly designed and drawn from the image of conceptual abstract realism in reality, an area separated from the realm of the symbolic world that cannot be accepted in the contemporary era. This is typicalized as a new conceptual abstract realism and generalized by forming an event image that appeared in the play as an object for realistic abstraction into an artistic picture using abstraction.
It is the process of equating realistic cognitive structures with theatrical images and abstract concepts of desire of others, and embodying abstract structures as allegorical phenomenal images of reality that express literature.
Louis Choi Chul-joo, 2025-Ophelia 2, a hand-painted picture on a computer
Choi Chul-joo Conceptual abstract realism's definition is a new conceptual abstract theory that combines philosophical concepts, linguistic semantic structures, and visual expressions of reality in modern art, a new realist art trend that goes beyond mere visual abstractions or metaphorical-themed conceptual art wrapped in religious norms without symbolically hiding the desires of others.
Therefore, through the mathematical design of a new literary structure as a result of conceptual abstract realism, the aesthetic structure is grammatically composed by integrating linguistic meaning and realism images, and the desired object is visualized as the death of Ophelia in Shakespeare's Hamlet.
As an object of pictorial structure that reflects current desires, abstract desires are realized when desires with others face linguistic meaning and have aesthetic meaning, and as an object that represents the image in the painting in a desire structure, unconscious desires are divided into unconscious and real images.
Here, the concept of desire is a symbolic metaphor abstracted as an image of reality, and the image is abstracted by the desire of the other, but does not go beyond the scope of an imitative real picture.
Therefore, the concept of desire is applied as a theatrical image to express the object of the real structure as a phenomenal image of the real world and equate the abstract structure with conceptual reality.
Ophelia's death takes a difference from abstract desire concepts to linguistic concepts, embodying abstract images that form desire and relationship structures as real structures created by the linguistic meaning of the conceptual reality of desire structures.
This is the same as the abstraction of Choi Chul-joo's conceptual abstract realism, which hides the formative reality of desire in painting and abstracts the image of reality, away from the social constraints (制約) acceptable in religious customs.
The abstraction is a subjective concept that refers to linguistic meaning, and it is an expressive aesthetic structure that expresses human love as the true value of the concept of necessity and embodies actual affection as an image of linguistic meaning. The abstraction is represented by abstraction, the truth value of the concept of desire, as an expressive aesthetic structure that identifies Ophelia's love.
In abstraction, the abstract reality of desire represents the structure of desire by forming a causal structure of desire, that is, a semantic relationship with desire with contradictory equivalence. In abstraction, which consists of real images as a structure of desire, the formative image of visible metaphor is transferred to abstract language meaning. As a real image, Ophelia's love abstracts the structure of desire by forming a semantic relationship between desire and reality according to temporality.
As a result of exploring the realism according to the temporality, the real is the denaturation fixation realism image as an abstract meaning in which the structure of desire is hidden. In other words, in abstraction, the desire of the other person is transformed into an additional form as an image of social events.
Based on the theatrical image, the realist image induced by social phenomena repeatedly appeared in the real that repeatedly appeared in social phenomena as a desire formula is an area of the real world separated from the area of the symbolic world. The abstraction of the theatrical image is an existential real image as a phenomenal structure with a conceptual abstraction.
He is not satisfied with the illusion in the theatrical image and attempts to escape from the illusion through a shade of reversible light through the desire of a realism picture. Thus, the present conceptual abstract realism is achieved separated from the abstract domain.
Therefore, unlike the perspective visual system system, theatrical realism, which reflects the current abstract concept, illuminates symbolic reality images in which reality and the past overlap with each other with several reversible lights according to the conceptual abstract temporality of the desire structure to create the texture of desire and realize conceptual abstract realism abstraction as the same structure as a single real image.
This is a modern reality image of a conceptual abstract realism painting that is fixed as the desire of the other without showing the abstract meaning and realism image of the object that metaphorically expresses the theatrical image in the theatrical world, that is, the subject and the desire of the other are concealed. The concealment invisible in the play creates meaning as an abstract and an image of a realistic play. However, in the play, by understanding abstract as a reality, the conceptual abstract realism picture as another reality in the abstract is abstracted as an image of a theatrical reality structure that symbolizes modern social desires.
This realist abstraction image composition interprets an abstract object that exists in reality as a subject as a metaphysical structure. This is an object of the concept of desire based on a play as a motif as a social event image in metaphysics for its existence as a real-world structure and is reconstructed as a conceptual abstract realism picture abstracted as a shade of reversible light as an abstraction rather than a theatrical image.
Here, the abstract desire concept, which reconstructs the object of abstract concept into a realistic image, provides a cause that leads to abstraction of a picture represented by a real image as a result by composing images of expressive beings that can be abstracted in the real world.
Thus, the concept of desire interpreted abstractly is produced as a conceptual abstract realism image constructed grammatically by transforming the linguistic meaning into an abstract being within the framework of the literary structure..
The painter of conceptual abstract realism shows another reality that symbolizes religion or political metaphor in painting. In abstract realism, Choi Chul-joo's desire formula is applied to interpret conceptual abstract realism to find symbolic meaning in real expression. Here, the painting equates the linguistic meaning of interpreting the concept of unconscious desire as a category of the symbolic world with the image of conceptual abstract realism.
In this way, abstract realism becomes a typical and abstraction of the actual structure by forming a theatrical image that appeared as an object of realistic abstraction in everyday plays as an artistic picture.
This is a conceptual abstract realism painting, and Ophelia asks the question of the fleetingness and beauty of human existence, and how art can capture it with painting.
In addition, the conceptual abstract realism picture is specified as a conceptual abstract realism image that identifies the realistic cognitive structure as a theatrical image and the concept of the abstract desire of others, which is an allegory phenomenon that literaryizes the abstract structure./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)
Choi Chul-joo, a conceptual abstract realism painter----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 70
Art Critic Louis Choi Chul-joo Criticism [70] 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: The invisibility of Velazquez's <Las Meninas> existential space
Velázquez (Diego Rodríguez de Silva y Velázquez), The Handmaids (Las Meninas),
1656. oil on canvas, 318cm×276cm, Museo del Prado, Madrid
The invisibility of Velazquez's <Las Meninas> existential space
In the Baroque period of the 17th century, as an ideological and atypical painter in absolute monarchy, the character who appeared in Velazquez's "The Handmaids" excludes symbolism from the space of the canvas and emphasizes the realistic presence of the object as a substance. Velazquez solves the problem of gaze perspective in "The Handmaids". First, it decides who the object is, how the arrangement of the characters will be organized, and where the viewpoint will be placed.
And by excluding temporality, the space opens and identifies the king, queen, and Velazquez as they open up to different viewpoints. The appearance of the maids is not a symbolic existence like a mythical woman, but shows the phenomenon of the time and the presence of humans. As an expression of the shape of symbolism, he emphasizes his presence as the subject of reality by gaze at the position in space rather than the characteristic description of the maids.
Therefore, Velázquez does not paint a simple court scene that is tailored to the subjective point of view of the gaze painting according to who sees it and who sees it. He places the power relationship between the 'viewer' and the 'visible' on the canvas. The characters in the painting look at the audience, but the king and queen in the mirror are in the audience's place. In this way, Velázquez asks the question of who is the subject of gaze.
This is the politics of artistic gaze that corrects the wrong gaze as an aesthetic dilemma of "Is the political subject of gaze the subject of power or art?"
In "The Handmaids", the object reflected in the mirror is an illusion, and the object of illusion in the mirror is real. The progression of this illusion is the cutting of the subject by significance. The subject of the object reflected in the mirror is cut into reality as an object of illusion. As an illusion, reality is a non-real being reflected in the mirror and takes place in a circular structure through the mirror as an object of illusion. Here, the semantic function is symbolic by accepting a new subject by Sinifian.
Therefore, in "The Handmaids", the mirror reproduces the object of illusion as a non-real thing. The mirror image in "The Handmaids" in the mirror is not just a reflective device. It is a philosophical device that asks the nature of representation.
Velázquez appears himself in a mirror painting, suggesting that the artist is not a mere non-realist representative of an illusion object but a being who constitutes reality. This repeats the question of "Does the mirror reflect reality or create reality" to the fantasy object as a non-realist.
Significance(記標) is meaning and is cut to accept a new subject. In this way, the cut subject is fixed in a representative shape. In a painting, the space reflected in the mirror is another space in the physical space revealed in the scene of the painting, that is, the reality seen as a 'gaze' that cannot be seen from the point of view of the entire scene of the painting. In order to reproduce the reality seen through such a gaze, the artist in the painting uses a mirror as a material.
Velázquez (Diego Rodríguez de Silva y Velázquez), The Handmaids (Las Meninas),
1656. oil on canvas, 318cm×276cm, Museo del Prado, Madrid
"The Handmaids" is not a space-time as a single mirror material by constructing reality and an illusion space in reality in the picture reflecting the layer of existence as the material of the mirror. In the picture, reality and the fantasy space in reality form another existential space of multi-layered reality.
He cannot see the canvas painted in "The Handmaids", but the object painted in it creates an existential space in reality that can be a king and a queen in a mirror, and creates an illusion space in reality to recognize "the existence of the invisible" as a structure. This expresses the "invisibility of the existential space" as an image space, and what "The Handmaids" reveal as art constitutes a trace of the existential space of the invisible, not the visible.
In "The Handmaids", the mirror is a real representation of time and space that shows us the contemporary space seen by Velazquez. The shape reflected in the mirror is an invisible space, and it is the shape in his time that was seen by Velazquez. The gaze he looks at and the gaze of the other are identified, and it is transferred back to the gaze of the king and queen reflected in the mirror. The gaze moves back to the princess. It shows the reproducibility and gaze that symbolically reveals the princess' situation.
In this way, he reproduces the situation of the princess symbolically and makes her gaze at the status of the artist in "The Handmaids" by creating an existential space as a philosopher, not just a court painter.
He is not just a court painter, but he raises the artist's status to a position equal to that of power by placing his existence in the work. This is "the ontological declaration of an artist who expresses the subject as a self-portrait", so a painting allows us to gaze at the existential space that is not just a decoration but an independent act that constitutes the artist's existential space.
The artist's existential space, which represents the subject of the perspective visual system as a self-portrait, is separated and the gaze point is revealed in a reversible shadow of light. This distinction is a gaze point that focuses on the point where the light is revealed.
Velázquez, who appears in "The Handmaids", sees himself as an object reflected in the mirror and draws it. Another mirror in the painting shows Felipe IV and his wife, Maria Anna. This mirror reflects Velázquez and the king and queen outside the painting, but only the king and queen are reflected in the mirror in the painting.
What cannot be seen by the maids who exist in the meantime is an image that cannot be interpreted with a perspective visual system. Here, if the image reflected in the mirror is real, the mirror shows an image that does not fit the optical principle. Therefore, in "Maidens", the image in the mirror is a virtual non-realistic image, and it is a fantastic image that Velázquez revealed in the unconscious desire of the other.
This is because it is an image that is not revealed in "The Handmaids" and is seen as a non-reality in the perspective visual system. In the picture, the reality of Velazquez is revealed by contrasting the subject Princess Margarita as the other and the subject King and Queen as the absence. And the image reflected in the mirror is an invisible 'gaze' that deviates from the entire point of view. This is a metaphorical image as an inner reality looking at Princess Margarita rather than as a king and queen as a member.
Therefore, as soon as Velázquez's eyes are connected to capture the reflection of the king and queen in the mirror, the gaze continues to an unidentified man (the queen's mastermind) standing at the opposite door. If there are kings and queens reflected in the mirror, the man standing at the opposite door is an image of non-existence. Therefore, the rest of the characters are virtual images as non-existence. By revealing the image seen through such a gaze, Velázquez erases the space domain and mannerism of 17th-century painting.
In "The Handmaids", the place revealed by Lacan's gaze is a space of existence in which the position of the man standing at the door appearing at the vanishing point in the entire virtual image cannot be counted. Therefore, the man is the reality of the existential space that Velazquez revealed through gaze from the other's desire point of view. Velazquez reveals himself as an object in "The Handmaids" as a painter. The object as such a subject cannot be a cognitive subject. However, the image of reality and non-existence is reproduced in the same space.
Therefore, "The Handmaids" is not just a painting, but an immeasurable existential space, a philosophical structure of desire structure, obtained from the artist's experience.
In this way, Velazquez drew a philosophy of existential space that could not be drawn with a brush to find a connection with the gaze image of the existential space that could not be expressed on the same plane, and made him stare at the transparency of the space with that philosophy./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)
Choi Chul-joo, a conceptual abstract realism painter----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 71
Art Critic Louis Choi Chul-joo Criticism [71] 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: Piet Mondrian, ‘Composition with Red, Blue, and Yellow’
Piet Mondrian, Composition with Red, Blue, and Yellow, 1937, Collection: Museum of Modern Art, New York
Piet Mondrian, ‘Composition with Red, Blue, and Yellow’
In modern times, abstract art is created by Piet Mondrian (1872-1944), who identified the geometric image and temporality of the object as the same subject as the color image of the object by equating the geometric structure and symbolic color. This is not just an abstract painting, but "an extension of the philosophical aesthetics of a compositional concept."
The reality of the philosophical aesthetics of the constituent concept of the color plane is the philosophical aesthetics in the representational idea of color and color composition in the visual system, and the structural color image as a material constitutes the fundamental color theory with sentimental humans.
The composition separated from reality with limited color is realized as a pictorial conceptual abstract realism image as a linguistic meaning of the object by deriving a concealment of reality that is not revealed through the object as the subject of reality in "Composition with Red, Blue, and Yellow".
As a subject of painting revealed in the sentimental realm of color composition, the desire of the other is abstracted into images, and it is a structural image formed by ideological abstraction at the entire stage of linguistic meaning avoided by philosophical aesthetics, which consists of continuous black lines and white margins at the intersection with real colors.
The image formed here is a cross-sectional color of the symbolic structure, and based on the geometric structure that transforms the subject of the erased structure designated by morphological deficiency, the relationship with temporality interrupted by color unity is divided, so the structure of reality has two abstract nature: simplified geometric black lines and abstract colors.
Geometric black lines are real structures by abstract thinking, and through the act of revealing the existence of objects in "Composition with Red, Blue, and Yellow", they form a boundary in the composition of colors, and simultaneously show abstract colors in which the white of the margin and the three primary colors that decorate the visual system are divided.
Mondrian uses "red and blue, composition" as material reality to eliminate the existence of false phenomena in previous stages of linguistic meaning and produce real images of philosophical aesthetics of the compositional concepts of color planes.
Color as an object has a continuous abstract presence at all stages of linguistic meaning in the composition of conceptual philosophical aesthetics. This existence has another symbolic meaning as a monochromatic surface that divides the image of transcendental signifiers from the real world in the visual system.
Painting due to the limitations of flat space is a world of painting that can be enjoyed in the realm of the visual system. On the other hand, Mondrian formed an abstract image through a symbiotic relationship with abstraction as a dual order as an object and being that seems to be a limited composition of red, yellow, blue, and black. This is the aesthetics of a geometric order, and it symbolizes abstract art with the dualism of a being and the order of symbolic images.
By looking at objects reflected in a mirror as a single color structure, he abstracted abstract art as a visible symbolic metaphor through geometric and real object images that satisfy the abstract structure. This abstraction abstracted another geometric image reflected in a mirror, creating another abstraction of a geometric real image that satisfies the real structure and the symbolic color plane.
Beyond expressionist paintings strongly represented by German expressionists in the early 20th century, Mondrian forms abstract art with geometric structures and square planes as color painting.
This is a geometric structure of De stijl. It is an abstract art that forms the framework of abstract boundary and material realism structure with black line through symbolic color as a pure geometric structure that does not distinguish expressionist individuality.
Geometrical structure with an object that looks like a limited image with intense emotional expression, meaning of pure geometry as an abstraction with a color plane as one, and aesthetics as an empty philosophical structure with empty space as the domain of meaning and meaning. And empty space induced the aesthetic composition of empty space in modern media art visual culture, which is connected with digital image structure of modern art.
It presents a structuralist language structure as a digital image, and as a visual communication, it presents an abstracted structure of color in modern media art.
Thus, symbolic color composition as being is metaphorical in the linguistic representation of abstraction, but it exists as an abstract image reproduced as material reality, assuming that it is an abstract image.
Mondrian, as a constructive abstract painter, shows a geometric structure with black lines that symbolically represent the structure, like unconscious language. This is a metaphorical expression that interprets color composition in a symbolic sense. Here, as a symbolic category, the composition of philosophical colors reflected in the mirror of the meaning of unconscious language is identified as an image.
Mondrian identified the art of natural structure as Neo-Plasticism abstract art through the same steps as mirror theory. In mirror theory, the identification stage of structure is the process by which an infant recognizes the difference between his or her image in the mirror and the image of the other and the self. It is a neoclassical abstraction that clearly reveals the composition of Neo-Plasticism aesthetics and balanced colors based on black lines in this process.
This is consistent with the identification of mirror theory expressed in Neo-plasticism of a mechanical order that balances the white margin by designing black lines and color planes as a formative structure lacking in the structure of nature as a metaphor for real objects seen in paintings from the Renaissance to modern times.
Revealing reality through mirror theory begins with the imagination world in which an infant identifies the image reflected in the mirror. Recognizing that the image is not himself as a subject, it transitions to the symbolic world through separation from the symbolic image and reality of the signifier.
In the symbolic world, the color plane arrangement in a geometric structure that excludes neo-plasticism order and emotional expression forms a free formative rhythm, breaking down the boundaries between art and design with the universality of visual language, and achieving abstract visual communication.
The symbolic image and reality of the abstract structure meet with reality through division. As a reality, Mondrian's composition is revealed as an abstract image, but as a non-reality, it has an encounter with abstraction./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)
Choi Chul-joo, an art critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 72
Art Critic Louis Choi Chul-joo Criticism [72] 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: Jean-Michel Basquiat <Untitled (Skull), 1981>
Jean-Michel Basquiat, Untitled (Skull), 1981, Collection: The Broad Museum of Art in Los Angeles
Jean-Michel Basquiat,《Untitled (Skull), 1981》
Basquiat's graffiti 'skull' image is a squeaky narrative image in a linguistic sense.
This is an image of an artistic language that expresses the emotion of the previous stage of the linguistic meaning as a skeleton, using the theme carved into the skull as a symbolic image as an excess of desire.
Therefore, the skull is a linguistic image in which the existence of death is divided. Jean Basquiat is pushing the boundaries between the inside and the other through linguistic grammar through the skull.
'skull' is an image that symbolizes death in a symbolic world as a linguistic meaning, and is a structure of a subject that is separated from the absence of desire for division. This is an existential image according to image design in a linguistic sense, and is the result of repeatedly aiming for death as a symbolic structure in the pre-creation stage.
Therefore, his graffiti identifies skulls with skulls with structures of deficient desires that are alienated from the city's identity as vectors that aim for the image of the existential subject.
In this way, his graffiti is a vector aimed at the image of an existential subject, identifying the structure of insufficient desire that is alienated from the identity of the city and the subject of the skull, and expressing the skull as an abstract realism picture in vector space as a result of ex post facto according to the existential orientation of the subject.
This is a critical image of the linguistic meaning as a result of the violent structure as a structure of desire lacking and bursting the social identity of the city.
The skull as a critical image in a linguistic sense stops at the imaginary identification of the skull reflected in the mirror toward the critical image of the real face in the imagination world.
In "Untied (Skull)," a skull is an unfinished human face, a "disruption of identity of mirror images" fragmented by death, which transformed a fragmented facial image from social identity into a skull.
This recognizes the self as a subject with the skull image reflected in the mirror as the same facial image as oneself.
This is a semantic function that interprets the image reflected in the mirror as an expressive image of the other's desire structure in a linguistic sense.
Therefore, his symbolic graffiti shows an excessive breakdown of meaning expressed as a signifier image of desire, and shows traces of sociality lacking as an armage in a linguistic sense.
In other words, graffiti images in the linguistic sense of racism and intense colors that reject sociality are graffiti images caused by mental suffering from urban violence.
As a subject, the skull structures the traces of desire as a linguistic grammatical structure, and the subject expresses the linguistic meaning as an image and structures the unconscious abstract as a language structure. In this way, the abstract is transferred to a specific object and interpreted as a meaning of language. In other words, according to causality, the skull as an abstract structure is interpreted as an image of death as a linguistic meaning, resulting in a grammatical causal relationship.
This is a "post-colonial graffiti aesthetic" that resists dividing space into the eyes of slave structures by interpreting skulls as traditional African masks due to grammatical causality.
As such, Basquiat's skull becomes a specific object of abstract structure, which is interpreted in a linguistic sense.
The design of the image interpreted in a linguistic sense connects the design (d) to the skull image (i) as an abstract structure according to Choi Chul-joo's desire formula. It repeatedly selects the insufficient death image as an image of a skull concept, and another skull image that has reached a fantastic abstract structure of what the object the other's desire structure wants. The choice (i/d) follows an abstract structure in which a specific linguistic meaning is supported by a desire structure that exists as an object image.
This is a conceptual abstract realism image expressed in the previous stage of symbolic language as a non-verbal reality, and refers to the dissolution of an ego and the division by the other's desire as a desire signifier image based on the intense hue projected by the desire of the other and the anatomical distortion of the human body.
He constructs graffiti that combines skulls, texts, and symbols to express the inner resistance of black people who function as a symbolic system of similarities.
It symbolically implies life and death, human identity and social struggle through social repression, and it symbolizes an image that lacks the linguistic meaning of the concept of desire and dissolution as an ego of desire. And the graffiti of symbolic characters reconstructs the reality image of non-verbal conceptual abstraction through the collapse of linguistic meaning as an excessive signifier image.
His graffiti is an image that records the event image itself as a picture. It serves as a visual device to express realistic images by blurring the line between reality and abstract optical illusions due to reversible shades of light that make up the linguistic meaning of event images.
Therefore, his work functions as a phenomenal event image beyond the painterly meaning. Here, the fantastic boundary between reality and reality constitutes the boundary where light and darkness intersect through the eyes and mouth of the skull as a place of conflict with desire. In addition, the linguistic semantic structure of the concept of desire overlaps the division of gaze and the structure of desire in a reversible shadow of light. The act as a linguistic meaning, in which the skull image is a semantic structure in the conscious structure in the linguistic sense, is a linguistic semantic structure of the concept of desire in the same temporal sense, and is a death image replicated by a black-style trickster graffiti aesthetic structure in both dimensions of consciousness in the social context and the unconsciousness that contends the fundamental death of human existence./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)
Choi Chul-joo, a Contemporary art critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 73
Art Critic Louis Choi Chul-joo Criticism [73] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Louis Choi Chul-joo, 2025-Mona Lisa-a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025 & the 2025-Mona Lisa reflected in the pond
Louis Choi Chul-joo, 2025-Mona Lisa-a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025
In Renaissance art, which opened up the image of contemporary art, "2025-Mona Lisa" In Renaissance art, which opened up the image of contemporary art, "Mona Lisa (La Joconde)" refers to the aesthetic desire that spread from aristocrats to merchants. This is where the desire of the other to monopolize the artistic value of contemporary art is established.
The concept of desire is humanism, which deviates from religious creativity.
Leonardo di ser Piero da Vinci, Mona Lisa, 77×53cm, Collection: Louvre Museum
"Mona Lisa" abstracts the mysterious image saved by Da Vinci(Leonardo di ser Piero da Vinci)'s sfumato technique as the outline of reality as an image beyond the mysterious atmospheric effect of the color of the object, which is the background of desire.
Abstraction is established as an aesthetic effect of safe desire with object on the face of the Mona Lisa and a background on the left.
From the background, the image of desire mediated by object and Mona Lisa is repeated, showing an abstract reverberation effect in the shadow of reversible light.
As a reverberation effect, the background of desire were properly placed behind the object so that the gaze could lead from the object to the Mona Lisa, the background of desire, and the gaze was focused on the object and connected to the face of the Mona Lisa as the subject of desire.
And by creating a position facing the Mona Lisa in the obect, the gaze is directed to the Mona Lisa, the subject of desire.
The metaphor for the concept of desire The Mona Lisa is replaced with a desire image in the object, and the object is demarcated into the background of desire. Here, the gaze of desire focuses on the Mona Lisa with a red window structured into a frame.
As a Renaissance thinking, it has a desired meaning with the object of desire, as an allegory.
The object is an abstraction that shows the real world of desire as a subject by linking the image of desire with a sensus allegoricus that explains other meanings beyond the literal meaning, and the object window interprets the demarcation problem between objects and desires as a symbolic metaphor in the meaning of the text.
Unlike the conceptual art of Dadaism, which transforms the image of the object as meaning, this materializes the object of desire and realizes the subject's desire structure in the shadow of reversible light.
As a reality, the desire structure is the object, and the "2025-Mona Lisa-a portrait of a mirror reflecting its desire on the window" becomes the object of the cause of creating the desire structure as an image symbolized in the object through the relationship of symbolic expression made by the Mona Lisa as a object.
The simultaneous function of the desire structure and the real image reveals the underlying image in which the meaning of the concept is integrated into the desire image as a retroactive effect, and the Mona Lisa, who metaphorized the image, hides in the desire concept.
As a fundamental image, the Mona Lisa is disclosed as the first concept of desire and reaches a symbolic conceptual abstract realism image as a deliberate abstraction.
Louis Choi Chul-joo, the 2025-Mona Lisa reflected in the pond, 113X165cm, acrylic and composite materials on cloth, 2025
the 2025-Mona Lisa reflected in the pond
The Mona Lisa reflected in the pond is a structure of desire that elicited realism according to its artistry, another structure of gaze away from the visual system, and an image as a realism of another abstract object that reveals an image to reality.
As a perspective visual structure, the instantaneous desire in contact with the water surface is a structure of light that deviates from the border of a pond where water is buried on the surface's tangent, and constitutes the same realism image as the image of desire reflected on the water surface.
Perspective objectivity as a structure of light that deviates from the concept of instantaneous desire by the shadow of reversible light in the pond distorts reality as the range of the sky and the size of the perspective, where the realist image is superimposed on the surface as another gaze structure.
In "The Mona Lisa Reflected in the Pond", abstract realism is a desire structure that conveys an abstract image as an effect of the dual structure of reality and the Mona Lisa's realism abstraction, in which the real sense that gave movement to the flow of the water by moving the fish with abstract traces in the pond and the flat abstract view of the lotus flower contrast. The image simplifies the real image, which recognizes the object of the reversible viewpoint in a linguistic sense according to the temporality of the abstract viewpoint, from abstract thinking to a phenomenal pond structure.
It is a German style that abstracts the rhythms of objects into flat, digital forms, but expresses them in reversible light, just like the hand-painted Arnouveau (Jugendstil). So that abstraction and art are distinguished by the existence of matter as reality and the existence of images formed from each other's abstract perspectives as virtual beings.
The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations, and it is a sketch that passes through an allegory that images objects and events into reality. Therefore, it is not an impressionistic image that captures the moment of the Mona Lisa reflected in the pond as an impression, but a realist image that linguistically interprets the abstract meaning of the Mona Lisa reflected in the pond in explicit temporality as a shade of reversible light.
This defines that by repeating sketches, Choi Chul-joo's conceptual abstract realism image, which connects an existential image seen as a structure of gaze to another realistic image separated from reality, can reconstruct the realist image as a concept of abstract desire through cartoon sketches and picture images.
The definition is a abstract realism that evades the unconscious surreal formative structure as an error in abstract perception that brought concepts and abstractions to existential realism, or reversible perspectives, through abstraction of modern conceptual abstract realism such as modern media art images or abstraction.
This abstracts the present image by expressing the present image verbally and the present image as a reversible shadow of light that embodies the concept of desire in the present place. The abstraction is an abstract realism object, and the abstract object revealed as a point of light in the eyes of others is Choi Chul-joo's aesthetic structure revealed in the gaze system of desire, and the abstract realism object gaze, which has different abstract meanings as a philosophical device, is produced according to temporality.
Therefore, the temporality of a verbal image according to reversible light presents reality as an image as a being through existential theoretical interpretation, just like Aristotle's time.
This image coincides with images in realist space and abstract linguistic meaning, so an abstract and invisible object appears in the path of gaze viewed from the conceptual point of view of desire.
Here, Choi Chul-joo's conceptual abstraction of realism shows an image in a linguistic sense that appears as the concept of desire. This simplifies a specific surface of the image and brings abstract realism back to its real image as a correlative structure of time elapsed. In the linguistic meaning of the conceptual abstract realism of the image, it intersects the image as an object that contains the desires of others as a fictional element of human limited by causal relations, and the realist image is structured as a linguistic meaning of unconscious abstract realism.
Thus, by simplifying realist images that specify abstract structures and erasing the contrast in the cross-section into reversible shades of light, the essence of abstraction is flattened into the cross-section. This is a conceptual abstract realist abstraction that erases abstract images of linguistic meaning from abstract objects that are identical to current images that exist according to temporality.
As a result, the conceptual abstract realism abstraction design process is an abstraction that derives realism according to its artistry, and another abstract object that reveals the image to reality as a structure of gaze that deviates from the visual system is the image of realism.
In realism abstraction design, the effective way to convey the dual message of abstraction and reality is to express concepts and abstractions realistically through modern conceptual abstract realism abstractions, such as modern media art and painting images or abstractions. Therefore, the process of designing conceptual abstract realism abstraction design is as follows.
1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.
2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality.
It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.
3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism.
4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning. And to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images.
The background image of abstract realism abstraction refers to a place in realist space formed by reversible shades of light that fit the philosophical logic of returning to temporality, replacing the abstract space that exists in the linguistic sense. The image interprets the desire image (i) design (d) as a realistic image in the linguistic sense, and the condition (i/d) in which the image of the abstract object is realized through the grammatical interpretation of the other's desire in the linguistic sense in order to obtain the abstract object specified in Choi Chul-joo's desire formula. As a subject of abstraction, the subject of desire selects a specific object that asks itself what abstract realism wants and reaches conceptual abstraction <D(I...I')d=I(D...D'i)i> as a reality.
Here, the abstraction as a linguistic meaning is that the image formed in the structure of the text is tailored to art while approaching philosophical logic, forming a realist structure. This is a realist image that stopped from the concept of abstract desire, which was realized by abstracting the abstract structure that divides abstract places that humans cannot experience into linguistic semantic systems as objects of conceptual abstraction.
Like the the theological formation structure of the Renaissance Church, which attributed philosophical logic to religion, Choi Chul-joo's abstract concept of desire has a linguistic meaning that abstracts the concept of abstract desire to see the Mona Lisa as an abstract structural and practical image. Therefore, in order to reproduce the abstract limitations of the nature and perception of human existence as a real image, Choi's conceptual abstraction design abstracts philosophical images and uses abstract perception as a device to convey philosophical and linguistic meanings as symbolic images to reproduce them as realism images.
The Renaissance, which opened the image of conceptual abstract realism, establishes the aesthetic desires that spread from aristocrats to merchants and the desires of others whose artistic value of contemporary art is obscured. Conceptually, the artistic inspiration of early conceptual art of Dadism cannot be ignored, but Choi Chul-joo's conceptual abstraction as a new modern art with existential conceptual abstraction away from religion builds a realist image as a flat installation in line with conceptual abstraction with literal concepts and linguistic meanings, as if sketching Mona Lisa reflected in a pond.
The installation is a linguistic meaning that expresses abstract concepts as real images, and conceptual art is interpreted as an abstract crystal of philosophical thinking by transferring the structure of Idea to the structure of reality and showing the real image as an event and performance image. This is a realist abstraction that deviates from the realist image in the linguistic sense, that is, the religious creationism of abstract concepts, at the peak of abstract images.
In this way, desire as a being in the "2025-Mona Lisa reflected in the pond" is an essential image of linguistic meaning and is abstracted as a realist image tailored to the correlation conditions with the past experiences of the unconscious. This connects the realism object with the concept of gaze and at the same time abstracts the "mirror image reflecting the desire of others" that evokes the sense that the viewer is being stared at.
The abstraction establishes itself as an aesthetic effect of abstract desire between the pond background and the Mona Lisa's face. Here, an overlapping image of meaningful desire hidden in temporality appears in the pond as an image of reality, but Mona Lisa is an abstract composition that deviates from the perspective visual system. By simplifying the abstract image by flattening its shape, it transfers the existence of unconscious desire to the existence of objective reality image to realism abstraction.
Unlike the Sfumato technique, this led to abstraction by tracing the temporality of the Mona Lisa smile. Da Vinci's spumato technique is an ambiguous expression that blurs the contour, but Choi Chul-joo visualizes the feelings of a smile based on temporality as a trace of temporality, revealing the 'trace of the temporality of Mona Lisa's smile' through painting technique.
As the subject of the trace, the desire structure is divided into background and actor, and the image reflected in the pond is expressed as the actor of desire, and the abstract realism image is expressed as the objective correlation of the concept of desire.
It also becomes a realistic abstraction as a correlation in which the Mona Lisa mimics abstraction as the subject of the cause that made the desire structure an abstract image as the subject of the 'Mona Lisa reflected in the pond'. In other words, abstraction as a realistic structure directs the abstract impression that is perceived as a real meaning into a conceptual abstract realism abstraction./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, conceptual abstract realism painter----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 74
Art Critic Louis Choi Chul-joo Criticism [74] 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: Pablo Picasso, Weeping Woman, 1937
Pablo Picasso, Weeping Woman, 60.8×50cm, oil on canvas, 1937, Tate Gallery, London
Pablo Picasso, Weeping Woman
Painting that transitions from the modern to the contemporary is the art of using images as the theme or in the linguistic sense of a painting. Therefore, Pablo Picasso's The Weeping Woman (1881-1973) as the flat image is a three-dimensional structure and an ontological structure visualized by collages of divided sides.
This is a contemporary visualization of not only the sorrow that Picasso expressed, but also the fundamental suffering of realism as a human being.
Abstracting realistic images into other people's desire structures is not irrelevant to flat crooked images.
Beyond the dimensions of "The Woman Is Weeping," an unrealistic visual image of abstraction, it transitions from each other's desires to areas of gaze that don't matter whether it's flat or three-dimensional, to divided realism images.
It interprets from a psychological point of view to perceive the continuity of the realist image as a gaze according to the temporality included in "Weeping Woman".
The motion of an object changes the spatial structure of the background by continuity over time.
The abstract background is an aestheticization of historical events, depicting emotions in historical paintings and portraits.
Thus, the abstract background of "The Weeping Woman" determines the space that exists in the Spanish Civil War, the place of aesthetic facial movement according to time, and the space that exists in the passage of time, that is, the spatiality of the crooked image.
Pablo Picasso, Weeping Woman, 60.8×50cm, oil on canvas, 1937, Tate Gallery, London
The tears of a woman who can't hold back her sadness are connected in a straight line between her eyes and an ellipse to tell her where she is away from her eyes. As a situation that continues to show the traces of water flowing down at the end of the eye, the woman's face shows the side and the front at the same time, and the movement of the woman crying makes her feel sad at first glance.
The line that marks the direction of the crying woman's tears forms the process of time and the space in which it exists.
This is because the dwarf image in the form revealed from the line is composed at the momentary point of time, and as a temporality, it reveals in three dimensions the suppressed social structure of an emotion through a woman's inner sensibility and existence.
In this way, the picture of a woman crying in the social structure does not have a perspective density and a sense formed from a single light source point of view by choosing a crooked image integrated with lines. Here, the crying woman's face is a partial crooked image like a collage. This means that each partial image exists in space as a crooked shape revealed at the same time.
Through the crying woman, he expressed the complexity of emotions with his face and hands through the distortion of the cubist form, allowing him to stare at the intensity of his emotions with a strong contrast of primary colors to radiate the energy of sadness from his head.
The energy released in this way gathers the gaze of the viewer of the sad face that existed in the space.
Pablo Picasso, Weeping Woman, 60.8×50cm, oil on canvas, 1937, Tate Gallery, London
Picasso offers a new direction of gaze by reconstructing the eyes, eyebrows, and ears in various directions in the painting. It also reveals the up and down positions that connect the eyes and tears. He shapes his face into geometric shapes to represent the sobbing head of a crying woman and the movement of her flowing tears in segmented realist images.
Additionally, his cubist representation visualized the complex emotions of pain by decomposing and recombining the woman's face into various angles, and the crying woman's movement while showing the side and the front at the same time makes one feel sad at first glance. The line that marks the direction of the crying woman's tears makes one aware of the process of time and the linguistic meaning of the image of sadness in which it existed.
The direction of the moving tears expressed here constituted a fragmented form of realism from a psychological point of view that recognizes the linguistic meaning of the subject generated from the observer's gaze. Here, the symbolic image represents the sadness of a woman who lost her family to war.
In this way, Picasso's three-dimensional sculpture creates a geometric shape as a new architectural space structure in a different dimension from the existing perspective. Instead of the perspective of the previous painting, he superimposes an object on the same screen from various perspectives. This superimposed sense of volume is transferred to the sense of movement that the object is trying to express, creating a dynamic space.
His three-dimensional structure simultaneously decomposes a cross-section of an object and superimposes the decomposed cross-section on another object, placing it in the position of his choice like a collage. As a result, several forms from different perspectives are overlapped on the same monochromatic plane. The result is a distorted plane image that was not seen in perspective images.
This is interpreted as an abstract portrait in which simultaneously decomposed cross-sections go beyond the sadness of a crying woman and perceive it as the pain of the whole human race.
In addition, Paul Cézanne's flat screen composition is a cross-sectional form and is close to a realistic image. This cross-sectional expression method is the principle of the simultaneity of cubism and coincides with the simultaneous vision that divides an object into several viewpoints and puts it in the same canvas. This simultaneity and distortion of his cubist form abstracts "Weeping Woman" as a symbolic structure by expressing the complexity of emotions.
As a new attempt to reject the mannerism of previous painters, he flattened the distorted image of the face revealed as an object as a reality of temporality, or a multidimensional gaze, on canvas.
In "Weeping Woman" a woman's face is a distorted image, and space for an object is made into a face by temporality, and another space is created in the form of crying. In such a space, multiple viewpoints are dismantled, and two eyes with different viewpoints are overlapped on a canvas as a single face image. In other words, the object is dismantled with the other person's gaze and collected on the canvas as a cubist image.
In this way, the perspective visual structure is a language structure revealed by the unconscious desire that has disappeared and is composed of an image as a gaze space. This is a cubist process and has an artistic meaning as an abstraction. By combining distorted images carved from the reality of unconscious desire and gaze images using collage techniques, Picasso constructs sadness. It also makes us recognize that realismimages of the segmented plane of grief are abstracted into multi-faceted conceptual abstract realism images as formative structures./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)
Choi Chul-joo, a art Critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 75
Art Critic Louis Choi Chul-joo Criticism [75] 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: Paul Cézanne, Lunch on the Grass
Paul Cézanne, Lunch on the Grass (Le Dejeuner Sur L'herbe), Oil on canvas, 35 x 21 cm, 1876-1877, Orangery Museum (Musée de l'Orangerie)
Paul Cézanne, Lunch on the Grass
In "Lunch on the Grass", Cézanne simplified the character with various colors, deviating from impressionistic objectivity with a dull touch on the arrangement and form of the character. This is a metaphor seen in painting and does not exceed the category of imitative painting.
Therefore, in order to enter the symbolic world as a pictorial genre painting due to sociality, he tries to match the scenery of lunch in an indefinite time that looks like a painting width in a simple form. This is a category of imitation that puts folk paintings on canvas and removes the social constraints (restrictions) that are accepted by the religious customs of painting until modern times. In other words, the visual image of the essence of painting is explored by destroying the symbolism of invisible reality as the desire of others to escape from the religiously established subject that revealed the stage of contrast and conventional subjectivity.
Beyond simple visual representation, he reduces the essence of the object to a geometric form, bringing "Lunch on the Grass" into line with "autonomy of realism painting," which focuses on the structure of objects and the order of space rather than the character's narrative.
The landscape on the grass matches the sky and the color of the person in the same way and puts it in the blank space of the tree in the sky light.
This does not actually stop the form, but rather places a mind on the symbolism of the simplified form. It's like giving a direction to a floating cloud and looking at the whole sky.
As a linguistic meaning, the concept of realism objects with the creativity and autonomy of the sky structure is determined as another existence of conceptual abstract realism objects through unconsciousness suppressed by other people's desires.
The landscape is a shading perspective with a distorted side from the geometric structure of tree and human, making the object's meaning found in the order in the landscape.
<Lunch on the grass> is an entertainment painting that depicts the relationship between nature and human beings, interpreted as a geometric order of scenery, and is not a simple description of scenery, but a place of thought as a background structure, which visually dismantles and reconstructs the essence of nature.
In addition, as a structure of the background, a luncheon image that connects the landscape with an allegory on the grass is sketched and formed as a virtual being, and it is connected with another reality separated from the real image, that is, an existential image that looks like a structure of a gaze according to a direction tailored to the multi-view, to visualize temporality and variability by capturing several perspectives on a single screen of conceptual abstraction.
This is a unique modern art interpretation that has passed the Choi Chul-joo abstract design process that explores conceptual abstract realism, visualizing it as a realism image that ignores the linguistic semantic structure and abstract form specificity.
Accordingly, he hides the figurative reality in a painting through shading perspective and is symbolized as a realism image based on the story of daily scenery. In symbolic nature as an invisible reality, the morphological signifiers of visible metaphors nature are transferred to images in symbolic meaning.
In the imagination world, socially forbidden illusions have a symbolic meaning, but images of morphological and linguistic meanings do not differ. Therefore, he adheres fantastically as a meaning of illogical symbols as an image that is a real form. In other words, in painting, the imaginary meaning as a social constraint transforms into an image of linguistic meaning embodied by Cézanne's desire.
Paul Cézanne, Lunch on the Grass (Le Dejeuner Sur L'herbe), Oil on canvas, 35 x 21 cm, 1876-1877, Orangery Museum (Musée de l'Orangerie)
On the lawn, a structure formed by a series of trees and figures in landscape images, lunch stops at the leisure of time.
The sky at rest at that time is a structure in which clouds and trees are on the same side, and they appear easily in terms of light and darkness, making them pay attention to the phenomenal significance of the phenomenon.
In order to recognize the subjectivity of objects that are the same as the sky through the structure of the sky according to temporality, the phenomenal image of the sky in an open space exposed to reality in contemporary social regulations is recognized as the subject in the same linguistic sense as the object.
This fixed the cloud's gaze, making the image of the sky look different like the moment it was transformed into temporality, but its meaning appears to be a real sky that does not change.
The sky matches the abstract linguistic image of the realist space in which the abstract meaning revealed in the abstract realism object's gaze system is different.
Thus, abstract and invisible images are structured in the linguistic meaning of unconscious abstract realism in the visual system.
Cézanne structures the other person's desire to find a visual order, and "structures the other person's desire into a visual form," transforming several objects into a geometric form.
Thus, Cézanne forms a combination of clumsy geometric figures and trees that are out of perspective, and realizes the object's meaning in a simplified form to realize the object's linguistic meaning.
By expressing the flatness of painting as a realization in a new linguistic sense, the exchange revealed through his desire shows the contemporary social reality and communicates with the substance, rejecting the illusory pictorial meaning and revealing the reality of conventional reason.
In fact, the symbolic meaning of an object is distorted by the stage of dividing the light from the outline that appears sky blue, rather than modifying the picture to form a landscape. Then, to match the width of the picture in the real landscape, the displaced shape is divided into colors, and the cross-section of the object matches the subjective color of the object at the point where light and darkness intersect. In other words, it does not explain the characteristics of objects like Romanticism, but rather conceptualizes the nature of the landscape as it approaches the lawn in a simplified form tailored to the philosophical light and color of nature, visualizing the essence beyond the phenomenon of linking abstract realism with the sky like an iron fortress.
Cézanne reveals the symbolism of an invisible reality as a reality in a linguistic sense. Unlike the way the object is expressed to the viewer realistically, this is a form of simply drawing perspective and form with the difference in brightness of color light to find out what social taboos and forms of visual desire meant at the time.
Therefore, he does not modify the impression of the landscape viewed through the gaze of the object, but abstracts the semantic effects of objects that are similar in size to real objects that are not depicted in a specific space.
In this way, his painting is an image of a real object identified through a grammatical interpretation of the linguistic meaning. This is the conceptual image specified in Choi Chul-joo's conceptual abstraction of desire, which is the same as conceptual abstract realism painting.
However, Cézanne's "Lunch on the Grass" ignores the three-dimensional nature of bright colors. As a result, Manet's work takes over all the issues in the "salon des refuses" and he experiences his work being buried.
Nevertheless, he reduces the distorted images seen from the gaze to the geometric form of contemporary art, visualizing existential realities divided into color and abstract structures as linguistic realities of philosophical light.
This is a genre painting depicting the relationship between realist nature and man as a dramatic event, interpreting it as the geometric order of the landscape and sublimating the pain of reality into a conceptual abstract structure like an artistic device.
Furthermore, the color of light reflected by the shape mimics the shape in a way that makes the entire space pictorial, and focuses on the color of light that is close to a similar shape. In other words, it is an impractical form that separates the visible form of light from the real space.
Through the "linguistic transformation of realism painting," he composes the image of linguistic meaning into traces of formative order, and as a symbolic meaning of the image, color is a device that expresses the depth of the spatial structure and dismantles the visual structure to match the harmony of space.
Therefore, it embodies "cognitive image ethics of visual realism structure" as an act of asking questions to obtain the ontological reality of painting by dismantling perspective and recombining space.
Thus, it embodies the "cognitive image ethics of the structure of visual presence" as an act of questioning to obtain the ontological realism of painting by dismantling the perspective and recombining the space.
And Cézanne matches the color of abstract realism with shades of light to the conceptual reality form of the background expressed by the non-realistic imitative form and the multi-layeredness of cubist distorted emotions rather than the specificity of the form as a visual element of the work.
In this way, he explores the order beyond the semantic interpretation of objects with the same light in the space of people and backgrounds, creates a philosophical form for the color of light as an image of the linguistic meaning of painting, and visualizes the intuitive abstract sense before recognizing the object as a whole stage in the linguistic sense of necessity, and stands at the boundary between abstract meaning and reality as a temporal trace tarnished by the structure of abstract perception and reversible light shades./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)
Choi Chul-joo, a art Critic----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 76
Art Critic Louis Choi Chul-joo Criticism [76] 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: Morning glory and fish-Mona Lisa design
Louis Choi Chul-joo, Morning glory and fish-Mona Lisa design, 113X165cm, acrylic and composite materials on cloth, 2025
Morning glory and fish-Mona Lisa design
The more you think about the difference by looking at the shape of the "morning glory" and the fish, the more you understand the shape in one direction, so you abstractly conceive the meaning behind it. When speaking the same linguistic meaning even though the shapes are different, the abstraction as a symbolic structure is a similar color and size, that is, a structure with the same meaning is an abstraction of the realistic structure of non-real world as a conceptual form.
In fact, the reversible abstraction of the structure cannot be limited to the abstract time corresponding to the reversible light as the structure of the branches and mouth of the morning glory, and it shows the meaning of an abstract form in which the morning glory and the fish are in harmony. It illuminates the fish and the Mona Lisa reflected by the reversible light to develop the position of the 'morning glory' into a pond with a reflective structure of desire.
Here, the pond is a symbolic space before forming an ego, acting as a mirror reflecting the desires of others, and the viewer looks at the pond and faces his unconscious desires and the fish reflected in it.
Therefore, the reversible abstraction of the desire structure is the structure of morning glory flowers and branches, and the traces of abstract fish corresponding to reversible light explore the boundary between existence and absence reflecting the temporal structure in which reversible light and traces intersect.
This is not a simple illumination reflected in the pond, but a symbolic device in which the fish and Mona Lisa, which represent the desire of the batter, reflect the desire structure of the batter.
Viewers face the unconscious desire reflected in the pond, and 'morning glory' is an image method that shows morning glory in an unconscious abstract structure instead of morning glory, and the realistic spot of the morning glory is transferred to the shadow image of abstract fish and Mona Lisa as the image of light that is reflected reversibly is repeated.
Abstracts that collide with the factual structure thus serve as objects representing lack of desire at the point where the materiality of the imaginary Mona Lisa and the real fish collide, and discover the form of the linguistic structure of conceptual abstraction. As an image of its linguistic form, the reflection of the pond waves and light forms a reversible shadow structure, and the fish and Mona Lisa visualize traces of time, leaving traces of desire self-consciousness, and viewers recognize their existence and absence as conceptual forms at the same time.
In addition, abstraction as a meaning in various forms is a realistic image of conceptual abstraction that exists as an ideological informal being with various colors and sizes. Accordingly, a conceptual abstract realism design methodology related to "Morning glory and Fish-Mona Lisa" is presented
1. Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image.
Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.
Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image.
As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner.
Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time.
As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject.
2. Sketches that connect realism images into allegories as linguistic meanings distinguish fish as a reversible light structure that deviates the concept of instantaneous desire from an abstract pond to a reversible shade of light, distinguishing them from "morning glory" as a structure of desire, with the existence of objects formed from each other's abstract perspectives as reality and virtual beings.
The structure of the morning glory and branch cannot be determined according to the temporality of the response to light, and shows the meaning of harmonizing with the morning glory.
Its meaning is developed as a pictorial linguistic structure in which fish and Mona Lisa move in the position of the pond abstracted by reversible temporality and in the position of the morning glory illuminated by the divided retroactive light.
The movement of the fish is linked to the temporality of the Mona Lisa as a sign of necessity self-consciousness, reveals the sensory structure before the symbol translated into pictorial language, and becomes an abstract space pond that functions as a formative reality beyond the literary nature of early conceptual art.
Perspective objectivity in abstract pond structures distorts the reality of Mona Lisa, which contrasts with fish, as the range of the sky and the size of the perspective, where reversible light is limited to objects superimposed with realism images as another gaze structure on the surface.
In the symbolic abstract world, the Mona Lisa as a real visual image aimed at by repeating the image sketch as a linguistic meaning in the conceptual abstraction of flat formations and colors reveals its existence in the form of non-existent beings and imaginations reflected in the pond, and it is a sketch that passes through an allegory that images fish, Mona Lisa, and pond structure as reality.
3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device.
The sketch is a perspective visual structure, and the border of the pond, where water is buried on the surface's tangent line to the surface of the earth that touches the surface of the earth, is a method of sketching images that display abstraction morning glory as unconscious beings and geometric tangents in the shape of the surface of the water. The sketch is interpreted as a mirror image reflecting the desire of the other, and it is connected with the concept that the viewer is being stared at at at the same time, and the Mona Lisa's gaze creates an optical realism space that varies depending on the viewer's position.
As the image of the reversible reaction that constitutes the space of realism abstracted by the concept of desire is repeated, the spot of the morning glory is abstracted. In other words, as the sequence increases according to the reversible temporality, the shadowy image of the morning glory staring at the reversible light is displayed on the fish- Mona Lisa.
The Mona Lisa smile blurs an outline with da Vinci's spumato technique according to the temporality, visualizing ambiguous expressions as realistic images, and Choi Chul-joo's conceptual abstract realism design shows a "trace of time" embodied at the intersection of the same time as the effect and phenomenon structure of the stationary moment when the muscle of the movement meets the background of the stationary moment.
4. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.
<D(I...I')d=I(D...D'i)>The conceptual abstract realism image as a reality reaches abstraction by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants as the subject of desire. This indicates the meaning of symbolic action that characterizes the design of the fish- Mona Lisa image, which repeatedly combines pieces of distorted morning glory image in the process of abstraction.
Here, the image is not a visual phenomenon of a fish, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual fish and Mona Lisa.
Thus, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting abstract places that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image.
It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the formation and dismantling of the fish and Mona Lisa ego reflected in the pond, the conflict between the Mona Lisa's existential abstract structure and the linguistic meaning revealed in the gaze, and reinterprets the mirror images of abstract realism that passed the background "morning glory" and desire formula to abstract the fish- Mona Lisa.
As an image of linguistic meaning, it conceptualizes the abstract structure divided in religious savior as a lifelike fish and is imaged as an existential realism image.
In "Morning glory and Fish-Mona Lisa", fish is a form of existence of realism that expresses necessity and self-consciousness through traces of paint on the margins as time and abstract space.
This form reveals the sensory structure before the perception of existential fish, that is, the previous stage image of linguistic meaning, and is a conceptual abstraction in which more diverse space-time and pictorial formality intersect through the eyes of viewers beyond the literary nature of modern conceptual art.
Here, images from previous stages convey a protective color similar to their surroundings in a linguistic sense, such as the back of a fish to avoid bird attacks. As a result, the color of the fish in the pond changes to a protective color with a reversible shade of light in the realm of existence. And Choi Chul-joo's Desire Formula allows us to grasp the conflict between realism before language and abstract symbols before language so that we can approach it from the perspective of conceptual abstract realism as a symbolic structure of desire by directing free fish with the flow of waves.
In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.
The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art.
It is interpreted as a dynamic structure of reversible light in Choi Chul-joo's media art "Pond," as it sometimes contains traces of temporality and realism, depending on the symbolism of the medium.
As a way of dismantling multiple perspectives in conceptual abstraction, we implement a flat cross-sectional structure in which a fish is stationary from a dynamic image by segmenting it into a visual image.
In this abstract design method applied to conceptual abstract realism painting, the shape of the fish acting as a sign of desire before linguistic meaning is an image as a signifier, and its meaning is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of the moving desire coexists while unconsciously synthesizing according to temporality.
Therefore, the color of the figurative image 'morning glory' as an unconscious linguistic meaning decorates the reality of customary universality faced by the object with reversible colors of light. The fish and the Mona Lisa are in a dark space, in contrast to the light reflected from this decorated desire structure. It is the shadow of desire created by the morning glory in the place where it stopped.
This is a piece of meaning symbolized in the non-existent space that abstracts the fish-mona Lisa imitating the morning glory as a desire structure.
The sculpture functions as a pictorial event image and is a fragmented image of a fish-Mona Lisa in the spot of a morning glory combined with a shade of color generated by reversible light that explores the boundary between existence and absence.
Thus, the colors and shapes of objects that accelerate the separation of objects are revealed in dynamic images with intervals between objects produced by reversible light. However, the meaning of a fixed background collectively visualizes the segmental structure of sensory structures prior to speech In other words, a simplified abstraction as a landscape image with an abstract object and a conceptual theme is realized from a desire structure into an image of a fragmentary trace of desire through abstract division and transmutation, and it is a dimension of linguistic meaning that breaks away from stimulating visual effects. The realist structure and the conceptual abstract realism image of linguistic meaning that occur in the unconscious function together in both conscious and unconscious dimensions to obtain an existential realism according to artistry.
Choi Chul-joo's conceptual abstract realism design shows a "trace of time" in which the effects of motion and the phenomenal structure intersect at the same time as the effects of motion and the phenomenal structure of motion meet the background at the moment the muscles of the motion are stationary. As a result, the conceptual abstract realism design methodology for abstractions related to dynamic realism objects and abstract background images is as follows.
1, Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image.
Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.
Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image.
As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner.
Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time.
As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject.
2. Sketches that connect realist images into allegories as linguistic meanings distinguish dynamic images as a structure of reversible light, which deviates from the concept of instantaneous desire from the background of abstract desire to the shadow of reversible light, from the background as a structure of desire as an existence as reality and an existence of objects formed from each other's abstract perspectives as virtual beings.
The detailed structure of the background cannot be determined by the temporality of the response to light, and shows meaning in harmony with the fixed structure.
Its meaning is developed as a pictorial language structure in which dynamic images and abstract still structures move from positions in the background abstracted by reversible temporality and from positions in the stationary objects illuminated by the segmented retroactive reversible light.
The movement of dynamic images is linked to the temporality of abstract structures as a sign of necessity self-consciousness, revealing sensory structures before symbols translated into pictorial languages and serving as formative realities beyond the literary nature of early conceptual art.
In abstracted background structures, perspective objectivity distorts the phenomenal structure by the extent of the sky and the size of the perspective as opposed to dynamic images, where reversible light is limited to objects superimposed with realist images as another gaze structure on the surface.
In the symbolic abstract world, abstract structure is a sketch that reveals existence in the form of existence and imagination reflected in a desire background by repeating image sketches as linguistic meanings in a conceptual abstraction of flat forms and colors, and passes through an allegory that realizes dynamic images, abstract structures, and background structures of desire.
3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device.
The sketch is a perspective visual structure, and the boundary between dynamic images and abstract structures in phenomenal structures is a method of sketching an abstract image as an unconscious being and an image that expresses a geometric tangent to the form of an abstract background. As a result, the sketch is interpreted as a mirror image that reflects the desire of the other, and it is connected to the concept that the viewer is staring at at the same time, creating an optical reality space where the abstract structure's gaze varies depending on the viewer's position.
The position of the desire background is abstracted as the image of the reversible reaction that constitutes the realist space abstracted by the concept of desire is repeated. In other words, as the order increases with reversible temporality, the shadow image of the object staring at the reversible light is displayed in dynamic images and abstract structures.
Choi Chul-joo's conceptual abstract realism design, which is visualized as an ambiguous realism image according to temporality, shows a "trace of time" implemented at the intersection of the same time by the static background image as the effect and phenomenon structure of the stationary moment when the dynamic image of the movement meets the background of the stationary moment.
4. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.
<D(I...I'd)=I(D...D'i)> Conceptual abstract realism images as reality reach abstraction by abstractly selecting a specific object, where the subject of desire asks what abstract realism wants from him. This dictates the meaning of the symbolic action that characterizes the design of dynamic and abstract structural images, which repeatedly combine pieces of distorted desire background images in the process of abstraction.
Here, an image is not a visual phenomenon of a dynamic image, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual dynamic images and abstract structures.
Therefore, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting an abstract place that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image.
It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the conflict between dynamic images and abstract self-formation, existential abstract structures as effects, and linguistic meanings revealed in the gaze, and reinterprets the mirror image of abstract realism to abstract dynamic images and abstract structures beyond phenomenal backgrounds and desire formulas as desire structures.
This form reveals the sensory structure before the perception of existential fish, i.e., the previous stage image of linguistic meaning, and beyond the literary nature of modern conceptual art, it is a realism abstraction as a linguistic meaning where more diverse spatiotemporal and pictorial forms intersect through the viewer's eyes.
In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.
The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art.
This is a piece of meaning symbolized in a non-existent space, an abstract abstraction of an abstract structure that mimics the dynamic image and the structure of desire.
Abstraction functions as a pictorial event image, and instead of desire, it explores the boundary between existence and absence by combining fragmentary sculptural images with shades of color produced by reversible light.
In this abstract design method applied to conceptual abstract realism painting, the shape of a dynamic image that acts as a sign of desire before linguistic meaning is transferred to an image as a symbol, and the meaning of it is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of desire that moves while unconsciously synthesizing according to temporality coexists.
As an image of linguistic meaning, it conceptualizes abstract structure as a living dynamic image and images it as an existential realist image, resulting in a conceptual abstract realism design that phenomenally expresses abstractness and self-consciousness as abstract spaces according to temporality through the traces of time. / Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Choi Chul-joo, a conceptual abstract realism painter----------------------------------------------------------------------------------------
Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 77
Art Critic Louis Choi Chul-joo Criticism [77] 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: morning glory and "The Three Graces" fish & Conceptual Abstract Realism Abstraction Design Methodology
Louis Choi Chul-joo, morning glory and The Three Graces fish, 113X165cm, acrylic and composite materials on cloth, 2025
morning glory and "The Three Graces" fish
The more you think about the difference by looking at the shapes of the "morning glory" and "The Three Graces" fish, the more you understand the shape, so the meaning behind the faces of the three goddesses, who symbolize aesthetic structure in "The Three Graces" Greek mythology, is envisioned as "morning glory" and "The Three Graces" fish in an abstract background. When speaking of the same linguistic meaning even though the shapes are different, abstraction as a symbolic structure is a structure of similar color and size, that is, the same meaning, and human inner desires and aesthetic senses are visually dismantled and recombined as a conceptual form of abstraction.
In fact, the reversible abstraction of the structure here shows the meaning of an abstract form in which the morning glory and "The Three Graces" fish are in harmony with the abstract temporality that corresponds to the reversible light as the structure of the branches and mouths of the morning glory in which the desire of the other is harmonized with the linguistic semantic structure in the abstract background of "The Three Graces" fish as the subject. Its meaning develops in a pond as a reflective structure of desire in the place of the morning glory, which is retroactively illuminated with light in a reversible temporality.
Here, the pond is a symbolic space before forming the self, and functions as a mirror in which the desires of others are reflected, so the viewer looks at the pond and faces <The Three Graces>'s own unconscious desires reflected in it.
Fish traces explore the boundary between existence and absence, reflecting the temporal structure in which reversible light and traces intersect.
This is not just a reflection of the shape reflected in the pond, but a symbolic device in which "The Three Graces" fish, which represents the other's desire, reflects the other's desire structure.
Therefore, the viewer faces his unconscious desire reflected in the pond, and "morning glory" is a method of image that displays unconscious actual morning glory in the place of morning glory, and as the light image of reversible reaction is repeated, the spot of the realistic morning glory is transferred to the shadow image of the abstract morning glory.
Abstraction, which collides with the realistic structure, functions as an object that reveals the lack of desire at the point where "The Three Graces" of the imagination and the materiality of the fish of the real world collide, discovering the form of the linguistic structure of conceptual abstraction. As an image of its linguistic form, the waves of the pond and the reflection of light form a reversible shadow structure, and the waves of pond and <morning glory "The Three Graces" fish>, which explore the tension between aesthetic values and other desires, linguistic semantic structures, and harmony between desire structures and real images as a subject, leave traces of necessity self-consciousness, and philosophical thinking devices are operated in which viewers visually interpret their existence and absence as a conceptual form at the same time.
In addition, abstraction as a meaning with different forms is a realistic image of conceptual abstraction that exists as an ideological non-form with different colors and sizes. Accordingly, abstraction as an object. Conceptual abstraction Realist design related to <morning glory "The Three Graces" fish> is an existential conceptual abstract image that is abstracted as a conceptual object in an ideological non-form by recreating the realist image. The image is seen as a realist cross-sectional image by being perceived as a plane as a virtual image that obscures existence.
Here, even if the images are different, abstraction as a symbolic structure has an existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desire of the other.
Therefore, as a conceptual form of a realism image, a vector representing the direction of the non-existent existential subject entering the symbolic world as a structure of the other that represents a synchronic semantic chain, and an image is formed by defining the concept of an existential image that is alienated from an image lacking a realistic structure.
As an unsolvable semantic structure like the Gordian knot, Alexander the Great is revealed as an abstract realism image as an existential subject through division that expresses the essence of ex post facto by cutting the knot with a knife and expressing the essence of ex post facto.
It is an orderly vector that displays the orientation to solve this unsolvable semantic structure in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a whole stage of linguistic meaning, such as expression abstractism. This is a semantic structure that cannot be solved as an existence before the abstract structure enters the symbolic world, and it expresses the image of realism in conceptual abstraction as an existential subject in which the knot determined by synonymously meaningful is physically divided into two equal parts to solve the event.
Louis Choi Chul-joo, morning glory and The Three Graces fish, 113X165cm, acrylic and composite materials on cloth, 2025
Sketches that connect realist images into allegories as linguistic meanings distinguish objects as reversible light structures, which deviate from the concept of instantaneous desire from abstract ponds to reversible light shades, from "morning glory" as a structure of desire, with objects formed from each other's abstract perspectives as reality and virtual beings.
The structure of the morning glory and branch cannot be determined according to the temporality that corresponds to light, and shows the meaning of harmonizing with the morning glory. Its meaning is developed as a pictorial language structure in which objects move on the spot of the pond abstracted by reversible temporality and the spot of the morning glory illuminated by the divided retroactive light.
The movement of "The Three Graces" fish is linked to the temporality of the Mona Lisa as a sign of necessity self-consciousness, reveals the sensory structure before the symbol translated into pictorial language, and becomes an abstract space pond that functions as a formative reality beyond the literary nature of early conceptual art.
Perspective objectivity in abstract pond structures distorts the reality of objects contrasted with fish as the range of the sky and the size of the perspective, where reversible light is limited to objects superimposed with realism images as another gaze structure on the water surface.
In the symbolic abstract world, the Mona Lisa as a real visual image aimed at by the abstract structure lacking by repeating image sketches as linguistic meanings in flat formations and colors reveals its existence in the form of non-existent beings and imaginations reflected in the pond, and it is a sketch that passes through an allegory that images morning glory, "The Three Graces" fish, and pond structure as reality.
The structuring of the linguistic meaning of existential real is an abstract real object' realism image that is revealed as a point of light to the eyes of others, and Choi Chul-joo's aesthetic structure revealed in the gaze system of desire looks the same as the gaze of the object, which is based on the distorted image as a philosophical device and the existential real image. The image is a perspective visual structure, and the boundary of the pond structure where water is buried on the surface that is in contact with the surface is the geometric tangent of the object surface and the image of an abstract morning glory as an unconscious being.
It is interpreted as a mirror image reflecting the desire of the other and is connected to the concept that the viewer is staring at "The Three Graces" fish at the same time, and <The Three Graces>'s gaze creates an optical realism space that varies depending on the viewer's location.
As the image of the reversible reaction that constitutes the realist space abstracted by the concept of desire is repeated, the spot of the morning glory is abstracted. In other words, the shaded image of the morning glory staring at the reversible light is displayed on the "The Three Graces" fish as it is sequenced according to the reversible temporality, and "The Three Graces" fish divided at the same temporality is reconstructed into a realistic abstraction with a shade of reversible light.
Its abstraction coincides with the perspective of realism space and the abstract linguistic meaning of fish and Mona Lisa, and abstract and invisible objects from the conceptual point of desire appear as visual pathways by time.
This visualizes the structure of desire and the aesthetic concept of reality through tension and harmony between aesthetic value and human desire and linguistic semantic structure through the subject.
"The Three Graces", the goddess of beauty in Greek mythology, is substituted for the Mona Lisa to divide the symbolic aesthetic sense of desire according to time.
The Mona Lisa smile visualizes the ambiguous expression as a realistic image by blurring one outline with da Vinci's spumato (sfumato) technique depending on the temporality, but as a double object, it appears to be an "aesthetic trace of time" embodied through the movement of facial muscles and nerves superimposed with the Choi Chul-joo's "The Three Graces".
Conceptual Abstract Realism The realization of abstraction is a realism desire image that can verbally interpret the conditions (i/d) under which the image (i) of conceptual abstract realism is realized by grammatically interpreting the linguistic meaning beyond the design (d) of the desire of others by conceptualizing the abstract object specified in Choi Chul-joo's desire formula.
In addition, when the conceptual abstraction as the subject of desire is transferred to a realism image, the conceptual abstract realism image as a reality reaches abstraction by selecting a specific object as the actual image of the abstract concept by the subject of desire asking himself what the abstract structure wants, <D(I...I')d=I(D...D'i)i>. This indicates the meaning of symbolic action that characterizes the design of "The Three Graces" fish's space, which combines pieces of distorted morning glory image repeatedly in the process of abstraction.
Here, the image is not a visual phenomenon of "The Three Graces" fish, but a device that visualizes the flow of unconsciousness and the transition of symbols to realism images, and it is the meaning of language that symbolizes the abstract image of the conceptual "The Three Graces" fish and the morning glory as a constant body in the place.
In this way, abstraction that stopped from the concept of existential desire, which was realized by abstracting the abstract structure that cracked in the linguistic semantic system as an object of desire, is expressed as a realistic image.
Therefore, images recognize the present as a shade of reversible light by visually expressing the nature of human existence and the limitations of perception by obscuring or revealing reality through reversible shades of light, that is, by illuminating the present in which light from the past is sustainable. This is the effect that light from the abstract past has been transferred to a real image as the same structure as the current artificial lighting, and is represented by a conceptualistic realism image that takes the place of the formative traces of the unconscious past as the desire of others.
"The Three Graces" fish, which appears as an object that visualizes the desires of others, reveals the structure of desire through the conflict between linguistic meaning and real image.
This is a device that communicates the philosophical and linguistic images of the formative structure, Choi Chul-joo's conceptual abstraction, which operates as a realist abstraction and is designed as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor to become an existential realist image. In other words, it is a philosophical device that visualizes the formation and dismantling of "The Three Graces" fish self reflected in the pond, and the conflict between the existential abstract structure of the morning glory and the linguistic meaning of the morning glory, in which the desire structure of the other is revealed through staring, and reinterprets the mirror image of the abstract realism image that passed the Choi Chul-joo desire formula, resulting in the abstraction of morning glory and "The Three Graces" fish.
As an image of linguistic meaning, it conceptualizes the abstract structure divided by religious saviors as a "The Three Graces" fish with life and is imaged as an existential realism image.
The "The Three Graces" Fish expresses the real image in linguistic meaning through the collision between the religious abstract structure and the real image. Here, "The Three Graces" Fish is a form of existence of realism that expresses necessity of self-consciousness through traces of paint on the margins as temporal and abstract spaces.
This form reveals the sensory structure before the perception of the existential "The Three Graces" fish, that is, the image of the entire stage of linguistic meaning, and is a conceptual abstraction in which more diverse space-time and pictorial formality intersect through the eyes of viewers beyond the literary nature of modern conceptual art.
Here, like the back of a "The Three Graces" fish, the image of the previous stage in linguistic meaning transfers a protective realism iamge color similar to the surrounding color to avoid attacks from birds. Therefore, the image of "The Three Graces" fish in the pond is realized as a being in a reversible light shade.
And Choi Chul-joo's Desire Formula, which produced the free "The Three Graces" fish according to the wave flow so that it can be approached from the perspective of conceptual abstract realism as a symbolic structure of desire, can be identified as a conflict point between realism and abstract symbols before language.
In this way, realism and abstract symbols repeatedly collide to reveal the symbolic structure before language through transgenic transfer. In this way, realism and abstract symbols repeatedly collide to reveal the symbolic structure before language through transgenic transfer.
The symbolic "The Three Graces" fish transfers to an abstract image's desire object that reveals the unconscious desire of the other. This continues in modern craft art, which leads to the belief that fish will always keep their eyes open and protect precious things, and transforms the sculpture of contemporary art into a conceptual abstract realism style.
The "The Three Graces" fish, symbolized as an abstract realism object, is a collection of symbolic objects and expands the structure of desire by distorting the boundary between reality and non-existence.
Sometimes, depending on the symbolism of the medium, it contains traces of temporality and reality, so it is interpreted as a shaded dynamic structure of reversible light in Choi Chul-joo's media art "Pond".
It is a method of implementing the dismantling of multiple viewpoints directed in conceptual abstract painting by dividing at the time of the flat cross-sectional structure of "The Three Graces" fish as a realism image.
In this way, the abstract design method applied to conceptual abstract realism painting is an image as a signifier, and its meaning is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of the moving viewer coexists while unconsciously synthesizing according to temporality.
Therefore, the color of the figurative image of the 'morning glory', the background of desire as an unconscious linguistic meaning, becomes the color of light that reverses the reality of customary universality facing the object. Unlike the light reflected from the decorated shape, the morning glory and the "The Three Graces" fish preside (駐在) in the dark margin space, and the shadow created by the morning glory becomes the "The Three Graces" fish.
Here, the reversible color of light as a grammatical being in the meaning of language is a single-phase realism image of cultured customs seen as a gaze. This is a piece of meaning symbolized in a non-realistic space that abstracts a "The Three Graces" fish that imitates a morning glory as a structure of desire.
The sculpture functions as a pictorial event image, a fragmented (離間) image of a "The Three Graces" fish in the spot of a morning glory, combined with a shade of color generated by reversible light that explores the boundary between existence and absence.
The gap between the real self and the object is that the color and shape of the object speeding up the division of the object is a visualization of the object of the sensory structure before language, that is, a landscape image with a conceptual theme rather than a portrait, and the object realizes it from the structure of desire into an image of a fragmentary trace of desire through abstract division and transmutation, and the meaningful realism structure and linguistic image that take place within the unconscious mind function together in both conscious and unconscious dimensions to obtain an existential reality according to artistry.
Therefore, in <morning glory & 'The Three Graces' fish> images obscure or reveal reality through reversible shades of light. This visually expresses the nature of human existence and the limitations of perception, that is, by illuminating the present in which light from the past is sustainable, recognizing the present as a shade of reversible light. In other words, the light of the abstract past is transferred to the real image as the same structure as the current artificial lighting, and the conceptual abstract structure results in the realist image. This represents abstraction, which takes the place of the formative traces of the unconscious past as the desire of others, as an image of the real place./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Conceptual Abstract Realism Abstraction Design Methodology
1 Conceptual Abstract Realism concept of realism is an image abstracted as a conceptual object in a non-ideological form by recreating the realist image. The image is a virtual image whose existence is obscene and is perceived as a plane, making the realist image appear as a real structure.
Here, even if the image is different from the actual structure, when the same linguistic meaning is spoken, abstraction as a symbolic structure has an existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces in similar colors and sizes. Accordingly, the concept of abstract realism abstraction with creativity and autonomy in the linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desire of the other.
Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image.
The conceptual abstract realism abstraction as an existential subject is revealed through division, which expresses the essence of ex post facto in a comprehensive and immediate way of solving an image with a different linguistic meaning as a semantic structure that cannot be expressed as a real image.
It is an orderly vector that displays the orientation to solve this unsolvable semantic structure in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a whole stage of linguistic meaning, such as expression abstractism.
This is a semantic structure that cannot be solved as a being before the abstract structure enters the symbolic world, and it is a concept that abstracts conceptual realism as an existential subject by physically dividing the material and same essence of ex post facto that solves events by synonymously meaning knots.
2. Sketches on the linguistic semantic structure of conceptual abstraction connect realist images into allegories in linguistic meaning, distinguishing objects from reversible light structures that deviate from the concept of instantaneous desire and turn into reversible shadows of light, and distinguish them from 'morning glory' as a structure of desire as reality and objects formed from each other's abstract view as virtual beings.
The structure of the morning glory and its branches does not determine the position of the structure depending on the time of the response to light, but shows the meaning of harmonizing with the morning glory.
Its meaning is developed as a pictorial linguistic structure in which the object moves in the position of the object abstracted by reversible temporality and in the position of the morning glory illuminated by the divided retroactive light.
The movement of the object is linked to temporality as a sign of necessity self-consciousness, reveals the sensory structure before the symbol translated into pictorial language, and becomes a place of abstract space that actually functions formatively beyond the literary nature of early conceptual art.
Perspective objectivity in an abstract spatial structure distorts the real image of an object contrasted with the object as the range of space and the size of the perspective in which reversible light is limited to the object superimposed on the surface as another gaze structure.
In the symbolic abstract world, image sketches as linguistic meanings are repeated in conceptual abstractions in flat formations and colors to reveal the existence of objects as real visual images and imaginations, and it is a sketch of a linguistic semantic structure that passes through an allegory that images morning glory and object structures as reality.
3. The image structure in the linguistic meaning of conceptual abstract realism is an abstract realism object, and an abstract object revealed as a point of light in the eyes of others identifies as a philosophical device the distorted image as an aesthetic desire structure revealed in the gaze system of desire, such as the gaze of an object with an existential realism image that appears the same as the abstract meaning. An image is a perspective visual structure, a method of producing an image that expresses geometric tangents and abstract morning glory as unconscious beings.
It is interpreted as a mirror image reflecting the desire of the other and is connected to the concept that the viewer is staring at the object at the same time, and the object's reflex gaze creates an optical realism space that varies depending on the viewer's position.
As the image of the reversible reaction that constitutes the space of realism abstracted as the concept of desire is repeated, the spot of the morning glory is abstracted. In other words, the shadowy image of the morning glory staring at the reversible light is displayed on the object as it is sequenced according to the reversible temporality, and the image of the linguistic meaning of conceptual abstract realism abstraction is structured as a shade of reversible light from the object divided at the same temporality. The abstraction coincides with the abstract linguistic meaning of the object from the perspective of realist space, and from the conceptual point of desire, an abstract and invisible object appears as a gaze path according to temporality.
Through this theme, the structure of desire and the aesthetic concept of reality are visualized as a realist image through tension and harmony between aesthetic values, human desires, and linguistic semantic structures, but it appears to be an "aesthetic trace of time" embodied as a double object.
4. The actualization of conceptual abstract realism abstraction is an opportunity to verbally interpret the conditions (i/d) under which the image of the object of conceptual abstract realism is realized through grammatical interpretation of the linguistic meaning beyond the desire of the other by designing the image (i) of desire by conceptual abstract realism specified in Choi Chul-joo's desire formula. In addition, the subject of desire asks itself what the abstract structure wants when transferring the conceptual abstraction as the subject of desire to the realist image and selects a specific object as the actual image of the abstract concept, so that the conceptual abstract realism image as reality reaches abstraction <D(I...I')d=I(D...D'i)>.
This indicates the meaning of the symbolic action that characterizes the design in the place of the object, which repeatedly combines pieces of the distorted image of the morning glory during the abstraction process. Here, the image is not a visual phenomenon of an object, but a device that visualizes the flow of unconsciousness and the transition of symbols to a realism image, and the abstract that imitates the morning glory and the figurative object as a constant figure in the place are the meanings of language that symbolizes the conceptual abstract realism image of the morning glory.
In this way, abstraction that stopped from the concept of existential desire, which was realized by abstracting the abstract structure that cracked in the linguistic semantic system as an object of desire, is expressed as a realistic image.
Therefore, images recognize the present as a shade of reversible light by visually expressing the nature of human existence and the limitations of perception by obscuring or revealing reality through reversible shades of light, that is, by illuminating the present where light from the past is sustainable. This is the effect that light from the abstract past has been transferred to a real image as the same structure as the current artificial lighting, and the conceptual abstract realism image, which takes the place of the formative traces of the unconscious past as the desire of others, is abstracted.
Objects that appear as objects that visualize the desires of others reveal the structure of desire through conflict between linguistic meaning and real image.
This is a device that conveys the philosophical desire design and linguistic image of the formation structure, and is designed as a philosophical desire image that works as Choi Chul-joo's conceptual abstract realism abstraction to reproduce the essence of human existence and the limits of perception in a metaphor.
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Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 78
Art Critic Louis Choi Chul-joo Criticism [78] 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: morning glory · Cecilia Gallerani, Louis Choi Chul-joo, morning glory · Cecilia Gallerani, 39.4×49.4Cm, acrylic and composite materials on cloth, 2025
Louis Choi Chul-joo, morning glory · Cecilia Gallerani, 39.4×49.4Cm, acrylic and composite materials on cloth, 2025
In Leonardo da Vinci’s Lady with an Ermine, the symbolic structure of the ermine reveals not only the social alienation of the woman portrayed—Cecilia Gallerani—but also the fragmented subjectivity of the ermine itself, which, within the contemporaneous structure of desire, becomes a vector of meaning that transcends its zoological form. This vector, emerging from the synchronic repetition of linguistic signification within the sociocultural matrix of the time, bifurcates into a pre-linguistic ontological image, thereby transferring the alienated woman and the desiring subject of the ermine into the realm of abstraction.
The moment this abstract structure of linguistic meaning is connected to a symbolic allegory—where the conceptual object of instantaneous desire is projected onto the real existence of Gallerani and the virtual presence of the ermine—the background motif of the “morning glory” emerges as a temporal and symbolic field shaped by the reversible light that once illuminated the subject. Within this field, Gallerani, unable to anchor herself in a fixed position, is seen harmonizing with the morning glory, which itself becomes a spatialized allegory of desire. The temporally refracted light, cast retroactively upon the morning glory, renders Gallerani as a phenomenological abstraction of realist structure.
The movement of the ermine, as a symbolic subject, is arrested and linked to Gallerani through traces of anterior self-consciousness, while the morning glory—translated through the structure of abstract language—reveals the spatial logic of the background, functioning as a site of abstraction liberated from the religious subjugation of early conceptual art. Within this symbolic abstraction, the repetition of planar forms and chromatic fields in conceptual design transforms the portrait into a visual allegory of linguistic deficiency, where the morning glory and Gallerani are rendered as images of ontological absence.
In this context, the “Morning Glory Gallerani” becomes not merely a replication of Lady with an Ermine in similar hues and proportions, but a conceptual realist image that embodies the autonomy and creativity of the contemporary subject, whose ontological concept is derived from the linguistic interplay between the woman and the ermine. The figurative form of this image, as a diachronic chain of signification, constructs a representational structure of existential absence, which, through the visual deconstruction of consumption, refuses to fix meaning through the lens of desire and instead weaves a multilayered semantic network.
Thus, Choi Chuljoo’s definition of Conceptual Abstract Realism does not merely symbolize the desire of the Other, but rather visualizes the repetition of linguistic deficiency to generate new strata of meaning. As such, Conceptual Abstract Realism bridges the gap between reality and abstraction through linguistic imagery, exploring ontological meaning visually and reinterpreting the structure of reality through the aesthetic lens of symbolic politics. Through the reversible shadows of light, this abstraction visualizes the temporal flux of meaning, reflecting the phenomenological delay of perception and forming a simultaneous linguistic structure in which the desire of the Other is perceived through realist imagery.
In this simultaneity, the fragmented structure of desire within contemporary language identifies with the mirrored image of the woman holding the ermine, constructing the self as a real image. The symbolic woman, in turn, speaks to the ermine through the language of imagery. Thus, by abstracting the image of the woman and the ermine through a conceptual approach, new meanings are embedded within the symbolic layers of the image, visualizing the desire of the Other at the intersection of phenomenological image and abstract meaning, while deconstructing the instability and fluidity of language to open new interpretive and philosophical possibilities.
The allegorical painting, connected through the morning glory, becomes a conceptual object that distinguishes the woman and the ermine as subjects formed through abstract perspectives. The concealed structure of the morning glory’s branches, shaped by the temporality of light, reveals a harmony between the woman and the ermine, whose meaning is translated into pictorial language as a manifestation of realist abstraction. This overlapping of realist imagery, bounded by the canvas and juxtaposed with the non-perspectival morning glory, distorts the abstract real.
The ermine, as a motif image of purity (vagina), is symbolically structured through its placement and the silver folds of the woman’s garment, contrasting moral virtue with latent desire. This abstraction of morality, distilled through the realist image of the ermine, is translated into a concrete form of abstraction grounded in visual structure, driven not by pure aesthetic form but by conceptual motifs and ideas. The ontological image is thus structured linguistically, passing through Choi’s philosophical apparatus of aesthetic desire to become a realist image of existential abstraction.
The shifting gaze of the woman and the ermine creates an illusory realist space, where the morning glory is generated as a background that reconstructs abstraction into realist form according to temporal flow. This reveals the “trace of time” as implemented by the movement of the conceptual subject, aligning the abstract linguistic meaning of the woman and the ermine with the image. The subject of conceptual abstraction, as a motif image, identifies the object of deficient desire through language, selecting an inevitable ontological image that remains suspended in abstract demand.
Louis Choi Chul-joo, morning glory · Cecilia Gallerani - sketch 1, 39.4×49.4Cm, acrylic and composite materials on cloth, 2025
Through this process, the image—whether of the ermine or the woman—transforms into abstraction via language and sign, and is then retranslated into realist form through the reversible structures of light and form. This allows the abstract desire of the Other to be expressed as a form of social allegory, where repeated signification produces a dual image of desire, distilled into visual form through the cultural meaning embedded in the ermine.
“Morning Glory Gallerani” thus becomes a Conceptual Abstract Realist image that does not merely symbolize desire but visualizes the structural design of desire through the background of reversible light, embedding the woman and the ermine within a new stratum of linguistic meaning. Gallerani, as an ontological object of abstract realism, is identified with the aesthetic structure of desire, while the ermine, through perspectival visual structure, marks the background with the morning glory.
This repetition of reactive imagery transforms the position of the morning glory into a linguistic abstraction of realist form. From the perspective of realism, Gallerani and the ermine are aligned with symbolic meaning, while from the conceptual viewpoint of desire, the invisible morning glory halts along the temporal trajectory of desire. This visualizes the aesthetic trace of time within Conceptual Abstract Realism, where the subject of desire, having departed from abstraction, selects a specific image of desire and transforms it into a real image of conceptual abstraction.
Ultimately, this process reveals the metaphysical desire of the subject, where the abstract structure questions its own object of desire and selects a real image of conceptual abstraction, reaching the point of abstraction as expressed in the formula: Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:
D: The archetype of desire, representing the foundational lack or drive.
I...I': A sequence of visual representations through which desire is projected.
d: The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.
I: The emergent image of desire, a perceptual unit.
D...D': The recursive layers of desire, reflecting its multiplicity and transformation.
i: The conceptual resolution of desire, the cognitive abstraction of the image.
This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.
� Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop
From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient
� reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (D).
This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.
Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—
Choi Chul-joo’s desire formula D(I...I')d=I(D...D')i an be visualized as a dynamic vector field, where each component represents a transformation in the structure of desire:
Left-hand side D(I...I')d: Desire D is activated by a sequence of images I...I', forming a directional vector across perceptual space. The coefficient d scales this vector, representing unconscious forces, cultural pressure, and social visibility. This side models the generation vector, where desire emerges from visual stimuli and is modulated by internal dynamics.
Right-hand side I(D...D')i: Recursive structures of desire D...D'′ are transformed into a singular image I, which is cognitively resolved into a conceptual value i. This side models the resolution vector, where abstract desire is re-rendered into perceptual form and interpreted semantically.
Transformation Arrows: Arrows between both sides represent recursive feedback loops, showing how desire oscillates between abstraction and realization.
The entire graph behaves as a fixed-point system, where desire continuously loops through image, structure, and meaning.
� Cognitive Psychologist’s Perspective: Desire as Symbolic Simulation
This is the moment of symbolic closure, where desire becomes intelligible.
This graph reveals that desire is not a linear impulse but a recursive cognitive algorithm, where the mind loops through symbolic abstraction, perceptual encoding, and conceptual resolution. The object—whether a pop art image, a shaded metaphor, or a reflective pond—functions as a recursive node in this system, simulating the architecture of desire through visual recursion and symbolic feedback.
5. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.
<D(I...I'd)=I(D...D'i)> Conceptual abstract realism images as reality reach abstraction by abstractly selecting a specific object, where the subject of desire asks what abstract realism wants from him. This dictates the meaning of the symbolic action that characterizes the design of dynamic and abstract structural images, which repeatedly combine pieces of distorted desire background images in the process of abstraction.
Here, an image is not a visual phenomenon of a dynamic image, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual dynamic images and abstract structures.
Therefore, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting an abstract place that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image.
It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the conflict between dynamic images and abstract self-formation, existential abstract structures as effects, and linguistic meanings revealed in the gaze, and reinterprets the mirror image of abstract realism to abstract dynamic images and abstract structures beyond phenomenal backgrounds and desire formulas as desire structures.
This form reveals the sensory structure before the perception of existential fish, i.e., the previous stage image of linguistic meaning, and beyond the literary nature of modern conceptual art, it is a realism abstraction as a linguistic meaning where more diverse spatiotemporal and pictorial forms intersect through the viewer's eyes.
In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.
The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art.
This is a piece of meaning symbolized in a non-existent space, an abstract abstraction of an abstract structure that mimics the dynamic image and the structure of desire.
Abstraction functions as a pictorial event image, and instead of desire, it explores the boundary between existence and absence by combining fragmentary sculptural images with shades of color produced by reversible light.
In this abstract design method applied to conceptual abstract realism painting, the shape of a dynamic image that acts as a sign of desire before linguistic meaning is transferred to an image as a symbol, and the meaning of it is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of desire that moves while unconsciously synthesizing according to temporality coexists.
As an image of linguistic meaning, it conceptualizes abstract structure as a living dynamic image and images it as an existential realist image, resulting in a conceptual abstract realism design that phenomenally expresses abstractness and self-consciousness as abstract spaces according to temporality through the traces of time.
� Choi Chul-joo's conceptual abstract realism science definition is conceptual abstract realism, which identifies existence as a limited form of image as a linguistic semantic image, realizes it as a formula for mathematical desire, constructs real structures in logical places, and intuitively considers abstract concepts as existential images in modern art's conceptual abstract realism science, abstracting linguistic meaning and unconscious desire through a thorough design process, the depth of the concept of contemporary art and visual reality, or how the world is viewed as an aesthetic value, are simultaneously studied.
Accordingly, the conceptual abstractive design process is
1. Concept Abstract Reality Image Sketch sketches an image by abstracting the conceptual abstract realism image as a conceptual object, and the image is a virtual image that hides its existence and sketches it into a real structure. This visualizes Choi Chul-joo's concept of desire as a conceptual abstract real image and sketches it as a philosophical abstract design process.
Here, the sketch has the existential concept of a realism object as a symbolic structure in a linguistic sense that identifies it with the conceptual abstract real image. Therefore, the image sketch of the existential concept of abstract reality with creativity and autonomy in the linguistic sense consists of a sketch of another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desire of the other.
2. Conceptual abstract image rendering (R) is an opportunity to verbally interpret the conditions (i/d) under which the image of the conceptual abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desire of the other by conceptualizing the abstract object specified in Choi Chul-joo's desire formula.
This is an abstract rendering method that automatically converts philosophical abstraction into visual images by grammatically interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades into mathematical and symbolic structures to simultaneously render AI renders that combine conceptual abstract images and conceptual abstract images created in one image. Conceptual abstract realism images reach abstract rendering as a reality <DR(I...I')d=I(DR...D'i)ir> by the subject of desire asking himself what the abstract structure wants when transferring the abstract image rendering to a realistic image. This is a method of rendering the symbolic action that characterizes the design rendering of the object seat as a realistic image by repeatedly combining the pieces of the distorted morning glory image in the process of rendering the conceptual abstract image into a realistic image with the unconscious flow and symbolic realism image.
3. Concept Abstract The actual image composition is a real object and abstracts the image by defining the concept of an existential image as an abstract concept. Abstract structure is a semantic structure that cannot be expressed as a real object, and an image in linguistic meaning that cannot be solved by existence is defined as a semantic structure that physically separates material and identical personalities to form a conceptual abstract real image as an existential subject.
4. Concept Abstract Image Design combines desire structure with the existence of reality, and the existence of objects formed from an abstract perspective, combining reversible light structure with reversible shading of light that deviates from the concept of instantaneous desire. The AI design of the conceptual abstract real image autonomously implements the conceptual abstract real image design by algorithmizing Choi Chul-joo's conceptual abstract realist theory into AI. Therefore, the abstraction of conceptual abstract realist images according to conceptual abstract realist theory in the spatial structure abstracts perspective objectivity as another gaze structure on the surface, and the object overlapping a realism image is abstracted from the object's real image as the scope of space limited by reversible light and the size of the perspective.
5. Conceptual abstraction The abstract realist image's abstraction is an aesthetic desire structure in which an abstract realist object, which is an image-structured in a linguistic sense, is revealed as a point of light to the eyes of others, is revealed in the gaze system of desire. By designing an image with an abstract meaning as a philosophical device, aesthetic abstraction is painted with an image of an existential realism object that appears to have the same meaning. Choi Chul-joo's abstraction as a conceptual abstract realist image is a tool that visualizes his desire formula through an art algorithm, and it is a conceptual, language, design, psychology, and philosophical realist abstraction. Therefore, the abstraction of an abstract realist image abstracts the conceptual abstract linguistic meaning of a realist space by equating the perspective of a realist space with the conceptual abstract linguistic meaning of an object.
This formula signifies the recursive design of symbolic function, where the image is not a visual phenomenon but a device that visualizes the unconscious flow and symbolic transition into realist imagery. The morning glory, as a mimetic abstraction, becomes the linguistic sign of Conceptual Abstract Realism, where the abstract space of desire—unreachable in lived experience—is fractured within the linguistic system and visualized as a realist image.
Through the reversible shadows of light, these images conceal or reveal reality, expressing the essence and limits of human existence. The light of the past, illuminating the sustainable present, becomes a realist image of the now, and the abstract past is transferred into the real structure of contemporary realism. In this way, Conceptual Abstract Realism explores the gap between reality and abstraction, reinterpreting the structure of reality through symbolic politics and visualizing the temporal shift of meaning, ultimately producing new aesthetic values at the intersection of language and image./ Writing. Choi Chul-joo, a Conceptual Abstract Realism Art Scholar Critic (Doctor of Cultural Design)
Choi Chul-joo, a Conceptual Abstract Realism Art Scholar