현대 개념 팝아티스트｜Pop concept artist

현대미술작가 [4] 팝아트 개념 추상미술가 욕망개념 최철주 욕망공식디자인

현대 개념 팝 아티스트 최철주 [4] Contemporary Concept Pop Artist, Choi Chul-joo 현대아트 팝아트 개념 추상미술가 루이 최철주의 욕망개념 추상디자인 욕망 공식 적용 추상화: 현대 콘셉트 팝 아티스트 최철주는 타인의 욕망 예술에 대한 추상적 개념적 접근과 팝아트의 디자인 형식 및 언어적 추상 이미지를 결합합니다. 그의 욕망 개념, 즉 개념 추상 미술이 등장하고 형이상학적, 철학적 빛에서 강조되는 언어적 의미 개념과 충돌하는 그림이 인공 조명과 함께 극적인 사건 이미지를 연출합니다. Contemporary Concept Pop artist Louis Choi Chul-joo 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 painting that conflicts with the concept of linguistic meaning emphasized in metaphysical and philosophical light produces a dramatic event image with artificial lighting. / 현대 개념 추상미술가의 신작 읽기 - 미술 비평: 현대 개념 추상미술 비평 디자인 과정 현대 개념 팝아트 작가와 현대 개념 추상미술가의 최철주 작가는 현대 개념 추상미술로서 시각미술 이론을 통해 미적 가치의 예술성을 고찰하고, '나팔꽃' 작품을 통해 추상적 욕망 개념과 언어적 의미 구조를 반영하여 지각과 미적 구조를 해석함으로써 추상적 욕망의 언어적 의미와 동일한 실제 이미지를 추상화합니다. Reading New Works of Modern Concept Abstract Artist and Art Criticism - Art Criticism: Concept Abstract Art Criticism Design Process of Contemporary Concept Pop Art Artist and Contemporary Concept Abstract Artist: Choi Chul-joo, a modern concept abstract artist and critic, examines the artistry of aesthetic value through visual art theory as a contemporary conceptual abstract art, and interprets perceptions and aesthetic structures by reflecting abstract desire concepts and linguistic semantic structures through his "morning glory" work, resulting in the abstraction of real images identical to the linguistic meaning of abstract desire./ 현대미술평론가 루이스 최철주는 사진 만화 미술 공예 디자인의 미적 가치 과정의 예술성을 검증하고 시각 예술 이론을 통해 작품의 의미에 접근하는 현대미술 개념 비평가다 Contemporary Art Critic Louis Choi Chul-joo is a contemporary conceptual art critic who validates the artistry of the aesthetic value process of photographic cartoon art craft design and approaches the meaning of the work through visual art theory: 최철주의 개념추상 리얼리즘 추상화 디자인 프로세스는 예술성에 따라 사실주의를 이끌어낸 대상으로서 시각 체계에서 벗어난 또 다른 시선 구조로서 이미지를 현실로 드러내는 또 다른 추상적인 대상은 사실주의의 이미지입니다. 사실주의 추상화 디자인에서 추상화와 현실의 이중 메시지를 효과적으로 전달하는 방법은 현대 미디어 아트 이미지나 추상화와 같은 현대 개념 추상적 사실주의 추상화를 통해 개념과 추상화를 현실적으로 표현하는 것입니다. 따라서 미디어 아트 추상화 디자인에서 개념추상 리얼리즘 추상화 디자인하는 과정은 다음과 같습니다. 1. 리얼리즘 오브제의 컨셉: 리얼리즘 오브제를 재현하여 가상적 오브제로써 형성된 이미지는 실재를 은폐한 가상적 이미지이다. 그 가상적 이미지는 평면으로 인지되어짐으로써 리얼리즘 이미지로 보인다. 여기서 현실적인 객체를 재현하는 원근감 시각 시스템의 기하학적 평면 이미지에 숨겨져 있다가 무의식이 드러내는 욕망의 관점에서 순간적으로 시선으로 드러납니다. 이는 타인의 욕망에 의해 억압된 무의식을 통해 언어적 의미의 이미지로서 창의성과 자율성을 갖춘 현실주의 객체의 개념을 개념적 추상적 실재 객체의 또 다른 존재로 정의합니다. 2. 리얼리즘 이미지를 알레고리로 연결하는 스케치: 추상 미술과 예술은 물질이 현실로서의 존재와 가상의 존재로서 서로의 추상적인 관점에서 형성된 사물의 존재로 구별되는 것입니다. 예술 작품의 조건은 존재하지 않는 존재와 상상의 형태로 존재를 드러내는 것으로, 사물과 사건을 현실로 이미지화하는 알레고리를 통과하는 스케치다. 최철주의 가역광은 빛의 현실적인 형태와 움직임, 즉 시간성에 따라 현재 '가역광의 그림자에 가려진 실제 이미지'로 음영 처리된 이미지입니다. 이 이미지는 추상으로 보이는 언어적 의미가 식별되는 가역광의 음영 처리된 이미지로 현실을 만들어냅니다. 이것은 스케치를 반복하여 아나모르포시스 이미지를 현실의 이미지와 분리된 또 다른 현실, 즉 시선의 구조로 보이는 실존적 이미지와 연결하여 추상적인 언어 이미지를 스케치로 형성하여 개념적인 추상적 현실주의 개념으로 재구성할 수 있도록 한다. 3. 추상적 리얼리즘 오브제 응시: 추상적 사실주의 오브제로서 타인의 눈에 빛의 한 점으로 드러나는 추상적 객체는 욕망의 시선 체계에서 드러나는 최철주의 미학적 구조로서 왜상적 이미지를 철학적 장치로서 추상적 의미가 다르게 나타나는 추상적 사실주의 오브제 시선처럼 보이게 한다. 관람자의 위치와 시선에 따라 추상적 의미가 달라지는 철학적 장치로서, 이 이미지는 사실주의 공간의 관점과 추상적 언어적 의미를 일치시키며, 욕망의 개념적 관점에서는 추상적이고 보이지 않는 오브제가 시선 경로로 나타납니다. 그 이미지의 개념적 추상적 실재론의 언어적 의미에서 인과관계에 의해 제한된 인간의 허구적 요소로서 타인의 욕망을 내포하는 오브제로서 이미지와 교차하며 무의식적 추상적 실재론의 언어적 의미로 구조화한다. 4. 추상적 리얼리즘의 추상화: 추상적 실재론의 추상화는 최철주의 욕망 공식에 명시된 추상적 대상을 얻고, 욕망 이미지(i) 디자인(d)는 타인의 욕망을 넘어 언어적 의미의 문법적 해석을 통해 추상적 대상의 이미지가 실현되는 조건(i/d)을 구두로 해석되는 계기가 된다. 욕망의 주체로서 추상적 리얼리즘이 무엇을 원하는 지를 욕망의 주체가 스스로에게 질문하는 특정 대상을 추상적 선택하여서 실재로서 개념추상 리얼리즘 추상화에 도달<D(I...I')d=I(D...D'i)i> 한다. 이것은 인간이 삶 속에서 경험할 수 없는 추상의 자리를 언어적 의미 체계애서 균열한 추상 구조를 욕망의 대상으로 추상하여서 실제화한 추상적 욕망 개념에서 멈춰선 리얼리즘 이미지다. 문화성에 따르면 최철주 개념추상현실주의 추상화 단계 1: 현실 속 욕망의 개념을 문자적 인과관계와 분리된 이미지로 증류하여 추상적 사고를 촉진합니다. 2단계: 자연물 모티브의 언어적 의미와 컬러 팔레트와 같은 문화적으로 공명하는 시각적 요소를 중첩하여 시각적으로 조화로우면서도 개념적으로 밀도가 높은 현실주의 추상 이미지를 만듭니다. 그것은 철학적 의미와 언어적 의미를 이미지에 전달하는 장치로서 최철주의 개념적 추상화로 작동하여 인간 존재의 본질과 인식의 한계를 은유로 재현하는 철학적 이미지로서의 개념적 추상적 현실주의 추상화다.

회화 언어 구조란 추상적 욕망의 이미지가 욕망 개념의 언어적 의미 구조인 것처럼 여겨지는 시선의 현실상이다. 미술평론가 최철주는 현대미술비평과 함께 욕망추상디자인이라는 개념으로 현대미술비평의 미적 가치, 프로세스, 예술성에 접근하고 있다. 그의 비평은 사진, 만화, 미술, 디자인의 예술성이 언어적 문법 구조로 작품의 의미에 접근해 욕망 개념의 현실을 비판하는 시각예술 이론을 가리킨다,/ 현대 추상미술 비평가 루이 최철주의 사건과 행위 이야기는 시각예술을 통한 현대 개념의 추상적 욕망을 언어적 의미를 시각화한다. 이처럼 사진, 만화, 미술, 디자인의 미적 가치, 과정, 예술성을 검증하고 최철주 추상예술이론으로 작품의 의미에 접근하는 현대미술평론 작품은: Louis Choi Chul-joo, Rendering the intersection of desire outside the window,: Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024

Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024

공룡의 욕망을 현실로 추상화한 병아리

시간성에 따른 추상적 욕망 개념은 가역적 빛으로 생성한 공룡의 공간을 만들고 기어처럼 욕망의 존재를 현상적 실재에 멈추고 그 빛의 음영으로 변화를 작게하여서 의인화한 병아리가 닭으로 오인한 욕망 개념의 공간과 동일시한다.

지각이 만들어지고 지질시대를 지나서 공룡 화석에서 부터 생존 욕망을 시작한 주체로서 인간 욕망이 생존을 넘어선다.

유아로서 병아리가 닭으로 오인하는 결핍이 존재하여서 욕망과 대치(對治) 한다.

공룡은 시간성에 따라 욕망이 비존재함 즉 결핍과 대치하지 않는 빈 공간의 흔적이다.

욕망의 배경이 되는 '나팔꽃'은 욕망의 주체로서 사건과 공연의 이미지를 중첩시켜 추상적 욕망의 개념을 실제 이미지로 대체하는 개념적 추상을 형성하고, '대나무 숲'은 빛의 시간성으로서 그늘을 형성하며, '연못'은 현실을 반영하는 거울로서 그늘을 형성한다.

욕망의 주체와 배경은 언어적 의미 작용으로서 외적 욕망, 상징적 디자인, 주체의 개념을 연쇄시키고, 배경은 주체의 언어적 의미 작용을 통해 무의식적 이미지를 현실로 전이시킨다.

욕망 개념의 추상적 상징하는 기호의 주체는 기호의 의미가 상징하는 무의식적 욕구의 존재물로 운폐된 상태를 보인다.

무의식적 욕구는 시간성에서 은폐된 욕망의 상관물로서 공룡과 닭이 추상할 수 있는 욕망의 존재물을 반복해서 디자인한다.

무의식은 실제 구조에 맞춘 본능적 동기인 존재 주체가 결여된 대상을 의식적으로 표현하려고 시도하며, 자의식이 결여된 대상 의식을 자의식으로 대체한 존재 주체가 결여된 대상을 의식적으로 표현하려고 시도한다.

그 자의식이 무의식의 대상을 의식적으로 표현하기 위해서는 추상적 욕망의 대상이 결여된 대상을 의식적 움직임을 통해 언어적 의미로 인식하고, 본능적 욕망의 대상의 본질적 존재를 인식하고자 하는 욕망의 개념을 추상으로 명시한다.

이것은 욕망 개념의 언어적 의미를 결정짓는 디자인으로 이미지를 만들고, 기호 기호가 디자인된 현실의 구조 속에 욕망의 추상적 개념을 숨긴다. 디자인의 주체로서 욕망의 추상적 대상으로서 병아리는 추상적 대상을 반영하는 닭으로 거울에 나타나 언어적 의미를 통해 현실의 숨겨진 구조를 만들고, 현실의 거울상과 현실의 주체가 식별되는 공간을 만든다.

그 욕망 개념의 언어적 의미를 설계하여 이미지를 만들고, 추상적인 욕망 개념은 현실의 구조에 의해 은폐되어 언어적 의미를 통한 현실의 구조와 욕망 개념이 식별되어 의미를 유발하는 현실의 이미지를 형성한다.

따라서 욕망 개념이 언어적 의미구조로 표상된 추상 구조의 또 다른 실재가 하나의 단상으로서 자리에 조응된 미적 가치를 갖도록 욕망 주체의 무의식의 자리를 풍습에 어울리는 언어적 추상 구조에서 욕망의 주체가 실재 이미지의 색으로 대상을 꾸민다.

이렇게 욕망 개념은 실재 이미지와의 인과성를 전제하지 않고 추상적 개념에서 실재의 구조로 전이된 오인에서 벗어나려고 욕망의 대상을 특정하여서 '나팔꽃'을 욕망의 배경으로 한 존재의 자리를 개입하여서 즉 실제 이미지 간의 상관관계로서 욕망의 개념에 대한 추상적 실제 이미지를 도출한다. 즉 욕망의 존재성을 반대가 없는 욕망 개념의 대상을 실재 이미지의 상관 관계로서의 욕망 개념으로 추상한 실재 이미지로 귀결한다.

실재 이미지로 귀결된 욕망은 그 이미지가 욕망 개념으로 한 추상 디자인 프로세스를 통과함으로 반복하여서 원근법적 시각체계 공간에서 존재하지 않는 실재 즉 추상적 실재 이미지를 형성하는 새로운 결과를 취득할 수 있다.

그러나 그 추상 디자인 과정의 결여는 하나의 결과로 종결된 추상을 이루고 결핍된 욕망으로 멈춘다. 이것은 해석하기 어려운 욕망의 중단단계로서 회화적 추상 구조에서 선, 면과 색으로한 형성성을 담고있는 작은 조각이다. 여기서 낭만주의 화가들은 사진같은 이미지에 대한 회화적 결핍애서 조형성을 파괴한다. 그들은 현실을 추상적인 구조로 표현하기 위해 광학 원리와 기계적 구성으로 물체의 모양을 재구성했다.

화폭은 모니터 화소처럼 검정색 천위에 좌우상하가 대칭대는 작은 네모 점의 볼륨있는 무늬를 보인다.

캔버스에서 이미지 요소로 픽셀의 크기를 늘리려면 이미지의 크기를 선명하게 보이도록 늘리고, 캔버스에서 일정 거리에 초점을 맞추기 위해 가역적인 빛의 색광과 음영을 분리하고, 여러 부분을 비추며, 욕망 개념의 의식적 작용으로 여러 직관적 표현을 중첩합니다.

욕망 개념의 상관물로서 욕망의 표상적 이미지는 언어적 의미가 동일한 구조로 가역적 빛의 음영으로 무의식으로 직관된 욕망으로 전체 형상에서 생략된 이미지로 관념을 특정하여 표현된 추상화다.

최철주의 욕망 개념 추상화 디자인은 낭만주의 회화에서 추상으로 변모한 현대 추상의 개념을 실제 이미지로 구현하는 새로운 추상 미술 방법론으로서의 현대 미술 운동이다.

하나의 개념미술이 추상이 아니라 선택자의 욕망 개념으로 이중적 자리를 만들고 그 이중적 자리에서 추상적 개념미술을 추월해서 주체로서 선택지가 원하는 추상으로 결핍된 욕망 구조를 의미적 존재로서 실재를 반복해서 디자인한다.

욕망의 실재를 디자인한 형상에 대한 개념적 미학은 삶의 가치로 한 미적 경험이다.

경험적 욕망의 결핍을 객관적 실재를 디자인하는 형식에 따른 결과가 욕망의 결핍을 충족함으로 가치를 획득한다.

이것은 욕망 대상에 대한 결핍으로 경험적 의식 운동으로 의미적 상관관계를 이루는 타자의 욕망 개념이다.

따라서 욕망 개념의 결과로서 사건과 공연 이미지의 주체가 욕망 구조와 교합된 개념을 담고 있다.

그리고 촬영을 위해 조명과 배경을 움직인 피사체의 이미지와 마찬가지로 실제 이미지의 모양은 검은색 배경의 음영이므로 실제 이미지는 피사체와 일치하는 욕망의 개념으로 미적 가치를 갖도록 조정한다.

따라서 그 실재 이미지를 음영으로 크기를 생략하고 빛으로 보이는 범위로 자리하여서 실재 이미지가 하나의 단상으로서 자리에 조응된 미적 가치를 갖도록 그 자리를 풍습에 어울리는 피사체 실재의 구조과 배경을 필름에 옮겨진 피사체의 이미지처럼 검정색에 배치한다.

사건과 공연 이미지의 순간적 인상으로 사진에 담아서 인상적인 욕망개념의 추상을 조명한 욕망 개념을 언어적 의미를 이미지를 명확하게 실재화하고 그 개념을 귀납적으로 가역적 빛의 음영으로 조명한 욕망의 추상 이미지를 보편적 실재로 귀결한다.

이것은 실재적 현상이 추상적 개념을 구체화할 수 있도록 실재의 자리에 존재했던 가역적 빛의 음영 구조가 욕망 개념에 맞춘 현상에서 허용된 실재에 본질에 안착한다.

여기서 추상적 욕망 개념이 슬라이드 필름에 가역적 빛의 음영된 내거티브의 피사체 이미지를 검정 바탕에 포지티브로 인화한 것처럼 실재를 순간적으로 수용한다.

욕망 개념의 실재를 이미지로 표상하는 중간 단계에 욕망을 정확하게 추상적 욕망의 여러 가지 개념 가운데서 실재를 지각하여서 이미지로 가려내어서 욕망의 결핍과 치환한다.

감광된 이미지를 지각하는 것은 욕망 이미지를 왜곡된 형태로 순간적으로 인식한 이미지가 그 순간을 촬영한 필름을 인화한 것과 동일하기 때문이다.

욕망의 결핍에 따른 대상은 무의식에서 추상된 욕망의 불만족한 대상에서 언어적 의미와 동일한 차원의 실재 이미지를 불완전한 경험에서 현존하게 한다.

현존하지 못한 결핍이 남아 있는 자리에 소유하지 못한 존재가 욕망이다.

따라서 욕망 개념의 실재로서 공용에서 의인화한 병아리까지 결핍된 주체로서 욕망의 언어적 의미를 상징하는 존재를 추상한다. 즉 공룡이 상징하는 과거 또는 죽음과 존재로서 병아리가 욕망의 결핍으로 추상된 상징의 의미적 존재를 욕망 개념으로 현존하는 실재로 표상한다.

그 표상은 욕망의 개념을 검은색으로 빛의 그늘을 덮고 욕망의 개념을 경험적 욕망의 구조로 변환하여 경험적 욕망 구조로 분류하고, 욕망의 개념을 기존의 형태로 분류하여 추상적 디자인 시스템으로 분류한다.

그리고 추상 디자인 시스템에서는 욕망의 개념을 경험적 욕망 구조로 분류하여 형태를 분류한 후 기존 현실 형태로 변화하는 반사색광으로 나누어 형태를 현존하는 실재의 형상으로 바꾼다.

이것은 욕망 개념을 실재화하기 위한 사건과 공연을 주체로 한 이미지의 화소와 욕망 구조와의 의식운동으로 추상적 욕망 개념을 실재 이미지로 디자인하는 방법이다,

공룡의 현실을 욕망 개념의 현실로 의인화한 병아리 추상화는 욕망 사건의 현실에서 존재의 추상적 현실을 은폐한 존재가 욕망 동기를 유발한 결과로 실존의 실제 이미지를 식별한다.

여기서 실재에서 분리된 사실적 존재로서 사건의 원인을 은폐된 욕망 개념의 디자인 효과가 실재 이미지의 추상화다.

주체가 분열한 존재의 자리에 주체가 사라진 추상적 욕망이 욕망의 실재 이미지다. 그 욕망은 억압된 무의식에서 응시로써 실재를 만나기 위해 주체의 불충분함에서 실재를 드러냅니다. 그리고 주체의 불충분함에서 실재를 드러내려고 욕망과 추상적 실재의 이미지가 결합한다./ 글. 현대 개념 추상화가 최철주 (문화디자인박사)

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p125-1, a hand-painted picture on a computer

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News

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

Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Louis Choi Chul-joo, 2024 U.S. presidential candidate, a hand-painted picture on a compute

News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [195] 2024 U.S. presidential candidate (2024-9-8) / Reporter Choi Chul-joo’s Cartoon Review

. 2024 U.S. presidential candidate

. 2024 Candidat à la présidentielle américaine

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 209-2024 U.S. presidential candidate: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.

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

The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.

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

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

And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.

The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.

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

The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.

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

As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.

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

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

Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.

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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest d209-2024 U.S. presidential candidate-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <bamboo forest d209-2024 U.S. presidential candidate-pond> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <2024 U.S. presidential candidate> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <bamboo forest d209-2024 U.S. presidential candidate> becomes a non-real abstraction of reality.

By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest d209-2024 U.S. presidential candidate-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest 209-2024 U.S. presidential candidate-pond" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest d209-2024 U.S. presidential candidate". Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest d209-2024 U.S. presidential candidate-pond" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory

Louis Choi chuljoo, 2024 U.S. presidential candidate 7 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korean News Cartoon Culture Column in Cartoon Review [195] 2024 U.S. presidential candidate (2024-9-8)/ Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons.

Choi Chul-joo's "Marilyn Monroe as an actor" is not a philosophical ideal, but a cross-sectional shape of pop art.

Therefore, portrait images are valuable in expressing the aesthetic structure and series of semantic shapes of people who view people as ideological ideals stopped at the same time in their everyday place.

The image reveals the value of the portrait image in the form of meaning that the object is revealed beyond philosophy by the status of the contemporary object.

Portrait images representing philosophical ideals enjoy semantic phenomena and are formed as existential abstractions. This creates a semantic gap between the portrait and the same image, and projects the gap into phenomenal light. And it realizes the shape of existence perceived at the same time with the shade of reversible light.

Therefore, the portrait image formed as a pop art image appears to be a universal image that conveys a semantic entity to a specific shape in the shadow of existence and reversible light, and from a conceptual point of view, the image shows traces of contemporary aesthetic conditions and existential meaning.

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 253-2024 U.S. presidential candidate: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest d253-2024 U.S. presidential candidate: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest d253-2024 U.S. presidential candidate-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest d253-2024 U.S. presidential candidate-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Louis Chul-joo Choi, morning glory p125-2-1-2024 U.S. presidential candidate, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory Louis Chul-joo Choi, morning glory p125-2-1-2024 U.S. presidential candidate,: By repeatedly applying the concpept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p125-2-1-2024 U.S. presidential candidate> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory Louis Chul-joo Choi, morning glory p125-2-1-2024 U.S. presidential candidate,,> becomes a non-real abstraction of reality.

By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

Therefore, conceptual abstract painter Louis Choi Chul-joo's " Louis Choi chuljoo, morning glory Louis Chul-joo Choi, morning glory p125-2-1-2024 U.S. presidential candidate, a hand-painted picture on a computer" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Bamboo Forest d253-2024 U.S. presidential candidate-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

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

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.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 253, a hand-painted picture on a computer

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.

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.

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p125, a hand-painted picture on a computer

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.

Final image superimposed on the artist's work:Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024

Abstract Design Process of Desire Concepts: The Missing Pond

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

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

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

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

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

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

And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.

The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, 2024 U.S. presidential candidate 7 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korean News Cartoon Culture Column in Cartoon Review [195] 2024 U.S. presidential candidate (2024-9-8)/ Reporter Choi Chul-joo / The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture. ■ Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world. ■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire, mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality. ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. ■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.