Konzept-Abstraktionskunst
Konzept-Abstraktionskunst, Realist Maler
Der zeitgenössische Künstler als abstrakter Realist [1] Konzeptionelle Abstraktion Realismus Maler und Konzeptionelle Abstraktion des Realismus Kunstkritik: Konzeptionelle Abstraktion und Designkritik der zeitgenössischen Kunst/ Abstrakte Objektivität der zeitgenössischen Kunst und Kritik der zeitgenössischen Konzept-Abstraktionskunst: Das Konzept der abstrakten Kunst von Choi Chul-Joo hat die Form von Pop-Art und Sprache-abstrakte Bilder. Seine Vorstellungen von Lust oder konzeptueller abstrakter Kunst, die metaphorisch philosophische Licht- und Sprachbedeutungen in Konflikt bringen, schaffen dramatische Ereignisbilder mit künstlicher Beleuchtung. Das Konzept abstrakte Realität des Choi Chul-Joo, das sich mit dem Konzept der zeitgenössischen Kunst und dem Konzept der sprachlichen Bedeutung, das metaphysisches und philosophisches Licht betont, in Konflikt setzt, schafft ein dramatisches Ereignisbild mit künstlicher Beleuchtung.
Die Definition des konzeptuellen Abstrakten Realismus von Choi Chul-Joo eine konzeptuelle abstrakte Realität, die die visuelle Darstellung von philosophischen Konzepten, sprachlichen Bedeutungsstrukturen und der Realität der Gegenwartskunst miteinander verbindet.
Konzeptionelle abstrakte Kunst Gestaltung moderner Kunst abstrakte Kunst: Eine Kritik der sprachlichen Bedeutung basierend auf dem Konzept des Wunsches anderer; eine Kritik der realistischen Abstraktion des modernen Künstlers Louis Choi Chul-joo; und eine Kritik der zeitgenössischen Kunst von zeitgenössischer Kunst Kritik Louis Choi Chul-joo:
Konzeptuelle, abstrakte Realismusbilder: Abstrakte Realismusbilder, also Bilder als semantische Struktur von Konzeptabstrakten, abstrakte Realismuskunst, die in ihrer Form und Gegenrichtung Licht enthält. Es ist ein abstrakt realistisches Bild des Begriffs, das die Wünsche anderer abstrakt zum Ausdruck bringt. Sein Realismus ist ein faszinierendes realistisches Bild, das aus sprachlichen Bedeutungen besteht, indem er die visuelle Darstellung von Wünschen durch abstrakte Designprozesse und philosophische Theorien erforscht.: 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
Bild "Morning glory-dancer" von Mona Lisa's Desire Struktur ist synchronische sprachliche Bedeutung
Als sprachliches semantisches Element, das als Einheit der Abstraktion des Wunschkonzepts „morning glory-dancer" realisiert wurde, ist die Mona Lisa in eine Transformationsform geteilt, die aus Licht eines bestimmten Schattenes und dem Konzept der Existenz des Verlangen besteht.
Das ist ein semantisches Element, das von den Wünschen anderer als Reaktion auf die Zusammensetzung der Malerei und sprachlichen semantischen Struktur gewonnen wird, in der die Mona Lisa den „morning glory-dancer" als Objekt nimmt, indem sie mehrere abstrakte Bedeutungen induziert und Bilder als sprachliche Bedeutungen im Sinne der Gleichzeitigkeit der Wunschstruktur konstruiert.
Hier wird die abstrakte Bedeutung in die gemeinsamen Punkte zeitlicher und phänomenaler Bedeutungen unterteilt, die durch den Unterschied in der Zeitdifferenz (視差) zwischen dem Blick und dem sichtbaren Blick nach den Merkmalen des Objekts gebildet werden. Das Konzept des Wunsches, dies als abstrakte Struktur umzusetzen, entwirft wiederholt die sprachliche Bedeutung als ein echtes Bild und abstrahiert es speziell als ein virtuelles Realitätsbild.
Das heißt, Mona Lisa ist eine in der Einheit des Begehrens Morgenabstraktion Konzepts verkörpernde, sprachlich-semantische Komponente, die sich durch die Form der Transformation und des Begehrens aus Licht in einem bestimmten Schatten auszeichnet.
Das bedeutet, dass das Ereignisbild, das als Synonym für die Idee des Choi Chul-joo-Gedankens verkörpert wird, durch das Verlangen des Tassels gewonnen wird, der verschiedene abstrakte Bedeutungen als Subjekt des Begehrens und der Struktur des Begehrens als identische semantische Bilder erfasst.
Die hier offenbarte Abstraktion ist die abstrakte Bedeutung, ein Bild, das das zeitliche und phänomenale Bild erfasst, das sich in der Zeitlichkeit der Realisierung des Subjekts als Subjekt der sprachlichen Bedeutung formuliert. Um den Wunsch zu verwirklichen, ihn in ästhetischer Form anzuwenden, entwickelt er immer wieder die sprachliche Bedeutung des realen Bildes.
Das Konzept des Choi Chul-Joo verkörpert eine abstrakte, fiktive Bildsprache an der Schnittstelle von Form und Realität als semantische Elemente, indem es Symbole mit metaphorischen Bedeutungen wie das Bild des Wunsches und die Realität repräsentiert.
Hier wird die Mona Lisa als ein echtes Bild als sprachliche Bedeutung des „morning glory dancer" abstrahiert, mit einer Wunschstruktur, die im sprachlichen Sinne durch die Choi Chul-joo Wunschformel gezogen wird, um die Bedeutung der phänomenalen Sprache als Bedeutung zu etablieren.
Hier abstrahiert Mona Lisa die sprachliche Bedeutung des „morning glory dancer" mit einer Wunschstruktur, die im sprachlichen Sinne durch die Choi Chul-joo Wunschformel in ein echtes Bild gezeichnet wird, und stellt die Bedeutung einer phänomenalen Sprache fest, um dieselbe Synchronisation mit dem echten Bild zu haben.
Das Thema des Wunsches eines anderen ist ein Bild mit der gleichen sprachlichen Bedeutung zwischen dem Konzept des abstrakten Wunsches, dem Bild eines Ereignisses als phänomenales Objekt und dem tatsächlichen Bild gegenüber dem abstrakten, d.h. dem Bild des Begriffs des Wunsches Morgenglanz. Durch semantische Aktion wird die Verhaltenssignifikation als Ereignisbild als Hintergrundbild eines Subjekts übertragen, und ein Bild mit derselben sprachlichen Bedeutung wirkt als semantische Struktur an dem Punkt, an dem sich das Konzept des unbewussten Verlangen und das geteilte reale Bild kreuzen.
Der Unterschied zwischen Kunst und Nichtkunst als semantische Struktur unterscheidet sich durch die Existenz eines echten Bildes, das aus Sicht des Wunsches des anderen aus der virtuellen Form als Substanz als Realität und als Nicht-Existenz gebildet wird. Die ästhetische Bedingung als semantische Struktur besteht daher darin, dass das Material als Realität ein Bild an dem Ort installiert hat, und die virtuelle Form als Nicht-Existenz ist ein realistisches Bild und offenbart ein abstraktes Bild, indem man den Wunsch des anderen als ein Wesen in sprachlicher Bedeutung verwirklicht.
Dies vervollständigt die Bedeutung der sprachlichen Bedeutung als Bild als Abstraktion der „morgendlichen Herrlichkeit" rückwirkend zum Wunschbegriff. Es zeigt auch, dass die symbolische Bedeutung, die im Konzept des Verlangen verdeckt ist, eine Abstraktion eines echten Bildes ist.
Als Subjekt der Abstraktion unterscheidet das semantische Element das Objekt von der Mona Lisa, von der Hintergrundfigur und dem Objekt mit einem Lächeln, von einer phantastischen Phantasie und von einer freien sexuellen Handlung. Es ist eine Wiederholung des Wunsches des Anderen als eine Struktur der Realität, indem es auf das Bild des abstrakten Wunsches zurückkommt, das dem Genussgegenstand im Spiegel oder der sprachlichen Bedeutung entspricht.
Hier ist die reale Struktur, die abstrakte künstliche Beleuchtung im Schatten des reversiblen Lichts, und der Tänzer, der die Wunschstruktur mit der realen Struktur mit dem Hintergrund der "morning glory" identifiziert, mit dem Schatten des reversiblen Lichts. Der Hintergrund der Themen war nicht so, wie Leonardo es mit der Farbanpassung formulierte.
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
Wunsch nach Abstraktion Das Design ist dieselbe Form, die nicht zwischen Original und Reproduktion unterschieden werden kann. Das bedeutet, dass das Original fehlt. Dies liegt daran, dass das fertige Designobjekt ein virtuelles Bild durch sprachliche Bedeutung bilden kann oder mit dem Wunsch des anderen in eine kulturelle Form umgestaltet werden kann. Daher ist der Wunsch des abstrakten Anderen, der schwer zu reproduzieren ist, als Anamorphose-Bild konzipiert. Hier ist das Anamorphose-Bild als das gesamte Bild nicht vorhanden, aber die Mona Lisa wird als ein anderes Anamorphose-Bild abstrakt, das vom realen Bild getrennt ist.
So wird das Konzept des Verlangen symbolisch als die eigentliche Struktur der Mona Lisa und der Tänzerin identifiziert, und als Thema sprachlicher Bedeutung identifiziert die Mona Lisa das Ereignisbild mit dem phänomenalen Realitätsbild des Konzepts des Verlangen als Objekt.
Da die Wunschstruktur keine reversible Beleuchtung setzt, kombiniert sie mehrere Objekte in einen Wunschhintergrund wie eine Fotocollage, indem sie mit Schatten und Schatten zwischen Objekten relativ zum Thema kontrastieren. Ohne den gesamten Hintergrund der Wunschstruktur und die Grenze zwischen den Objekten zu unterscheiden, werden der „morning glory background" und die Objektlinie deutlich entfernt, um einen Raum zu schaffen, der der spezifischen sprachlichen Bedeutung des Wunschkonzepts entspricht.
Der Blick der Mona Lisa ist in reversible Lichtschatten und Lücken geteilt, die es dem rechten Auge ermöglichen, vorne und den Rest des Gesichts zu starren.
Mona Lisa, ein Bild eines Objekts, das aus reversiertem Licht besteht, ist eine Abstraktion. Ein Bild, das aus einem virtuellen Objekt gebildet wird, das ein Bildobjekt reproduziert, ist ein virtuelles Bild, das die Realität verbirgt. Ein virtuelles Bild wird in einer Ebene erkannt und erscheint als virtuelles Bild. Als virtuelles Bild wird Mona Lisa in ein echtes Bild abstrakt, indem sie durch Choi Chul-joo's Desire Formula ein Objekt als Existenz enthüllt.
Die Abstraktion als echtes Bild erzeugt ein echtes Bild mit Objekten und Hintergründen als Subjekte und Schatten der Realität und Wunschobjekte als Licht, und Übergänge zur Abstraktion der Existenz als sprachliches semantisches Element des Begriffs des Verlangen.
Die abstrakten Collagen in den Bildern zeigen die Mona Lisa vor der majestätischen Kulisse des Morgens und beschreiben sie in hellen Tönen, um einen zeitlich fragmentierten Raum zu schaffen.
Der durch die Zeitunterschiede getrennte Raum wird durch die geometrische Darstellung des verborgenen visuellen Systems überschattet und erscheint sofort als Sichtbarkeit des unbewussten Begehrens durch die Reproduktion der Dinge. Abstract Das Objekt hat eine ästhetische Struktur. Indem sie das immaterielle Bild, das durch die Wünsche anderer zum Ausdruck kommt, wiederholt, erhält die Kunst einen ästhetischen Wert, der über die Universalität hinausgeht.
Das Ideal des abstrakten Begehrens wird bestimmt, und als konzeptueller Zweck des abstrakten Begehrens können wir das Konzept des abstrakten Begehrens als Kopf- oder Kopffigur im rückgängigen Licht wahrnehmen.
Hier unterscheidet das Gesicht der Neutralität nach der sichtbaren Richtung zwischen der Form des Guten und des Bösen.
Die Form und Größe der Mona Lisa ist von vorn gesehen unterschiedlich, aber von links nach rechts drückt sie den abstrakten Raum der Mona Lisa aus, der das Bild des Wunsches verkörpert, die Mona Lisa als eine Einheit zu abstrahieren.
Und durch die Identifizierung der virtuellen Bewegung der fixen Mona Lisa und der Bilder der Wunschstruktur, die aus der Sicht gemacht wird, wird das Bild der Struktur des Guten und Bösen in einen anderen Ausdruck verwandelt.
Hier wandelt die Mona Lisa die innere Struktur von Gut und Böse in ein Tänzerbild aus der hoffnungsvollen Perspektive eines anderen.
Dies ist eine Darstellung der Mona Lisa im realen Raum, aber das Bild der Struktur des Begehrens, das die virtuelle Erscheinung der gleichen künstlichen Beleuchtung umkehrt, schafft einen Raum des Begehrens als eine Präsenz, die sich mit der Mona Lisa überlappt.
Der Blick des Tänzers als Subjekt des Begehrens bildet ein Kapitel des Begehrens, das man nicht als die eigentliche Struktur des Gegenwillens als Blick auf das Objekt des Begehrens betrachten kann. Die eigentliche Struktur des Begehrens ist also ein abstraktes Begehrens-Konzept, und die eigentliche Struktur, die das Subjekt als Subjekt des Verlangens betrachten soll, wird als abstraktes, reales Bild des Begehrens angesehen.
Die Abstraktion, die als Blickfang gilt, beleuchtet die repräsentative Gegenwart der Vergangenheit, indem sie die Vorstellung von Begehren durch die Aktualität der realen Strukturen, in denen sich das rückgängige Licht überlagert, löscht und die Realität künstlich in eine reversible Lichtstruktur reflektiert.
Der Blick, der aus dem Licht der künstlichen Beleuchtung entsteht, wird durch den Strom von kleinen Lichtteilchen, die nicht als Newtonsche Licht betrachtet werden können, bestimmt, und durch Einstein als Lichtteilchen als Photon, die Farbe als Lichtfrequenz.
Infolgedessen ist das eigentliche Bild des Begriffs abstrakter Begierde abstrakt. Das liegt daran, dass, als das Mona Lisa als Sprachstruktur auf das Mona Lisa Bild als Sprachstruktur nach symbolischer Kultur übertragen wurde, die tatsächliche Bedeutung des früheren repräsentativen Begehrens auf das Mona Lisa Bild als abstrakte Struktur übertragen wurde. Mit anderen Worten, wenn das Mona Lisa als sprachliche Bedeutung auf das Mona Lisa Bild übertragen wird, wird die abstrakte reale Bedeutung vom Konzept des abstrakten Verlangen entfernt und bildet ein echtes Bild.
Als semantisches Element ist das Bild der Mona Lisa, deren Umriss mit der vorhandenen Spumato-Technik unklar ist, ein Schatten wissenschaftlicher künstlicher Beleuchtung, die eine syntagmatische Konfrontation mit religiöser Sprache bedeutet, die Realität als echtes Bild in einer Sprache verdeckt.
Das Bild folgt einer kulturellen Interpretation entsprechend der Aktualität des reversiblen Lichtes der künstlichen Beleuchtung, um es als ein Bild auszudrücken, das sich im sprachlichen Sinne von Leonardo Mona Lisa unterscheidet oder die Realität nur im sprachlichen Sinne unterscheidet.
Diese durch kulturelle Zeitlichkeit getrennten Bilder sind abstraktionen, bei denen sich eine sprachliche Bedeutung nicht in eine andere sprachliche Bedeutung der philosophischen Wahrnehmung ändert und die Realität des Mona Lisa-Images von der Realität der sprachlichen Bedeutung unterscheidet.
Daher ist Choi Chul-joo's Definition von "morning glory" ein Bild, das das Konzept des abstrakten Verlangen in sekundäre Zeitlichkeit unterteilt und eine Abstraktion ist, die als ein echtes Bild mit der gleichen sprachlichen Bedeutung projiziert wird wie das Bild, das dem Konzept des Verlangen fehlt, ohne von philosophischer Wahrnehmung zu einer anderen sprachlichen Bedeutung zu wechseln.
Das Subjektbild der sprachlichen Bedeutung hat eine ganzheitliche Kultur, die mit dem Konzept des Wunsches identifiziert wird, das als subjektive Szene der sprachlichen Bedeutung des Ereignisbildes nach der Sozialität spezifiziert wird.
Die Wünsche anderer haben kulturelle Verbindungen, die als Bilder von Ereignissen beschrieben werden.
Die kulturelle Verbindung als sprachliche Bedeutung bezieht sich auf ein phänomenales fotorealistisches Bild, das eine kulturelle Verbindung mit diesem Objekt hat, ohne dass ein Objekt als Bild zugewiesen wird.
Die Mona Lisa kann nicht die Bedeutung des Begehrens im sprachlichen Sinne bestimmen. Wir entwickeln weiterhin ein bestimmtes Bild mit ästhetischen Strukturen in der Formel der Wünsche des Choi Chul-joo.
Das Objekt ist eine realistische Struktur, die an der Grenze der impressionistischen Wirklichkeit bleibt, die die Idee und die faktische Struktur der abstrakten Sprache ist. Die realistische Struktur bezieht sich auf eine Szene, in der das Bild von Ereignissen und Performances Bilder als Wunschkonzepte enthält.
Es ist ein realistisches Bild, das in verschiedenen Richtungen von festen Themen wie der Ebene, der Fassade und der Seitenansicht beginnt, im Gegensatz zu abstrakten Konzeptkunst, wo die Malerei mit Linien und Farben übereinstimmt.
Indem sie die Wünsche der anderen in Bilder mit sprachlichen Bedeutungen umwandelt, schafft sie die Position der Form, in der sich der lichtreversible Schatten des Himmels verbirgt.
Und die abstrakte Struktur, die vom Licht geformt ist, wird ausgelöscht, wenn man die Existenz des abstrakten Wunschkonzepts, das in der Vergangenheit existiert, als reversible Schatten des Lichts erkennt, und die Schatten der Wunschstruktur, die "morning glory" auf sie legt, verschwindet.
Die Wünsche der Mona Lisa werden mit dem Bild des Ausdrucks Wunsches, der keine Freude an der Sprache des Bewusstseins hat, sympathisiert, und der Wunsch nach Unbewussten und Kulturlosigkeit wird mit dem Bild der Sprache sympathisch, und mit der ästhetischen Struktur. Mit anderen Worten, der Begriff der Begierde ist aus dem Konzept des abstrakten Verlangens entstanden, die Realität als Installation von visuellen Bildern der Realität zu erfüllen, wie es der Blick auf die Erfüllung der Wirklichkeit zeigt.
Choi Chul-Joo analysiert die Gleichzeitigkeit von Begehren mit Bildern von unsichtbaren abstrakten Strukturen, beschreibt die Formen von Begehren als Spiegel, enthüllt den Begriff der Lust in der Sprachstruktur und schafft den Hintergrund der Sehnsucht als räumliches Bild des Sprachbildes. Und als abstraktes Sprachkonzept, das den Begriff der Lust darstellt, entfernt es die abstrakte Struktur des Begehrens nach Zeitlichkeit, die von dem reversiblen Licht subjektiviert wird. Und sie gewinnt den ästhetischen Wert des Objekts durch den Schatten des Lichts und identifiziert ihn als das reale Bild abstrakter Wünsche.
Mona Lisa ist eine abstrakte Existenz, ein Objekt, das den Begriff des Begehrens und die abstrakte Struktur des Begehrens realisiert und damit den ästhetischen Wert als realistisches Bild erweitert, das den zeitlichen Charakter des Lichts widerspiegelt.
Mit anderen Worten, als Prinzip der Gleichzeitigkeit der Wunschstruktur Choi Chul-joo werden abstrakte Wesen, die das Konzept des Verlangen repräsentieren, mit realistischen Verlangenbildern identifiziert, um die abstrakte Struktur des Konzepts des Verlangen nach der Zeitlichkeit reversibles Licht zu beseitigen und ästhetischen Wert im Schatten des Lichts zu erlangen.
Daher entwirft das Prinzip der Gleichzeitigkeit der Sehnsstruktur abstrakt das Konzept des Sehns und implementiert das Objekt des Bildes des Sehns, das vom unbewussten Wunsch fehlt, in die bestehende Struktur der Realität.
Wunschbilder sind eine andere Frau, deren Mona Lisa unbekannt ist, die Spiegelbilder erschaffen, um ein Gesicht zu bilden, das dem Spiegelbild ähnelt, und offen den Hintergrund des Wunsches mit sprachlichen Strukturen zu dekorieren, um eine mangelhafte Wunschstruktur zu realisieren, in der die Bedeutung des echten Bildes identisch erscheint.
Darüber hinaus schafft Choi Chul-joos abstrakte Designwunschtheorie ein abstraktes Bild des Verlangen in der Realität und interpretiert das Konzept des abstrakten Verlangen als ein echtes Bild, indem man das als Blick und Blick des Verlangen angesehene Objekt von dem Bild des Verlangen in das abstrakte Existenz des unbewussten Verlangen trennt.
Wenn die Mona Lisa die Struktur des Verlangen als Gegenstand des Blickes ausdrückt, bildet sie die Struktur des Verlangen, indem sie die Bedeutung der bewussten Sprache als ein echtes Bild entwirft, das die Bedeutung der bewussten Sprache mit einem Blick betrachtet. Die Mona Lisa, das Subjekt der unbewussten Struktur, erkennt sie als Objekt des Blickes als Subjekt des Verlangen und schafft abstrakten Wunsch als Bild. / Autor. Choi Chul-joo, zeitgenössischer Kunstkritiker (Doktor für Kulturdesign)
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi,morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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 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
Desire Concept Realistic Abstract Work: Louis Chul-joo Choi, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning> 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 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> 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 Chul-joo Choi, morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, > 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.
Louis Chul-joo Choi, morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, a hand-painted picture on a computer
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 Chul-joo Choi, morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning" 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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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.
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p138, a hand-painted picture on a computer
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 "morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning" 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 "the bamboo forest j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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
Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 264, a hand-painted picture on a computer
Louis Choi Chul-joo, Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer
Cartoonist Choi Chul-joo's comic abstraction as a treacherous conceptual art means the abstraction of the conceptual image of desire as a realistic structure in art. Since the conceptual meaning of desire that exists in place of a realistic form can be divided into a cartoon criticism image, abstraction is drawn through reversible contrast that interprets the image of events and performances as an image of others' abstract desires.
Choi Chul joo cartoon review, which uses contemporary art abstraction as a treacherous conceptual art, reinterprets the image of desire as a concept of cartoon.
Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 262-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer: 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 b262-Like the movie Ophelia, false love and war between countries end their deaths: 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: Louis Choi chuljoo, ba-pondmboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond: 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 b262-Like the movie Ophelia, false love and war between countries end their deaths> 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 d204-pond-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.
■ 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 b262-Like the movie Ophelia, false love and war between countries end their deaths-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.
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: < > 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 Choi Chul-joo, morning glory p137-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer> created by reversible light.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths" 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
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, morning glory p138-4-Like the movie Ophelia, false love and war between countries end their deaths: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's 3formula <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 "morning glory p138-4-Like the movie Ophelia, false love and war between countries end their deaths" 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.
Conceptual Abstract Painter Louis Choi Chul-joo's work "bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond-mirror" rather than campaign broadcasts through YouTube-pond-mirror" is an abstract reality image that reconstructs the structure of desire created through an aesthetic grammatical structure into a linguistic sense.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 265-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest j265-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest j265-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest j265-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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 Choi chuljoo, morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.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
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.
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
Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths> 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, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025> 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 p138-6-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer> 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.
Louis Choi chuljoo, morning glory p138-6-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer
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 "morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths" 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 "morning glory p138-6-Like the movie Ophelia, false love and war between countries end their deaths" 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
Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 265, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond-mirror: [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] 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 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.
Choi Chul-joo, ein zeitgenössischer Künstler
