Художник-реалист абстрактного
концептуальный абстрактный реализм худож
Абстрактный реализм художника, Художник-реалист по поп-арту [1] Абстрактный реализм, Абстрактный художник современных концепций, критика современного искусства, критика дизайна =Это произведение, которое сочетает абстрактный подход критика современного искусства Чхве Чхоль Джу к искусству желаний с формой поп-арта и языковой абстракцией. Абстрактное искусство, концепция его желания, появляется и сталкивается с образами лингвистического смысла и реальности, подчёркиваемыми метафизическим и философским светом, который использует искусственное освещение для создания драматического изображения событий. & Абстрактное современное искусство Чхве Чхоль Джу - это реалистичное искусство, которое абстрагирует следы реальных скульптур и обратимый цвет света. Оно возвращается к раннему концептуальному искусству как к реализму, как к абстрактному желанию выразить место бытия в реализме./ Изображения, противоречащие концепции желания Чхве Чхоль Джу, картины, в которых современное искусство вступает в конфликт с лингвистическими семантическими понятиями, подчеркиваемыми метафизическим и философским светом, создают драматические образы событий с искусственным освещением.
Определение "абстрактного реализма" Чхве Чхоль Джу- новая концептуальная теория абстрактного искусства, объединяющая в себе философские концепции, лингвистические семантические структуры, визуальное представление реалий современного искусства./ Концептуально-реалистичная живопись — концептуально-реалистическое искусство, символизирующее образ как семантическую структуру концептуальной мысли, представляющее собой абстрактное концептуальное искусство с практическими формами и обратными следами света. Это концептуальная абстрактная живопись реализма, которая абстрагирует желания других людей представлять реальный мир в качестве концепции раннего концептуального искусства. Его реализм представляет собой привлекательный реалистичный образ, построенный в лингвистическом смысле посредством изучения визуального представления желаний с помощью абстрактного процесса проектирования и философской теории. Символический лингвистический смысл и реалистичные образы встречаются с реальностью через раскол. Образ события как объекта концепции желания как реальности представляется как феноменальный образ общества, но как непрактичная картина - это встреча с абстракцией.
Таким образом, концептуальный абстрактный реализм Чхве Чхоль Джу типичен и обобщен, формируя художественные картины событий, которые появляются в повседневных новостях как объекты практической абстракции.
Кроме того, абстрактная абстракция Чхве Чхоль Джу обозначается как абстрактный реализм, который идентифицирует структуру реалистичного восприятия повседневных новостей как образы событий и абстрактные желания других людей.
Арт-критика, Произведения Художник-абстрактный реалист: 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
"Мorning glory-dancer" структуры желания Моны Лизы - танцевальный образ имеет официальное лингвистическое значение.
Как лингвистический семантический элемент, реализованный как единица понятия желания в абстракции "morning glory-dancer", Мона Лиза делится на вариационную форму, состоящую из определённого звукового света, и понятие существования желания.
Это семантический элемент желания других людей, который Мона Лиза берет из построения и языковой семантической структуры изображения в качестве объекта, чтобы вызвать несколько абстрактных значений, и в смысле параллелизма структуры желания.
Абстрактные значения здесь делятся на общие понятия временного значения и феноменологического значения, которые формируются как временная разница во взгляде и видимом взгляде в зависимости от характеристик объекта. Концепция желания воплотить его в абстрактную структуру повторяет языковой смысл в реальный образ и, в частности, абстрагирует его от образа виртуальной реальности.
То есть, как лингвистический семантический элемент, реализованный как единица концепции желания абстрактного маринованного цветка, Мона Лиза делится на трансформационную форму, состоящую из света определенного оттенка и концепцию желания как существа.
Это означает, что образы событий, воплощенные в принципе параллелизма понятий желания Чхве Чхоль Чжуна, вытекают из желания пишущих, которые приводят к различным абстрактным значениям как субъекты желания, и идентифицируют структуру желания как единое семантическое изображение того же значения.
Абстракция, которая возникает здесь, в абстрактном смысле, это изображение, которое определяет временный смысл и феноменологический образ, формируемый временностью реализации объекта как субъекта лингвистического смысла, и воплощает его в эстетическую структуру.
Концепция желания Чхве Чхоль Джу воплощает абстрактные виртуальные образы как семантические элементы на пересечении формы и реальности, а символические объекты с метафорическим смыслом выражаются в таких же реальных образах, как и понятия желания.
Здесь Мона Лиза представляет собой лингвистическое значение "morning glory-dancer", структуры желания, нарисованные в лингвистическом смысле через формулу желания Чхве Чхоль Джу, абстрагируясь от реальных изображений, чтобы установить значение феноменологического языка.
Мона Лиза представляет собой структуру желания, нарисованную в лингвистическом смысле через формулу желания Чхве Чхоль Джу, абстрагирующуюся от словесного выражения к реальным изображениям и устанавливающую значение феноменологического языка так же, как и на реальных изображениях.
Объектом желания автора является образ абстрактного желания, образ события как феноменологического объекта, образ реального, противоположного абстрактному объекту, то есть изображение, имеющее одинаковое языковое значение в представлении желаемого фортепиано. Смысл действия посредством семантического поведения передается фоновому изображению объекта, а изображения с одинаковым лингвистическим значением служат семантическими структурами на пересечении подсознательного желания и реального изображения.
Различие между искусством как семантической структурой и искусством как существом отличается от виртуальной формы бытия, которая формируется в соответствии с желаниями автора. Таким образом, эстетическое состояние как семантическая структура заключается в том, что материя как материя имеет фиксированный образ на месте, а несуществующий виртуальный формат удовлетворяет желания автора как существа лингвистического значения для раскрытия абстрактного изображения.
Это возвращает нас к идее желания и завершает лингвистический смысл образа, который абстрактно изображает цвет желания. Символический смысл, скрытый в идее страсти, - это абстракция реального образа.
Семантические элементы, как предметы абстракции, разделяют фон темы и улыбку, в которой доминирует Мона Лиза, в фантастическом воображении Фрейда и сексуальном поведении. Это возвращает нас к образу абстрактного желания приравнять чувство языка к предмету удовольствия в зеркале. И это представляет собой настоящую структуру.
Здесь, в отличие от Леонардо, реальная структура изображает танцовщицу, которая феноменологически изображает фон объекта, делает абстрактное искусственное освещение тенью обратного света и отождествляет структуру желания с фонетическим фоном.
Дизайн страсти через абстракцию ничем не отличается от оригинала. Источник не существует Это связано с тем, что законченные объекты дизайна могут формировать виртуальные образы с помощью лингвистических чувств или реконструировать их в культурной форме в соответствии с пожеланиями одного и того же автора. Итак, мы разрабатываем желание абстрактного нападающего, которого трудно воспроизвести в аморфном образе. Образ анаморфозы не существует в качестве целостного изображения, но Мона Лиза отделена от реального изображения и абстрагируется от других анаморфотических изображений.
Таким образом, Мона Лиза символически отождествляет понятие желания с реальной структурой танцора, а Мона Лиза отождествляет его с феноменологически реальной картиной на предмет лингвистического значения.
Так как структура желания не вызывает обратного света, она контрастирует оттенки между объектами и объединяет несколько объектов на фоне желания, как фотоколлаж. Без различия границ между общим фоном и объектом желания, фоновое изображение «morning glory-dancer» между строкой объекта и его линией чётко удаляется, чтобы создать пространство, соответствующее определенному лингвистическому значению объекта.
Глаза Мона Лизы разделены обратной тенью света и трещиной, которая позволяет правому глазу видеть разные части лица.
Мона Лиза - теневая картина обратного света - это абстракция. Изображение, созданное виртуально для создания живописного объекта, - это виртуальное изображение, скрывающее реальность. * Виртуальное изображение — это представление информации как виртуального изображения. Здесь Мона Лиза раскрывает сущность как бытие и абстрагирует ее от реальности, используя формулу желания Чхве Чхоль Джу.
Абстракция, созданная с использованием реальных изображений, преобразует лингвистические семантические элементы понятия желания в абстракцию бытия, тем самым затмивая реальность и желания светом. Абстрактные картины Моны Лизы были извлечены из «morning glory» и помещены в тени на противоположной стороне света, чтобы сформировать пространство времени.
Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-sketch 1, 113X165cm, acrylic and composite materials on cloth, 2025
Время и пространство мгновенно превращаются в феноменальную перспективу с точки зрения желания, которая подсознательно проявляется в геометрической форме структуры желаемого абстрактного видения, которое воспроизводит вещи. Как абстракция, объект приобретает эстетическую структуру и формирует абстрактную структуру объекта как существа, повторяя дизайн искаженного изображения, который автор пытается преодолеть в общем искусстве.
Чхве Чхоль Джу скрывает пейзажи Леонардо и различные цвета Мона Лиза. Правый глаз определяет абстрактное желание, которое частично совпадает с образами Мона Лиза, и позволяет ему видеть настоящее изображение.
Изображение желания различает формы добра и зла в зависимости от направления вашего взгляда. На переднем плане вы видите форму и размер Мона Лиза, а слева вы видите абстрактное пространство и изображение желания превратить Мона Лиза в лингвистическую реальность.
Определяя изображение структуры желания, созданной виртуальным перемещением неподвижной Мона Лизы и взгляда, зрительный контакт переходит к образу структуры добра и зла другим выражением.
Здесь эстетическая Мона Лиза преобразует внутреннюю структуру добра и зла в образ танцовщицы с точки зрения чужих желаний, раскрывает ее формирующееся существование и представляет собой самостоятельность концепции желания.
Это представление Мона Лиза в реальном пространстве, но изображение структуры желания управляет виртуальным взглядом, созданным искусственным освещением, таким как обратный свет, создавая пространство желания в виде существа, которое перекрывается Мона Лиза.
Таким образом, взгляд танцовщицы, являющийся главным объектом желания, образует место желания, которое нельзя рассматривать как реальную структуру желания другого человека. Таким образом, реальная структура желания — это абстрактное понятие желания, а реальная структура, созданная таким образом, чтобы вещи могли рассматривать танцовщицу как объект желания, рассматривается как абстрактный образ, в котором понятие желания является абстрактным.
Представленная визуально абстракция стирает понятие желания из-за своевременности реальной структуры, перекрывающей обратный свет, искусственно отражая реальность в реверсивной структуре света, раскрывая рекурсивное существование прошлого времени.
Глаза, созданные из искусственного света, обозначаются потоком небольших частиц света, которые не похожи на свет Ньютона, и формируются на частоте света Эйнштейном, который рассматривал свет как частицы.
Следовательно, реальный образ абстрактного понятия желания абстрактен. Когда морфология как структура языка была перенесена символической культурой в образ Мона Лизы как языковой структуры, то реальное значение понятия «morning glory» желание в прошлом было перенесено на образ Мона Лизы как абстрактной структуры. Это означает, что если морфология как языковой смысл переходит к образу Мона Лиза, то абстрактный истинный смысл уходит от понятия абстрактного желания и формирует реальный образ.
Образ Мона Лизы, чьи контуры как семантического элемента неясны, является формой научного искусственного освещения, скрывающего реальность в одном языке в синтетическом иероглифическом противостоянии религиозному языковому смыслу.
В зависимости от культурной интерпретации искусственного освещения обратным световым поэтизмом, изображение может быть выражено в другом, чем Мона Лиза Леонардо в лингвистическом смысле, или может быть отделено от реальности только в лингвистическом смысле.
Изображения, отсортированные по культурной хронологии, представляют собой абстракцию, в которой один языковой смысл в философском восприятии не меняется на другой, что отличает образ Мона Лиза от реальности языкового значения.
Таким образом, определение абстрактного концептуального реализма Чхве Чхоль Джу представляет собой изображение понятия абстрактного желания от философского восприятия к реалистичному образу, имеющему тот же язык смысл, что и понятие абстрактного желания.
Образ акторов в лингвистическом смысле имеет целую культуру, которая отождествляется с концепцией желания, выраженной в субъективной лингвистической семантической сцене, описывающей события в соответствии с социологией.
Желание других людей связано с культурой через образы событий, которые выражаются в виде реальных образов, выражающих лингвистический смысл в социологии.
Культурные ассоциации в лингвистическом смысле означают образы феноменологической реальности, в которой вещи не обозначены как образы, а взаимосвязаны с вещами.
Объект как реальность — это плоская структура, стоящая внутри импрессионистской реальности, которая абстрагирует реалистичные структуры от абстрактных лингвистических понятий. Реалистичной структурой здесь называется сцена, где изображение события или выступления на фотографии останавливается.
Это реалистичное изображение фасадов и боков, освещенных во многих направлениях неподвижного объекта в плоскости. Это отличается от абстрактного концептуального искусства, в котором изображение основано на линиях и цветах.
Превращение чужих желаний в образ буквально создает ситуацию, в которой на небе тень обратного света.
Абстрактные структуры, сформированные светом, исчезают, когда мы воспринимаем существование абстрактных концепций желания как обратную тень света, а абстрактные структуры исчезают, когда они помещаются над тенью структуры желания.
Поскольку Мона Лиза не может лингвистически выразить образ с лингвистическим значением структуры желания "morning glory", мы снова и снова разрабатываем конкретный образ с эстетической структурой через формулу желания Чхве Чхоль Джу.
Желание Мона Лизы подтверждается как выражение ее подсознательного желания лишить ее удовольствия от подсознательного языка путем формирования образа между отсутствием культурного и эстетического смысла. Понятие желания абстрагируется от понятия желания к образу реальности, образуя встречу с реальностью.
Таким образом, Чхве Чхоль Джу, который выражает реализм с принципом одновременности, проанализировал объект желания невидимыми глазами и проецировал форму желания на зеркальное изображение, создав фон, показывающий концепцию желания как образ пространства в языковой структуре. И как абстрактное языковое понятие, выражающее понятие желания, удаляющее абстрактную структуру желания через тень обратного света, получающее эстетическую ценность целевого изображения через тень света и воспринимающее его как реальный образ того же самого понятия.
Изображение, вставленное в Мона Лиза, представляет собой реалистичное выражение желания заменить абстрактную структуру желания яркостью света, стереть абстрактную структуру желания под тенью света и расширить эстетические ценности.
То есть принцип, согласно которому структура желания Чхве Чхоль Джу строится одновременно, соответствует абстрактной структуре желания с течением времени обратить вспять свет, приравнивая абстрактное существо к реальному образу желания приобрести эстетическую ценность затенением света.
Таким образом, параллельный принцип структуры желания реализует объект, который развивает и выражает концепцию желания в существующей реальной структуре, которая выходит из подсознательного состояния.
Образ желания — это реализм другого образа, при котором происхождение желания открыто оформляется в лингвистической структуре, чтобы реализовать недостаток структуры желания, создавая призму, похожую на зеркальное изображение.
Кроме того, Чхве Чхоль Джу, абстрактный дизайнер желания, создает абстрактный образ желания в реальности и классифицирует объекты, которые выглядят как образы желания, как абстрактные существа подсознательного желания, интерпретируя концепцию абстрактного желания как реальные образы.
Мона Лиза создает структуру желания, создавая реальные изображения, которые видят смысл языка сознания своими глазами, когда они выражают структуру желания. Мона Лиза, главный объект бессознательной структуры, воспринимается как объект желания и украшает абстрактные желания изображениями. / Автор. Критик современного искусства Чхве Чхоль Джу / 崔徹柱 (доктор культуры и дизайна).
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 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 Chul-joo Choi, morning glory p138-8-Release Lovelyz's mini album, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p138-8-Release Lovelyz's mini album: 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 "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 p138-8-Release Lovelyz's mini album> 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 pond reflecting the image of one's present desires-sketch 3, 113X165cm, 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 <morning glory p138-8-Release Lovelyz's mini album> 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 p138-8-Release Lovelyz's mini album" 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 i234-Release Lovelyz's mini album 'Lovely-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.
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.
Художник-абстрактный реалист Чхве Чхоль Джу