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Contemporary Art Sketch Pop Art [81] Art Review: contemporary artworks contemporary artist & Cartoonist Louis Choi Chul-joo's Pop Art Abstract Art Work = Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) Criticism: <Choi Chul-joo, Island Gyebangdaedo>, which became a landscape as a meaning of an old story
Louis Chul-joo Choi, 최철주섬계방대도(崔徹柱剡溪訪戴圖), 6X6cm, acrylic and composite materials on vinyl, 2021
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
Famous contemporary artist, modern painter, abstract painter, Korean painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Korean painting' traditional landscape painting abstract design
Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.
A shape abstracts the concept of a realistic structure and determines its shape by a reversible shade of light, but as the entire shape is obscured, the shape is summed up in monotone.
Louis Chul-joo Choi, 최철주섬계방대도(崔徹柱剡溪訪戴圖), 6X6cm, acrylic and composite materials on vinyl, 2021
<Choi Chul-joo, Island Gyebangdaedo>, which became a landscape as a meaning of an old story
Choi Chul-joo's Island Gyebangdaedo is a landscape painting composed of paintings of the ancient Chinese Yuan Dynasty, and is the same as the Island Gyebangdaedo. The realistic structure is abstracted into hues by inserting reversible shades of light into the island's atmosphere.
It is not just a landscape painting, but a conceptual realist image that combines literary old stories and conceptual abstract realism art. This work is a modern reinterpretation of the old story of the ancient Chinese Yuan Dynasty's Hwang Gong-mang, "Island Gyebangdaedo (剡溪訪戴圖)" which visualizes abstract concepts as realism paintings through reversible shades of light according to each other's desires and timeliness.
Therefore, images are abstractions that match shapes and concepts with contrasting light that illuminates the place of the shade with shades.
Choi Chul-joo is a representative example of conceptual abstract realism painting as a treacherous conceptual art that attempts a conceptual return of contemporary painting through this work and replaces the place of reality with the desire of others.
He abstracts abstract concepts like Jasson Pollock's dripping paint as "a landscape that stops temporality in abstract space and is fixed as an object without a subject" and abstracts past the boundary between existence and non-existence as materialistic realism paintings.
Rather than an aesthetic structure that forms the value of an image in a phenomenal concept, it is a literary painting that speaks of life experiences in accordance with abstract concepts and the meaning of death. It looks like a Time landscape from the past time when I saw it as a discipline, not distinguished from images.
This does not simply reproduce images of conceptual abstract structures as landscapes featured in old stories, but abstracts realistic structures into shades through reversible shades of light.
Hwang Gong-mang's Island Gyebangdaedo (剡溪訪戴圖) drawing forms linearly and determines perspective treatment as a joke of ink, but Choi Chul-joo Island Gyebangdaedo darkens the shadow of the object with reversible light with pointillism, overlapping the experience and timeliness of the impression with color points.
It refers to an island by exaggerating the small stream of water in the valley in contact with the landscape with its color tone and the structure of the shade treated with reversible light.
Wang Ja-yu, who visited his friend there by boat, was excited and went there, but after God disappeared, he described mountains and water, saying, "Do I have to meet you?" (何必見戴), but it is the same as Choi Chul-joo's "Island Gyebangdaedo" and "morning glory", which represents desire.
The "morning glory" conceptual abstraction by mirroring the unrealistic desires and unrealistic objects of desire.
As an imaginary world, Choi Chul-joo's "Island Gyebangdaedo" calculates the difference between the mountain and the river's landscape facing the desires of others by the color of the river.
This was adapted to the subject of the concept of artistic desire by representing the romantic historical events with the desires of others.
Like the consultative mise-en-scène of ancient history, desire and valleys are equipped with color dots as visual materials.
From the water surface of the valley to the outline of the mountain, the surface of the mountain, which is overlapped with the maple color according to time, is composed of very short color dots.
Composition conveys the meaning of old stories and combines perspective and color to form an inseparable volume.
By fixing the perspective shape with color dots, the volume is formed with a color tone simply treated with color sensitivity.
This is a formative effect that embodies the meaning of an old story, but it does not reveal reality like a pictorial photograph, but expresses formative reality through literary recognition. In other words, it is a beautifully abstract painting with the meaning of the previous story as an abstract landscape
By stopping repetitive temporality in abstract space, the picture is fixed in abstraction as an image of an object without an object.
This is a physical shading structure in which reversible light is added to the color tone, unlike the picture of the Hwang Gong-mang's painting, which sweeps the contour into a shading structure. The structure abstracts the concept of referring to an object in which realistic outlines and abstracts are non-realistically overlapped, such as the 'Choi Chul-joo morning glory'.
Louis Chul-joo Choi, 최철주섬계방대도(崔徹柱剡溪訪戴圖), 6X6cm, acrylic and composite materials on vinyl, 2021
In "<Choi Chul-joo, Island Gyebangdaedo>", pointillist treatment superimposes the experience of temporal and landscape impression with color dots instead of the traditional Zen tombs of the Yuan Dynasty, expressing the phenomenal structure with paint as a new technique of material realism.
<Choi Chul-joo, Island Gyebangdaedo> is a conceptual abstract reflection of non-realistic objects, that is, a non-realistic image centered on the desires of others, reflecting the concept of desire like a mirror, blurring the boundary between reality and imagination.
The "Island Gyebangdaedo" is an imaginary world, and the difference between streams and arithmetic is calculated in color as a pointill on the mountains of streams faced by the desire of others. Therefore, as the same literary conceptual painting image as "morning glory", it is defined as a conceptual abstract realism painting that unravels the meaning of an old story through life experiences and philosophical thoughts, not a simple aesthetic structure.
It visualized abstract concepts through shadow structures in which light disappears and reappears, unlike classical shades. Through the interaction of light and shadow, the traces of temporality and existence were expressed as the desires of others, and the abstract concepts were visualized through reversible shades of light.
The color point, which expresses the surface of the mountain as very short and small points, is a way to express the overlapping of the passage of time and the sense of color by emphasizing the phenomenal structure instead of the line drawing through point-by-point color processing, and it formed an aesthetic space by connecting it with the blank beauty of oriental ink painting.
This communicates the meaning of the old story, combining perspective and hue to form an inseparable volumetric landscape, repeating the volume of the landscape in hue, and forming a fixedly colored perspective in hue.
In addition, the expression of arithmetic is the same as Choi Chul-joo's Thread Painting, which uses thread and paint together to break the boundaries between embroidery and painting, and expresses the timeliness of sensory desire, combining the physical texture of modern painting with color points.
Abstract landscapes are images composed of the desires of others by applying non-existent concepts to express reality as literary perceptions like realist photographs, reflecting reality like mirrors, but forming a structure that does not exist. The landscape in the picture image of the old story is composed of a subjectless gaze, and the structural boundary between existence and absence is produced by material realist paintings.
And by fixing the painting as an aesthetic object without a subject who has stopped temporality by repeating the design in the abstract space, <Choi Chul-joo, Island Gyebangdaedo> conceptually returned to the Yuan Dynasty's ancient island-Gyebangdaedo as a literary painting structure and composed a conceptual abstract realism painting as an image of life's philosophy and linguistic meaning structure.
By stopping repetitive temporality in abstract space, the picture is fixed in abstraction as an image of an object without an object.
This is a physical shading structure in which reversible light is added to the color tone, unlike the picture of the Hwang Gong-mang's painting, which sweeps the contour into a shading structure. The structure abstracts the concept of referring to an object in which realistic outlines and abstracts are non-realistically overlapped, such as the 'Choi Chul-joo morning glory'.
The conceptual art of "Choi Chul-joo morning glory" is an abstract idea attributed to the art theory of the concept of desire. As a result, the concept is abstracted into traces of practical formality and reversible shades of light as a non-realist with the theme of the desire of others.
This place where abstractions are illuminated forms a stream of abstract concepts where the realistic structure is omitted.
The creek is positioned by irregular dots that extend to the middle of the mountain and its shape structure reflected in the stopped waves. This forms the aesthetic needs of the literary old story where the life seen as a dot has settled, and shows linguistic sensitivity by illuminating the value of life in the stream with the imaginary mountain as a reversible color point of light. And it makes a mountainous landscape appear as a reversible light with a volume of a dot about a life hidden in a stream. This refers to the value of life as the cognitive structure of desire hidden in timeliness time. It is an abstraction of the non-real structure as a conceptual form as a structure of the same meaning.
"Choi Chul-joo Island Gyebangdaedo" is a modern conceptual art that abstracts the meaning of an old story in the process of realizing the concept.
This creates a life pattern according to the symbolic landscape of the story and abstracts it in abstract shades.
The Island Gyebangdaedo, where one meaning that does not distinguish the genre of the image has become a conceptual landscape, faces the gaze from an abstract perspective./ Writing. Art critic Choi Chul-joo (abstract painter & Doctor of Cultural Design)
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 272-Choi Chul-joo, Island Gyebangdaedo, 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.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k272-Choi Chul-joo, Island Gyebangdaedo: 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 k272-Choi Chul-joo, Island Gyebangdaedo-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 j269-a portrait of a mirror reflecting its desire on the window> 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.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p140-4-Choi Chul-joo, Island Gyebangdaedo: 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.
■ 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 k272-Choi Chul-joo, Island Gyebangdaedo-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.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <bamboo forest k272-Choi Chul-joo, Island Gyebangdaedo-pond-mirror> 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 i267-a portrait of a mirror reflecting its desire on the window-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 p139-1-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer> created by reversible light.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest i267-a portrait of a mirror reflecting its desire on the window" 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 Chul-joo, morning glory p139-1-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer : 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.
Louis Choi Chul-joo,"morning glory p139-1-a portrait of a mirror reflecting its desire on the window," 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 i267-a portrait of a mirror reflecting its desire on the window-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.
Louis Choi chuljoo, morning glory p139-4-Choi Chul-joo, Island Gyebangdaedo, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p139-4-Choi Chul-joo, Island Gyebangdaedo: 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: Conceptual Visualization of Desire is a cartoon abstraction that describes events and performances as a concept of desire, which expresses the image of events as a desire background "morning glory" and "Bamboo Forest" as the background of the cartoon, and reconstructs the cartoon image as a realistic picture by moving it from the concept of abstract desire to the desire background "morning glory" and "Bamboo Forest," which are the subjects of desire.
Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025
Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p139-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer> 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, a portrait of a mirror reflecting its desire on the window, 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 Choi chuljoo, morning glory p140-2-a portrait of a mirror reflecting its desire on the window, 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 p140-2-a portrait of a mirror reflecting its desire on the window, 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 p139-a portrait of a mirror reflecting its desire on the window" 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 p140-2-a portrait of a mirror reflecting its desire on the window" 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 269, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j269-a portrait of a mirror reflecting its desire on the window-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. ■ the abstract design process of conceptual abstract realism: 1. Conceptual Abstract Realism The current object is illuminated with reversible light so that the illuminated form can be repeatedly visually recognized according to the past temporality to actualize the subject's structure as a shaded structure of reversible light. And the design concept that constitutes conceptual abstract realism abstraction is determined as a philosophical result that can be expected with abstract causality so that the object is repeated as a design with the present gaze so that it appears to be a realistic image according to temporality. 2. The object of conceptual abstract realism is that the absence of desire as a non-verbal meaning is alienated from the symbolic world and loses its essence as the subject of desire. In the previous stage of linguistic meaning, according to grammar revealed as a symbolic image of existence, it was separated into a realist image recognized as an abstract desire concept and divided into a realist image, and the realist image as the subject of the desire structure is linguistically and diachronically meaningful. 3. The design of a realism image is an image that lacks the linguistic meaning of conceptual abstract realism, and the image in a linguistic sense is repeatedly designed as a post-effect of the desire structure being re-embodied, and a new conceptual abstract realism image is repeatedly designed. The direction and viewpoint of reversible light that make up the image along the chain of design are all stages of the perspective visual system according to temporality, and the line space of the visual structure, in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image produce a realism image at the intersection of the existential place with continuity. 4. Realistic abstraction creates a multi-loyal structural image of the linguistic meaning of unconscious structure composed of shadows at multiple points of reversible light separated from perspective, and girls are abstracted as divided subjects as talents that can be stared at momentarily while dismantled at a stereoscopic single point. 5. Conceptual Abstract Realism Abstractism Rendering is a conceptual abstract realism of wanting and linguistic desires that cannot be perceived at the level of expression consciousness, visualizing philosophical psychological structures and rendering them with linguistic meaning at the intersection of conceptual abstraction and unrealistic realism. As this becomes conceptual abstract realism abstraction, unconscious desires that represent the color tone and shape of desires invisible in the shade of reversible light become maps as conceptual abstract realism abstraction.
■ conceptual abstraction rendering process: 1. Integration of linguistic meaning and visual images: The abstract concept of desire is realized when the desire of others has an aesthetic meaning by facing the linguistic meaning in the image of an event as an object of a pictorial structure reflecting the present desire, and the image in the painting is closely connected to the linguistic meaning structure. As an object representing the concept of desire, the same concept of desire as the event image is divided into unconscious and real images, and an image modeling unconscious desire as an existential real image is sketched.
As for the sketch form of the current concept of desire, the concept of absolute desire is a symbolic metaphor shown in abstraction, and the concept of desire is abstracted as the desire of others, but it does not go beyond the scope of an imitative picture. Therefore, it is the modern conceptual abstract realism sketch that resulted in a real image through Choi Chul-joo's desire formula, which interpreted abstract concepts in a linguistic sense as the desire of others. This is a realism that interprets the concept of abstract desire as a real structure as a expressive image with a linguistic meaning in the real world, where pictorial event images are closely connected with linguistic semantic structures. Here, by applying existential semantics as an event and performance image, the object of the real structure is represented as a phenomenal image of the real world, and the abstract structure is identified with conceptual reality. 2. Visualization of Abstract Desire Concept: To accept the difference from the actual image in the concept of abstract desire as the meaning of the linguistic concept, and to embody the unconscious desire as an abstract image, the abstract image that constitutes the relationship structure with desire is painted and embodied in the actual structure created by the linguistic meaning of the conceptual reality of desire structure. This is an abstraction of Choi Chul-joo's conceptual abstract realism, which hides the formative reality of desire in pictures and abstracts event images based on real news, away from the social constraints (制約) acceptable in religious customs. Abstraction is a subjective concept that refers to linguistic meaning and expresses the viewing effect of colloquial enunciation and event video broadcasts in abstraction. This abstraction represents the true value of the concept of need and is an expressive aesthetic structure that embodies the elements that depend on the news.
The abstraction is represented as an abstraction which is a truth value of the concept of desire as an expressive aesthetic structure of one speech act that identifies the viewing effect of colloquial language and event video broadcasting as an enunciation. 3. The artistic experiment of reversible light and temporality: The experiment of conceptual abstract realism renders abstraction based on temporality in the linguistic sense that desire and reality are the same. Here, the structure of desire is abstracted by forming a semantic relationship between desire and reality according to temporality. In the abstraction, the abstract reality of desire is the causal structure of desire, that is, the antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aphoria image. In abstraction composed of real images as the structure of desire, the morphological image of visible metaphor is transferred to abstract language meaning. Therefore, the real image as a result of exploring the existential realism according to temporality through the shadow of reversible artificial lighting is a metamorphic fixation as an abstract meaning in which the desire structure is obscured. In other words, in abstraction, the other's desire as an image of social events transforms into an additional form. As such, conceptual abstract realism rendering is raised by time and existence through the shadow of reversible lighting, repeatedly designing realistic images induced by social phenomena, creating a realism image with a desire formula, and the subject based on the event image repeatedly designing and rendering a realist image induced by social phenomena with a desire formula.
Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025
A conceptual abstract realism portrait rendering of a mirror reflecting desire on a window
The portrait of the mirror reflecting desire on the window is a realist image that renders an abstract structure into realism in a linguistic sense, and is an ideal image as an abstract being that exists in the real world.
As an aesthetic structure, a picture has a linguistic meaning that literary distorts the reality distinct from the image existing in the real world in an abstract concept.
Therefore, it is modern conceptual abstract realism that resulted in a real image through Choi Chul-joo's desire formula, which interpreted abstract concepts in a linguistic sense as the desire of others.
This is a realism that interprets the concept of abstract desire in the real world as a real structure with a verbal meaning as an existential expressive image.
Here, the object of the real structure is represented as a phenomenal image of the real world by applying existential semantics as an event and performance image, and the abstract structure is identified with conceptual reality.
Abstract conceptual realism paintings repeatedly design and render realist images induced by social phenomena as a desire formula, using the subject as a motif of a photo of an event image.
Conceptual Abstractionism The abstract design process is the process of abstracting an abstract object into a symbolic structure and abstracting the desire structure of others into realism. This creates a gap that is divided from reality as a symbolic device of the symbolic world. The gap constitutes a conceptual abstract realist abstraction by illuminating it with reversible light so that the structure of realism in reality can be recognized.
As a result, the abstract design process of conceptual abstract realism is as follows.
1. Conceptual Abstract Realism The current object is illuminated with reversible light so that the illuminated form can be repeatedly visually recognized according to the past temporality to actualize the subject's structure as a shaded structure of reversible light. And the design concept that constitutes conceptual abstract realism abstraction is determined as a philosophical result that can be expected with abstract causality so that the object is repeated as a design with the present gaze so that it appears to be a realistic image according to temporality.
2. The object of conceptual abstract realism is that the absence of desire as a non-verbal meaning is alienated from the symbolic world and loses its essence as the subject of desire. In the previous stage of linguistic meaning, according to grammar revealed as a symbolic image of existence, it was separated into a realist image recognized as an abstract desire concept and divided into a realist image, and the realist image as the subject of the desire structure is linguistically and diachronically meaningful.
3. The design of a realism image is an image that lacks the linguistic meaning of conceptual abstract realism, and the image in a linguistic sense is repeatedly designed as a post-effect of the desire structure being re-embodied, and a new conceptual abstract realism image is repeatedly designed. The direction and viewpoint of reversible light that make up the image along the chain of design are all stages of the perspective visual system according to temporality, and the line space of the visual structure, in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image produce a realism image at the intersection of the existential place with continuity.
4. Realistic abstraction creates a multi-loyal structural image of the linguistic meaning of unconscious structure composed of shadows at multiple points of reversible light separated from perspective, and girls are abstracted as divided subjects as talents that can be stared at momentarily while dismantled at a stereoscopic single point.
5. Conceptual Abstract Realism Abstractism Rendering is a conceptual abstract realism of wanting and linguistic desires that cannot be perceived at the level of expression consciousness, visualizing philosophical psychological structures and rendering them with linguistic meaning at the intersection of conceptual abstraction and unrealistic realism. As this becomes conceptual abstract realism abstraction, unconscious desires that represent the color tone and shape of desires invisible in the shade of reversible light become maps as conceptual abstract realism abstraction.
The linguistic meaning in the symbolic world is only a continuous symbolic existence for abstract objects. Rendering this existence in a conceptual abstract realism image is a single signifiant image. Conceptual abstract realism is drawn by abstract design of conceptual abstract realism images from reality, which is a region separated from the realm of symbolic systems that cannot be accepted in the contemporary era.
This is typicalized as a new conceptual abstract realism and generalized by forming an event image that appeared in everyday news as an object for realistic abstraction into an artistic picture.
In this way, Choi Chul-joo's conceptual abstract realism abstract design process identifies the realistic perception structure of everyday news with the event image and the abstract other's desire concept, and specifies the abstract structure as an allegory phenomenal realism image that expresses it literaryly.
The definition of conceptual abstract realism is a new conceptual abstract theory that combines philosophical concepts, linguistic semantic structures, and visual expressions of reality in modern art, a realist art trend that goes beyond mere visual abstraction or metaphorical subject conceptual art wrapped in religious norms without symbolically hiding the desires of others.
As a result of conceptual abstraction, Choi Chul-joo's conceptual abstraction rendering process visualizes desire in a grammatical composition by integrating linguistic meaning and realism images through a mathematical design of a new literary structure. The rendering process is as follows.
1. Integration of linguistic meaning and visual images: The abstract concept of desire is realized when the desire of others has an aesthetic meaning by facing the linguistic meaning in the image of an event as an object of a pictorial structure reflecting the present desire, and the image in the painting is closely connected to the linguistic meaning structure. As an object representing the concept of desire, the same concept of desire as the event image is divided into unconscious and real images, and an image modeling unconscious desire as an existential real image is sketched.
As for the sketch form of the current concept of desire, the concept of absolute desire is a symbolic metaphor shown in abstraction, and the concept of desire is abstracted as the desire of others, but it does not go beyond the scope of an imitative picture.
Therefore, it is the modern conceptual abstract realism sketch that resulted in a real image through Choi Chul-joo's desire formula, which interpreted abstract concepts in a linguistic sense as the desire of others.
This is a realism that interprets the concept of abstract desire as a real structure as a expressive image with a linguistic meaning in the real world, where pictorial event images are closely connected with linguistic semantic structures. Here, by applying existential semantics as an event and performance image, the object of the real structure is represented as a phenomenal image of the real world, and the abstract structure is identified with conceptual reality.
2. Visualization of Abstract Desire Concept: To accept the difference from the actual image in the concept of abstract desire as the meaning of the linguistic concept, and to embody the unconscious desire as an abstract image, the abstract image that constitutes the relationship structure with desire is painted and embodied in the actual structure created by the linguistic meaning of the conceptual reality of desire structure. This is an abstraction of Choi Chul-joo's conceptual abstract realism, which hides the formative reality of desire in pictures and abstracts event images based on real news, away from the social constraints (制約) acceptable in religious customs.
Abstraction is a subjective concept that refers to linguistic meaning and expresses the viewing effect of colloquial enunciation and event video broadcasts in abstraction. This abstraction represents the true value of the concept of need and is an expressive aesthetic structure that embodies the elements that depend on the news.
The abstraction is represented as an abstraction which is a truth value of the concept of desire as an expressive aesthetic structure of one speech act that identifies the viewing effect of colloquial language and event video broadcasting as an enunciation.
3. The artistic experiment of reversible light and temporality: The experiment of conceptual abstract realism renders abstraction based on temporality in the linguistic sense that desire and reality are the same. Here, the structure of desire is abstracted by forming a semantic relationship between desire and reality according to temporality.
In the abstraction, the abstract reality of desire is the causal structure of desire, that is, the antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aphoria image. In abstraction composed of real images as the structure of desire, the morphological image of visible metaphor is transferred to abstract language meaning.
Therefore, the real image as a result of exploring the existential realism according to temporality through the shadow of reversible artificial lighting is a metamorphic fixation as an abstract meaning in which the desire structure is obscured. In other words, in abstraction, the other's desire as an image of social events transforms into an additional form.
As such, conceptual abstract realism rendering is raised by time and existence through the shadow of reversible lighting, repeatedly designing realistic images induced by social phenomena, creating a realism image with a desire formula, and the subject based on the event image repeatedly designing and rendering a realist image induced by social phenomena with a desire formula.
The conceptual abstract structure that emerged from the realist image that emerged from the social phenomenon is the area of the real world separated from the area of the symbolic world. The abstraction of event images is called reality as a phenomenal structure with conceptual abstraction.
Choi Chul-joo's "Cartoon review" breaks away from the realm of the symbolic world of the event image and captures the conceptual abstract realism image of reality in "morning glory". This causes confusion about the concept of abstract desire for viewers of the realist painting by overlapping the image of realism with "morning glory" as a contemporary object that replaces the desires of others with Cartoon review as the main subject. He is not satisfied with the illusion in the imagination world and attempts to escape from the symbolic world by rendering the desire of a realist painting in reversible shades of light through the other. Thus, the present conceptual abstract realism is achieved, separated from the abstract area of the symbolic world.
Therefore, unlike the perspective visual system system, realism rendering, which reflects the current abstract concept, repeatedly designs symbolic reality images in which the surface and the back overlap according to the conceptual abstract temporality of the desire structure, and creates the texture of desire with multiple reversible lights on the same surface to realize conceptual abstract realism as the same structure as a single image.
This is a contemporary existential image of a conceptual abstract realism painting that is fixed as the desire of the other, without showing the subject to metaphorically express the object, that is, the event image, in the symbolic world, and the abstract meaning and realism image of the object in which the desire of the other is concealed. Invisible concealment creates meaning and the shape of realism as an abstract. However, by understanding the object as a reality, the conceptual abstract realism picture as another reality in abstraction is abstracted into an image of a symbolic reality structure that symbolizes contemporary social desires.
This realist image composition interprets an abstract object that exists in the real world as a metaphysical structure as a subject. This is an object of the concept of desire based on a photograph of a social event image in metaphysics for its existence as a real structure, and it is reconstructed as a conceptual abstract realism picture in a shade of reversible light as an abstraction rather than a photograph.
Here, the abstract desire concept, which reconstructs the object of abstract concept into a realistic image, provides a cause that leads to abstraction of a picture represented by a real image as a result by composing images of expressive beings that can be abstracted in the real world.
Thus, the concept of desire, interpreted abstractly, is transformed into a grammatically constructed conceptual abstract realism image by transforming linguistic meanings into abstract beings within the framework of literary structures.
The painter of conceptual abstract realism shows another reality that symbolizes religion or political metaphor in painting. In abstract realism, Choi Chul-joo's desire formula is applied to interpret conceptual abstract realism to find symbolic meaning in real expressions. The real thing here is that the linguistic meaning that interprets the concept of unconscious desire as a category of the symbolic world and the image of conceptual abstract realism are equated.
Lacan accepts Freud's linguistic analysis through Freud's declaration of regression. The language here is Saussure's structuralist language, where the being that appears in the metaphor dictates the place of the subject, but Choi Chul-joo's conceptual abstract realism sketches the existence of an event image that reproduces the abstract reality that reproduces the event image even though the verbal expression is metaphorical in painting.
As a painting, a realist image sketches the contrast effect that increases the clarity and fills the gap with color on the boundary of the outline. This is a realistic and essential structure as a realistic aesthetic structure of conceptual abstract realism that is distinct from a realistic image.
Accordingly, Choi Chul-joo's conceptual abstract realism reproduces the sensual multifaceted structure in an abstract composition with reversible light shades, rendering the symbolic realism image that interprets the essential structure of the object in the linguistic meaning of the concept of desire.
The revelation of abstract realism through mirror theory begins with the imagination of equating the realist image of the Mona Lisa in the mirror. Recognizing that the image of realism is not abstract as a subject, it transitions to the symbolic world through separation from the symbolic image of conceptual abstract realism and the image of realism. Here, the symbolic linguistic meaning and realist image meet reality through division. As a reality, the image of the event as the object of the concept of desire is revealed as a phenomenal image of society, but the unrealistic Mona Lisa in the mirror is a encounter with abstraction as a picture.
In other words, symbolic linguistic meanings and abstract realist images meet reality through division, revealing events targeted at the concept of desire as phenomenal images of society and abstracting them as conceptual abstract realism paintings.
Symbolic linguistic meanings and realist images meet reality through division. As a reality, the image of an event as an object of the concept of desire is revealed as a phenomenal image of society, but as an unrealistic picture, it is an encounter with abstraction.
As such, Choi Chul-joo's conceptual abstract realism is typical and generalized by forming images of events that appeared in everyday news as objects of realistic abstraction into artistic paintings.
In addition, Choi Chul-joo's conceptual abstract realism abstraction is specified as a conceptual abstract realism image that identifies the realistic perception structure of everyday news with the concept of event images and abstract desires of others as a phenomenon as an allegory that literaryizes the abstract structure./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
