Contemporary Art Sketch PopArt
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Contemporary Art Sketch Pop Art [82] 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, A realistic image emerges at the attractive intersection between Louis Choi Chul-joo's theory of desire and visual art. Based on the framework of his theory of desire and his conceptual abstraction realism, it is an art that abstracts concepts with unrealistic forms of light and traces of reversible shades based on the desires of others. However, it is an abstract abstraction of conceptual abstract realism that describes the other's desire to express the place of real reality as an abstraction that can never be fully grasped, that is, the return of pictoriality as a concept of early conceptual art.: Louis Choi Chul-joo, the Mona Lisa reflected in the pond, 113X165cm, acrylic and composite materials on cloth, 2025 & Louis Choi Chul-joo, morning glory p141-1-the Mona Lisa reflected in the pond, a hand-painted picture on a computer, 2025
Louis Choi Chul-joo, the Mona Lisa reflected in the pond, 113X165cm, acrylic and composite materials on cloth, 2025
the Mona Lisa reflected in the pond
The Mona Lisa reflected in the pond is a structure of desire that elicited realism according to its artistry, another structure of gaze away from the visual system, and an image as a realism of another abstract object that reveals an image to reality.
As a perspective visual structure, the instantaneous desire in contact with the water surface is a structure of light that deviates from the border of a pond where water is buried on the surface's tangent, and constitutes the same realism image as the image of desire reflected on the water surface.
Perspective objectivity as a structure of light that deviates from the concept of instantaneous desire by the shadow of reversible light in the pond distorts reality as the range of the sky and the size of the perspective, where the realist image is superimposed on the surface as another gaze structure.
In "The Mona Lisa Reflected in the Pond", abstract realism is a desire structure that conveys an abstract image as an effect of the dual structure of reality and the Mona Lisa's realism abstraction, in which the real sense that gave movement to the flow of the water by moving the fish with abstract traces in the pond and the flat abstract view of the lotus flower contrast. The image simplifies the real image, which recognizes the object of the reversible viewpoint in a linguistic sense according to the temporality of the abstract viewpoint, from abstract thinking to a phenomenal pond structure.
It is a German style that abstracts the rhythms of objects into flat, digital forms, but expresses them in reversible light, just like the hand-painted Arnouveau (Jugendstil). So that abstraction and art are distinguished by the existence of matter as reality and the existence of images formed from each other's abstract perspectives as virtual beings.
The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations, and it is a sketch that passes through an allegory that images objects and events into reality. Therefore, it is not an impressionistic image that captures the moment of the Mona Lisa reflected in the pond as an impression, but a realist image that linguistically interprets the abstract meaning of the Mona Lisa reflected in the pond in explicit temporality as a shade of reversible light.
This defines that by repeating sketches, Choi Chul-joo's conceptual abstract realism image, which connects an existential image seen as a structure of gaze to another realistic image separated from reality, can reconstruct the realist image as a concept of abstract desire through cartoon sketches and picture images.
The definition is a abstract realism that evades the unconscious surreal formative structure as an error in abstract perception that brought concepts and abstractions to existential realism, or reversible perspectives, through abstraction of modern conceptual abstract realism such as modern media art images or abstraction.
This abstracts the present image by expressing the present image verbally and the present image as a reversible shadow of light that embodies the concept of desire in the present place. The abstraction is an abstract realism object, and the abstract object revealed as a point of light in the eyes of others is Choi Chul-joo's aesthetic structure revealed in the gaze system of desire, and the abstract realism object gaze, which has different abstract meanings as a philosophical device, is produced according to temporality.
Therefore, the temporality of a verbal image according to reversible light presents reality as an image as a being through existential theoretical interpretation, just like Aristotle's time.
This image coincides with images in realist space and abstract linguistic meaning, so an abstract and invisible object appears in the path of gaze viewed from the conceptual point of view of desire.
Here, Choi Chul-joo's conceptual abstraction of realism shows an image in a linguistic sense that appears as the concept of desire. This simplifies a specific surface of the image and brings abstract realism back to its real image as a correlative structure of time elapsed. In the linguistic meaning of the conceptual abstract realism of the image, it intersects the image as an object that contains the desires of others as a fictional element of human limited by causal relations, and the realist image is structured as a linguistic meaning of unconscious abstract realism.
Thus, by simplifying realist images that specify abstract structures and erasing the contrast in the cross-section into reversible shades of light, the essence of abstraction is flattened into the cross-section. This is a conceptual abstract realist abstraction that erases abstract images of linguistic meaning from abstract objects that are identical to current images that exist according to temporality.
As a result, the conceptual abstract realism abstraction design process is an abstraction that derives realism according to its artistry, and another abstract object that reveals the image to reality as a structure of gaze that deviates from the visual system is the image of realism.
In realism abstraction design, the effective way to convey the dual message of abstraction and reality is to express concepts and abstractions realistically through modern conceptual abstract realism abstractions, such as modern media art and painting images or abstractions. Therefore, the process of designing conceptual abstract realism abstraction design is as follows.
1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.
2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality.
It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.
3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism.
4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning. And to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images.
The background image of abstract realism abstraction refers to a place in realist space formed by reversible shades of light that fit the philosophical logic of returning to temporality, replacing the abstract space that exists in the linguistic sense. The image interprets the desire image (i) design (d) as a realistic image in the linguistic sense, and the condition (i/d) in which the image of the abstract object is realized through the grammatical interpretation of the other's desire in the linguistic sense in order to obtain the abstract object specified in Choi Chul-joo's desire formula. As a subject of abstraction, the subject of desire selects a specific object that asks itself what abstract realism wants and reaches conceptual abstraction <D(I...I')d=I(D...D'i)i> as a reality.
Here, the abstraction as a linguistic meaning is that the image formed in the structure of the text is tailored to art while approaching philosophical logic, forming a realist structure. This is a realist image that stopped from the concept of abstract desire, which was realized by abstracting the abstract structure that divides abstract places that humans cannot experience into linguistic semantic systems as objects of conceptual abstraction.
Like the the theological formation structure of the Renaissance Church, which attributed philosophical logic to religion, Choi Chul-joo's abstract concept of desire has a linguistic meaning that abstracts the concept of abstract desire to see the Mona Lisa as an abstract structural and practical image. Therefore, in order to reproduce the abstract limitations of the nature and perception of human existence as a real image, Choi's conceptual abstraction design abstracts philosophical images and uses abstract perception as a device to convey philosophical and linguistic meanings as symbolic images to reproduce them as realism images.
The Renaissance, which opened the image of conceptual abstract realism, establishes the aesthetic desires that spread from aristocrats to merchants and the desires of others whose artistic value of contemporary art is obscured. Conceptually, the artistic inspiration of early conceptual art of Dadism cannot be ignored, but Choi Chul-joo's conceptual abstraction as a new modern art with existential conceptual abstraction away from religion builds a realist image as a flat installation in line with conceptual abstraction with literal concepts and linguistic meanings, as if sketching Mona Lisa reflected in a pond.
The installation is a linguistic meaning that expresses abstract concepts as real images, and conceptual art is interpreted as an abstract crystal of philosophical thinking by transferring the structure of Idea to the structure of reality and showing the real image as an event and performance image. This is a realist abstraction that deviates from the realist image in the linguistic sense, that is, the religious creationism of abstract concepts, at the peak of abstract images.
In this way, desire as a being in the "Mona Lisa reflected in the pond" is an essential image of linguistic meaning and is abstracted as a realist image tailored to the correlation conditions with the past experiences of the unconscious. This connects the realism object with the concept of gaze and at the same time abstracts the "mirror image reflecting the desire of others" that evokes the sense that the viewer is being stared at.
The abstraction establishes itself as an aesthetic effect of abstract desire between the pond background and the Mona Lisa's face. Here, an overlapping image of meaningful desire hidden in temporality appears in the pond as an image of reality, but Mona Lisa is an abstract composition that deviates from the perspective visual system. By simplifying the abstract image by flattening its shape, it transfers the existence of unconscious desire to the existence of objective reality image to realism abstraction.
Unlike the Sfumato technique, this led to abstraction by tracing the temporality of the Mona Lisa smile. Da Vinci's spumato technique is an ambiguous expression that blurs the contour, but Choi Chul-joo visualizes the feelings of a smile based on temporality as a trace of temporality, revealing the 'trace of the temporality of Mona Lisa's smile' through painting technique.
As the subject of the trace, the desire structure is divided into background and actor, and the image reflected in the pond is expressed as the actor of desire, and the abstract realism image is expressed as the objective correlation of the concept of desire.
It also becomes a realistic abstraction as a correlation in which the Mona Lisa mimics abstraction as the subject of the cause that made the desire structure an abstract image as the subject of the 'Mona Lisa reflected in the pond'. In other words, abstraction as a realistic structure directs the abstract impression that is perceived as a real meaning into a conceptual abstract realism abstraction./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
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 254-2-the Mona Lisa reflected in the pond, 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 k254-2-the Mona Lisa reflected in the pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
The visualization of the concept of desire: Louis Choi chuljoo, ba-pondmboo forest k254-2-the Mona Lisa reflected in the pond-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 k254-2-the Mona Lisa reflected in the pond,> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <2024 U.S. presidential candidate> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <bamboo forest d204-pond-2024 U.S. presidential candidate> becomes a non-real abstraction of reality.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k254-2-the Mona Lisa reflected in the pond-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 p141-1-the Mona Lisa reflected in the pond, a hand-painted picture on a computer
Cartoonist Choi Chul-joo's Desire Conceptual Art Cartoon abstraction as a cartoonist means abstracting the conceptual image of desire in art into a realistic structure. Since the conceptual meaning of desire that exists instead of a realistic form can be divided into cartoon criticism images, poster abstraction that designates specific places is drawn through reversible contrast that interprets images of events and performances as images of abstract desires of others.
Choi Chul-joo cartoon review and abstraction "morning glory", which use modern art poster abstraction as desire conceptual art, abstracts the image of the concept of desire by reinterpreting it as a concept of cartoon.
Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 254-1-the Mona Lisa reflected in the pond, 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 move
Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest k254-1-the Mona Lisa reflected in the pond-pond, 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.
The visualization of the concept of desire: Louis Choi chuljoo, ba-pondmboo forest k254-1-the Mona Lisa reflected in the pond-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./ 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 k254-1-the Mona Lisa reflected in the pond-pond> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <2024 U.S. presidential candidate> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <bamboo forest 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 k254-1-the Mona Lisa reflected in the pond-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 k254-1-the Mona Lisa reflected in the pond-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
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 p141-1-the Mona Lisa reflected in the pond:, 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.
Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 245-1, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k254-1-the Mona Lisa reflected in the pond-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.
■ Choi Chul-joo’s Conceptual Abstract realism Abstraction Design Process
Another abstraction that reveals the image as a reality as another structure of gaze that deviates from the visual system as an object that led to realism according to artistry is the image of realism.
In realism abstraction design, a way to effectively convey the dual message of abstraction and reality is to realistically represent concepts and abstractions through contemporary conceptual abstract realism abstractions, such as contemporary media art images or abstractions. Thus, the process of designing conceptual abstrac realism abstractions in media art abstract design is as follows
1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.
2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality. Choi Chul-joo's reversible light is an image shaded at the present time in what is called "a real image obscured by the shadow of reversible light" according to its realistic form and movement of light, that is, the temporality. The image creates reality as a shaded image of reversible light, where the linguistic meaning seen as abstraction is identified. It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.
3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism. Through this process of transformation, viewers experience linguistic abstraction in which forms follow concepts and forms become entangled with meaning.
4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning. And to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This formula suggests a dynamic interplay: desire (D) is echoed across repeated images (I...I'), ultimately shaping an abstract concept (i). This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system.
According to Culturality, Choi Chul-joo Concept Abstraction Realism Abstraction Stag's step 1: Distill the concept of desire in reality into images separated from literal causation to promote abstract thinking. step 2: Overlapping the linguistic meaning of the natural object motif with culturally resonant visual elements such as color palettes creates visually harmonious yet conceptually dense realism abstract image. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images.
Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window-sketch, 113X165cm, acrylic and composite materials on cloth, 2025
a portrait of a mirror reflecting its desire on the window
The mirror applies a red pigment, an oxide of mercury and lead, to the back of the glass plate as a material, blocking light, illuminating the object head-on and reflecting light to make it look the same as the object.
Therefore, when the back of the glass is dark, the left and right are reflected in a changed shape when looking forward like a mirror.
A picture image is an image of a canvas that has been drawn so that you can observe and see the same image as the mirror.
The linguistic meaning of the concept of desire, which consists of a glass-reflected portrait in a reversible shade of light, is an image of the same structure as a photo mosaic image of a small glass.
It shows an event scene or a realistic structure of images composed of reversible shades of light in several directions.
The symbolic structure in the scene of the event is an image in which the subject is divided by lack of desire. This is identified with the linguistic meaning of the concept of desire and the meaning is repeated through the design of the image.
In this way, as the image becomes symbolic according to causality in the symbolic structure, the essential image of the deficient desire is reflected on the window.
Windows focus their eyes on the inside and outside, depending on the brightness of light. When the inside of a window is dark, it reflects the outside image like a mirror.
This allows the structure of desire as a subject to derive a phenomenal image so that the linguistic meaning of the culturally deficient concept of desire coincides with the actual structure.
The cross section of the window repeatedly reflects a fixed subject and specifies a bright area with artificial lighting.
The atmosphere containing air as a medium of light is different from what it looks and what it looks like, and the light in the sky comes from temporal and diverse cultural positions.
It sends reversible light from the sky. The light from the sun illuminates objects that exist for a long time but are now.
This abstracts the desire of others in past event images into the same real structure as the linguistic meaning, and reflects sky light through windows and windows, showing the reality of the essential image of desire that is lacking as a conceptual subject of desire.
In this way, the subject of the absence of desire identifies the portrait of the mirror reflected in the window with oneself, like an imaginary infant.
Portraits reflected in windows form self-identity in the shade of reversible light, and the linguistic meaning of the concept of desire is reproduced as a mosaic photographic mosaic image of a small glass to form the self as the same image.
The portrait of the desire mirror in the window created in this way constitutes a portrait depicting the abstract concept of desire as an event image as the same image as the linguistic meaning, or depicting the person seen through the window as a meaningful action of the concept of desire.
Therefore, a portrait of a particular desire structure reflected in a window reflected in a mirror is like an abstract painting that does not exist in the visual system. This creates a phenomenal structure for an abstract linguistic image that does not exist as a being facing the desired gaze drawn on the canvas.
Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window-sketch, 113X165cm, acrylic and composite materials on cloth, 2025
As an abstract structure that communicates with the desires of others, the existential structure that communicates with the linguistic meaning of the concept of desire to equate the concept of desire with abstract existence looks different in the hue of fixing shape and light depending on artificial lighting.
Thus, abstract design methods of desire structures capture existential structures and repeatedly design real images in reversible shades of light, so that the structure of the gaze and the gaze seen by the gaze become objects of the same meaning.
Image painting the subject of desire structure makes abstract desire concepts into rough sketches of images in the linguistic sense, making the desire background a reversible shade of light.
Unlike visible light, which distinguishes the phenomenal structure, reversible light returns to the position of an object shared with the previous time. It is reflected in the direction illuminated on the dark window surface or bent in shape as the fish in the pond moves.
In this way, the subject of the desire structure is reversible light, and the meaning of unconscious language is structured as an image.
Additionally, it is confirmed that the image of the abstract desire concept cannot match even though the linguistic meaning is the same by deriving the deficient desire of a specific desire structure as a phenomenal image and interpreting it in a linguistic sense. As a result, the image becomes abstract even though the linguistic meaning of the desire concept can be transformed into a real image.
Here, the reality of the linguistic meaning desired by the subject of desire lacking to be abstracted as a real image is specified, and the object is matched to a portrait of a carved mirror as the existence of desire lacking in the window.
In this way, the abstract concept of desire is an image in a linguistic sense, and the object reflected in the window faces the object of reality as the left and right change.
In other words, as an object of desire, the image of the event is identified with the image of meaning according to linguistic sociality, and the mirror image reflected by reversible light on the window is portrayed as the desire of the other.
In the linguistic sense, the desire structure interacts with the poetic perception of the real image in the concept of abstract desire.
In social phenomena, this expresses the subject of desire in reality as the same concept of event image and desire structure.
Morning glory Poster 138-3-pond-Ophelia
Reversible light abstracts reality as a shadow of light because it becomes phenomenal when viewed in detail as a specific invisible desire structure.
Here, when drawing an event image as an abstract desire object, the progression applying the Choi Chul-joo desire formula is designed as a desired and noticeable characteristic reality of the linguistic meaning of the abstract desire concept specified as a specific phenomenal structure of the other's desire to acquire a realistic image that obscures the abstract desire structure.
In this way, the abstract design method according to the desire formula conceals the linguistic meaning of a specific abstract desire concept with a reversible shade of light and draws abstraction as a realistic image.
Therefore, abstraction as a realistic image is a correlation between the linguistic meaning, or desire concept, interpreted from the other's desire specified in the abstract desire concept, and the linguistic meaning structure inductively interprets the other's desire as an event scene in which the abstract linguistic meaning is related to the inevitable reality based on objective standards.
However, it is challenging to match the grammatical structure with the linguistic significance of the abstract desire concept as a reality. As a result, a formal grammatical structure creates a sentence using the concept of abstract desire that can be seen as a phenomenon, and the meaning of a generated grammatical language is transformed into a formative image as a shaded structure contrasted with reversible light.
Therefore, in the process of realizing the concept of desire, the object is transferred to a real image as the existence of a specific deficient desire as an act of linguistic meaning and expression desired by the subject of desire.
In this way, the concept of desire is repeatedly designed to reveal a portrait of a mirror reflecting desire in the window by equating the image as a conscious reality structure in the process of unconscious linguistic meaning.
This distinguishes between a figure that looks like a mirror portrait of desire in a window, and the object around it, but the perspective size of the object is not applied and emphasizes the subjective effect of the desire structure as a shaded complementary color afterimage of reversible light.
The linguistic semantic structure expresses an abstract image based on the subject of the other's desire according to culturality. This is a representation of the concept of desire that avoids unrealistic abstraction, and by drawing the symbolic symbolic symbolic system as a real image, it becomes an abstraction in which a realistic image that deviates from the perspective system is collaged.
The symbolic subject of the abstraction is a symbolic system that correlates with the desire of others who identify with the linguistic meaning of the concept of desire.
This is a portrait of a mirror reflecting desire on a window that identifies the symbolic subject of the symbolic world and the image of Choi Chul-joo's pond, the background of desire./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
