개념추상현실주의화가 개념추상리얼리즘회화 개념추상미술평론

개념추상현실주의화가 개념추상리얼리즘회화 개념추상미술비평가 루이 최철주 8

개념추상현실주의 화가, 개념추상 실재(real exstence) 회화의 개념추상 미술비평 [8] 현대미술평론가 루이, 현대미술가 실재 개념추상 존재리얼리즘(exstence realism) 화가 최철주의 현대미술비평과 현대미술디자인비평: 현대미술 오늘날 현대미술평론가 최철주의 미술비평 현대추상미술화가비평: 최철주 욕망개념 추상 팝아트는 상대방 욕망예술의 추상개념적 접근과 팝아트의 디자인 형태와 언어추상적 이미지를 결합한 것이다. 그의 욕망 개념, 즉 개념 추상 예술이 나타나고 형이상학적 철학적 빛 속에서 강조되는 언어적 의미의 개념과 충돌하는 그림이 인공 조명으로 극적인 사건 이미지를 만들어낸다. & 현대미술의 추상회화를 디자인하는 추상 현대미술: 추상화가 루이 최철주의 현대 개념미술은 타자의 욕망을 주제로 한 비실재로서 실제적 조형성의 흔적과 가역적 빛의 음영으로 개념을 추상하는 미술이다. 이는 초기 개념미술의 개념으로 어떤 회화성의 복귀, 즉 실재의 자리를 대리하는 타자의 욕망을 추상하는 추상화다.

이것은 최철주의 "개념 추상적 사실주의 추상화의 정의"로, 언어적 추상화와 상징적 이미지를 통해 타인의 사회적 문제와 추상적 욕구를 표현하는 예술을 설명하고, "이미지와의 대화를 통해 이미지를 모티브로 하여 상징적 의미를 전달한다"는 현대 미술의 신조어입니다. 그리고 최철주의 개념적 추상적 현실주의 이미지는 현대 욕망 구조와 삶의 소비 방식의 문제를 우화적 추상화 이미지로 비판하는 이미지입니다.

따라서 개념적 추상적 실재론 추상화는 언어적 의미의 이전 단계에서 현상적 의미의 이미지를 추상적으로 해석하는 것에서 시작됩니다. 즉, 실재론적 이미지를 의미하기 전에 추상적 주관으로 해석함으로써 개념적 추상화가 됩니다. 그 추상화는 동일한 언어적 의미의 이미지를 가진 알레고리로 해석되는 개념적 추상화를 실재론적 이미지로 전이시키고 실제 구조의 추상화가 된다.

개념 추상 리얼리즘 회화: 개념 추상의 의미 구조로서의 이미지를 상징하는 최철주의 개념 추상 리얼리즘 회화는 실질적인 형식과 가역적인 빛의 흔적을 존재로 하여 개념을 추상화한 개념 추상 리얼리즘 미술입니다. 이것이 초기 개념 미술의 개념으로, 현실 세계를 대표하는 타인의 욕망을 추상화한 개념 추상 리얼리즘 회화입니다. 그의 리얼리즘는 추상적인 디자인 과정과 철학 이론을 통해 욕망의 시각적 표현을 탐구함으로써 언어적 의미로 구성된 매력적인 사실적 이미지이다. 상징적인 언어적 의미와 사실주의적 이미지는 분열을 통해 현실과 만난다. 현실로서 욕망의 개념의 대상으로서의 사건의 이미지는 사회의 현상적 이미지로 드러나지만, 비현실적인 그림으로서 추상과의 만남입니다. 따라서 최철주의 개념적 추상적 사실주의는 일상 뉴스에서 현실적 추상의 대상으로 등장했던 사건들의 이미지를 예술적 그림으로 형성함으로써 전형적이고 일반화됩니다.

또한, 최철주의 개념적 추상적 현실주의 추상화는 일상 뉴스의 현실적 인식 구조를 사건 이미지와 타자의 추상적 욕망이라는 개념으로 식별하는 개념적 추상적 현실주의 이미지로 명시되어 있으며, 이는 추상적 구조를 문학화하는 알레고리 현상입니다. 이것의 예로서의 개념추상 리얼리즘 아트는: 개념 추상 리얼리즘 아트는 루이 최철주의 욕망 이론과 시각 예술이 만나는 매력적인 교차점에서 현실적인 이미지에서 비롯됩니다. 그의 욕망 이론과 개념 추상 리얼리즘의 틀을 바탕으로 비현실적인 빛의 형태와 타자의 욕망을 바탕으로 가역적인 음영을 가진 개념을 추상화한 예술입니다. 개념 추상 리얼리즘 초기 개념미술에서 개념화 기법의 귀환은 해석하기 어려운 추상적 방법에서 벗어나 문화성을 바탕으로 철학적 영감을 만들어내며, 이는 타자의 욕망을 실제 장소에서 설명하는 개념 추상화를 구성합니다. 또한 표현 추상화와 같은 자극적인 시각적 효과를 피하기 위해 추상적 구조를 실제 이미지로 나누어 단순화하고, 언어적 의미의 이미지 효과에서 문학성을 기반으로 한 철학적 사고를 현실주의적 구조로 도출한다.

최철주의 개념추상 리얼리즘 추상화 디자인 프로세스는 예술성에 따라 사실주의를 이끌어낸 대상으로서 시각 체계에서 벗어난 또 다른 시선 구조로서 이미지를 현실로 드러내는 또 다른 추상적인 대상은 사실주의의 이미지입니다. 사실주의 추상화 디자인에서 추상화와 현실의 이중 메시지를 효과적으로 전달하는 방법은 현대 미디어 아트 이미지나 추상화와 같은 현대 개념 추상적 사실주의 추상화를 통해 개념과 추상화를 현실적으로 표현하는 것입니다. 따라서 미디어 아트 추상화 디자인에서 개념추상 리얼리즘 추상화 디자인하는 과정은 다음과 같습니다. 1. 리얼리즘 오브제의 컨셉: 리얼리즘 오브제를 재현하여 가상적 오브제로써 형성된 이미지는 실재를 은폐한 가상적 이미지이다. 그 가상적 이미지는 평면으로 인지되어짐으로써 리얼리즘 이미지로 보인다. 여기서 현실적인 객체를 재현하는 원근감 시각 시스템의 기하학적 평면 이미지에 숨겨져 있다가 무의식이 드러내는 욕망의 관점에서 순간적으로 시선으로 드러납니다. 이는 타인의 욕망에 의해 억압된 무의식을 통해 언어적 의미의 이미지로서 창의성과 자율성을 갖춘 현실주의 객체의 개념을 개념적 추상적 실재 객체의 또 다른 존재로 정의합니다. 2. 리얼리즘 이미지를 알레고리로 연결하는 스케치: 추상 미술과 예술은 물질이 현실로서의 존재와 가상의 존재로서 서로의 추상적인 관점에서 형성된 사물의 존재로 구별되는 것입니다. 예술 작품의 조건은 존재하지 않는 존재와 상상의 형태로 존재를 드러내는 것으로, 사물과 사건을 현실로 이미지화하는 알레고리를 통과하는 스케치다. 최철주의 가역광은 빛의 현실적인 형태와 움직임, 즉 시간성에 따라 현재 '가역광의 그림자에 가려진 실제 이미지'로 음영 처리된 이미지입니다. 이 이미지는 추상으로 보이는 언어적 의미가 식별되는 가역광의 음영 처리된 이미지로 현실을 만들어냅니다. 이것은 스케치를 반복하여 아나모르포시스 이미지를 현실의 이미지와 분리된 또 다른 현실, 즉 시선의 구조로 보이는 실존적 이미지와 연결하여 추상적인 언어 이미지를 스케치로 형성하여 개념적인 추상적 현실주의 개념으로 재구성할 수 있도록 한다. 3. 추상적 리얼리즘 오브제 응시: 추상적 사실주의 오브제로서 타인의 눈에 빛의 한 점으로 드러나는 추상적 객체는 욕망의 시선 체계에서 드러나는 최철주의 미학적 구조로서 왜상적 이미지를 철학적 장치로서 추상적 의미가 다르게 나타나는 추상적 사실주의 오브제 시선처럼 보이게 한다. 관람자의 위치와 시선에 따라 추상적 의미가 달라지는 철학적 장치로서, 이 이미지는 사실주의 공간의 관점과 추상적 언어적 의미를 일치시키며, 욕망의 개념적 관점에서는 추상적이고 보이지 않는 오브제가 시선 경로로 나타납니다. 그 이미지의 개념적 추상적 실재론의 언어적 의미에서 인과관계에 의해 제한된 인간의 허구적 요소로서 타인의 욕망을 내포하는 오브제로서 이미지와 교차하며 무의식적 추상적 실재론의 언어적 의미로 구조화한다. 4. 추상적 리얼리즘의 추상화: 추상적 실재론의 추상화는 최철주의 욕망 공식에 명시된 추상적 대상을 얻고, 욕망 이미지(i) 디자인(d)는 타인의 욕망을 넘어 언어적 의미의 문법적 해석을 통해 추상적 대상의 이미지가 실현되는 조건(i/d)을 구두로 해석되는 계기가 된다. 욕망의 주체로서 추상적 리얼리즘이 무엇을 원하는 지를 욕망의 주체가 스스로에게 질문하는 특정 대상을 추상적 선택하여서 실재로서 개념추상 리얼리즘 추상화에 도달<D(I...I')d=I(D...D'i)i> 한다. 이것은 인간이 삶 속에서 경험할 수 없는 추상의 자리를 언어적 의미 체계애서 균열한 추상 구조를 욕망의 대상으로 추상하여서 실제화한 추상적 욕망 개념에서 멈춰선 리얼리즘 이미지다. 문화성에 따르면 최철주 개념추상현실주의 추상화 단계 1: 현실 속 욕망의 개념을 문자적 인과관계와 분리된 이미지로 증류하여 추상적 사고를 촉진합니다. 2단계: 자연물 모티브의 언어적 의미와 컬러 팔레트와 같은 문화적으로 공명하는 시각적 요소를 중첩하여 시각적으로 조화로우면서도 개념적으로 밀도가 높은 현실주의 추상 이미지를 만듭니다. 그것은 철학적 의미와 언어적 의미를 이미지에 전달하는 장치로서 최철주의 개념적 추상화로 작동하여 인간 존재의 본질과 인식의 한계를 은유로 재현하는 철학적 이미지로서의 개념적 추상적 현실주의 추상화다./ 개념추상 리얼리즘 미술비평: 나팔꽃과 물고기-모나리자 디자인 Morning glory and fish-Mona Lisa design

Louis Choi Chul-joo, Morning glory and fish-Mona Lisa design, 113X165cm, acrylic and composite materials on cloth, 2025

나팔꽃과 물고기-모나리자 디자인

“나팔꽃”과 물고기의 모양을 보고 차이를 생각할 수록 한쪽 방향으로 그 모양을 이해하게 때문에 이면의 의미를 추상적으로 구상한다. 그 모양이 달라도 동일한 언어적 의미를 말할때 기호적 구조로서의 추상은 유사한 색깔과 크기 즉 동일한 의미의 구조는 구상적 형태로서 비실재의 사실적 구조의 추상이다.

사실 구조의 가역적 추상화는 나팔꽃의 가지와 입의 구조로서 가역적 빛에 해당하는 추상적 시간에 국한될 수 없으며, 나팔꽃과 물고기가 조화를 이루는 추상적 형태의 의미를 보여준다. 가역적 빛에 반사된 물고기와 모나리자를 비추어 '나팔꽃'의 자리를 욕망의 반사 구조를 가진 연못으로 전개한다.

여기서 연못은 자아를 형성하기 전의 기호적인 공간으로, 타인의 욕망을 반영하는 거울 역할을 한다. 관람자는 연못을 바라보며 무의식적인 욕망과 그 안에 비친 물고기들을 마주한다.

따라서 욕망 구조의 가역적 추상화는 나팔꽃과 가지의 구조이며, 가역적 빛에 해당하는 추상적 물고기의 흔적은 가역적 빛과 흔적이 교차하는 시간적 구조를 반영하여 존재와 부재의 경계를 탐구합니다.

이것은 연못에 비친 단순한 조명이 아니라, 타자의 욕망을 나타내는 물고기와 모나리자가 타자의 욕망 구조를 반영하는 기호적인 장치이다.

관람자는 연못에 비친 무의식적인 욕망을 마주하게 되며, '나팔꽃'은 나팔꽃 대신 무의식적인 추상 구조로 나팔꽃을 보여주는 이미지 방식입니다. 나팔꽃의 현실적인 지점은 거꾸로 반사되는 빛의 이미지가 반복되면서 추상 물고기와 모나리자의 그림자 이미지로 전이된다.

따라서 사실 구조와 충돌하는 추상화는 상상 속 모나리자와 실제 물고기의 물질성이 충돌하는 지점에서 욕망의 결핍을 나타내는 오브제로 작용하며 개념적 추상화의 언어적 구조의 형태를 발견합니다. 언어적 형태의 이미지로서 연못의 물결과 빛의 반사는 가역적인 그림자 구조를 형성하고 물고기와 모나리자는 시간의 흔적을 시각화하여 욕망의 자의식을 남기며 시청자는 자신의 존재와 부재를 동시에 개념적 형태로 인식합니다.

또한 형태가 다른 의미로서의 추상은 다른 색깔과 크기로 사상적 비형태의 존재로서 실재하는 개념추상의 리얼리즘 이미지다. 이에 따라“ 나팔꽃과 물고기-모나리자” 관련 개념추상 리얼리즘 디자인 방법론을 제시한다.

1. 존재적 개념추상 리얼리즘 이미지 컨셉은 리얼리즘 이미지를 재현하여 사상적 비형태의 개념적 오브제로서 추상된 이미지다. 그 이미지는 존재를 은폐한 가상적 이미지로서 평면으로 인지되어짐으로써 리얼리즘 단면 이미지로 보인다.

여기서 그 이미지가 달라도 동일한 언어적 의미를 말할때 기호적 구조로서의 추상은 유사한 색깔과 크기로 재현하는 언어적 의미에서 창의성과 자율성을 지닌 리얼리즘 오브제의 존재적 개념을 가진다. 이에 따라 언어적 의미에서 창의성과 자율성을 지닌 존재적 개념추상 리얼리즘 이미지의 컨셉은 타자의 욕망에 의해 억압된 무의식을 통해 개념적 추상적 리얼리즘 오브제의 언어적 의미로서 또 다른 존재의 이미지를 구성하는 것이다.

따라서 현실적인 구조가 결여된 이미지에서 소외된 실존적 이미지의 개념을 상징적 세계로 들어오는 비현실적 주체의 방향을 나타내는 벡터로 정의하고, 이를 현실주의 이미지의 개념적 형태로서 동기적 의미 사슬을 나타내는 타자의 구조로 정의하여 이미지를 구성합니다.

고르디우스의 매듭(Gordian Knot)처럼 풀 수 없는 의미 구조로서, 알렉산드로스는 칼로 매듭을 자르고 외부성의 본질을 포괄적이고 즉각적인 방식으로 표현하는 분할을 통해 실존적 주체로서 개념 추상의 현실적인 이미지로 드러난다.

알렉산드로스는 시간을 통해 해결할 수 없는 의미 구조를 보여주는 질서 있는 벡터로 표현 추상화와 같은 언어적 의미의 전단계로서 예측할 수 없는 효과 이미지를 무의식적으로 선택함으로써 포괄적이고 즉각적인 방식으로 칼로 매듭을 자른다.

풀기 어려운 문제로서, 시간을 통해 매듭을 의미화하여 결정된 매듭을 상징적 세계로 들어가기 전처럼 풀 수 없는 의미 구조로 물리적으로 양분하고 나누며 개념적 추상적 실재감 이미지를 존재하는 주체로 표현한다.

2. 언어적 의미로서 사실주의 이미지를 알레고리로 연결하는 스케치는 물고기를 추상적인 연못에서 가역적인 빛의 그림자로 순간적인 욕망의 개념을 벗어난 가역적인 빛의 구조로 구분하며, 서로의 추상적인 관점에서 형성된 객체가 현실과 가상 존재로서 존재하는 욕망의 구조로서의 "나팔꽃"과 구별합니다.

나팔꽃과 가지의 구조는 빛과 대응했던 시간성에 따라서 그 자리를 정하지 못하고 나팔꽃과 조화를 이루는 형태의 의미를 보인다.

그 의미는 가역적 시간성으로 추상된 연못의 자리와 분열된 소급한 빛으로 조명된 나팔꽃 자리에 물고기와 모나리자가 움직이는 회화적 언어 구조로 현상된다.

물고기의 움직임은 필요성 자의식의 표시로서 모나리자의 시간성과 연결되어 있으며, 그림 언어로 번역된 상징 이전의 감각 구조를 드러내고 초기 개념 예술의 문학적 성격을 넘어 형성적 현실로 기능하는 추상적인 공간 연못이 된다.

추상 연못 구조에서 원근 객관성은 물고기와 대조되는 모나리자의 현실을 하늘의 범위와 원근의 크기로 왜곡시킵니다. 여기서 가역적인 빛은 표면의 또 다른 시선 구조로서 사실주의 이미지와 겹쳐진 물체로 제한됩니다.

상징적 추상 세계에서 모나리자는 평평한 형태와 색상의 개념적 추상화에서 언어적 의미로서의 이미지 스케치를 반복함으로써 연못에 반영된 존재와 상상의 형태로 존재를 드러내며, 물고기, 모나리자, 연못 구조를 현실로 이미지화하는 알레고리를 통과하는 스케치다.

3. 실존적 실재론의 언어적 의미의 구조화는 추상적 실재론적 객체이며, 타인의 시각에서 빛의 분별로 드러나는 추상적 객체는 욕망의 시선 체계에서 드러나는 최철주의 미적 욕망 구조로, 철학적 욕망 장치로서 추상적 의미가 다른 실존적 실재론 이미지의 스케치를 바탕으로 한 객체의 시선과 동일하게 보인다.

그 스케치는 원근감적 시각 구조로, 지표면과 맞닿아 있는 지표면의 접선에 물을 묻히는 연못의 경계는 무의식적인 존재로서의 추상화 나팔꽃과 수면의 형태에 기하학적 접선을 표현한 이미지를 스케치하는 방식입니다. 스케치는 상대방의 욕망을 반영한 거울 이미지로 해석되며, 보는 사람이 동시에 응시하고 있는 개념과 연결되어 모나리자의 시선은 보는 사람의 위치에 따라 달라지는 광학적 사실감 공간을 만들어냅니다.

욕망의 개념으로 추상화된 현실주의 공간을 구성하는 가역적 반응의 이미지가 반복되면서 나팔꽃의 자리가 추상화됩니다. 즉, 가역적 시간성에 따라 순서가 증가함에 따라 가역적인 빛을 응시하는 나팔꽃의 음영적 이미지가 물고기-모나리자에 표출한다.

동일한 시간성에서 분열한 모나리자와 물고기를 가역적 빛의 음영으로 리얼리즘 추상화로 재구성 된다. 그 추성화는 사실주의 공간의 관점과 물고기와 모나리자의 추상적 언어적 의미를 일치시키며, 욕망의 개념적 관점에서는 추상적이고 보이지 않는 동적 오브제와 고정적 배경 구조가 시간성에 따른 또 다른 동적 오브제의 시선 경로가 중복 교차한 이미지가 중첩해서 나타납니다.

모나리자 미소는 시간성에 따라 다빈치의 스푸마토(sfumato) 기법으로 한 윤곽을 흐리게 처리하여 모호한 표정을 리얼리즘 이미지로 시각화하며 최철주의 개념추상 리얼리즘 디자인은 움직임의 근육과 정지된 순간의 배경이 만나는 정지된 순간의 움직임의 효과와 현상 구조로서 정지된 배경 이미지가 동일한 시간의 교차점에서 구현된 “시간의 흔적”을 보인다.

4. 개념추상 리얼리즘 추상화의 실제화는 최철주의 욕망 공식에 명시된 추상적 대상을 얻고, 욕망 이미지(i) 디자인(d)는 타인의 욕망을 넘어 언어적 의미의 문법적 해석을 통해 개념추상 리얼리즘 대상의 이미지가 실현되는 조건(i/d)을 구두로 해석되는 계기가 된다.

욕망의 주체로서 추상적 리얼리즘이 무엇을 원하는 지를 욕망의 주체가 스스로에게 질문하는 특정 대상을 추상적 선택하여서 실재로서 개념추상 리얼리즘 이미지가 추상화에 도달<D(I...I')d=I(D...D'i)i> 한다. 이것은 추상화 과정에서 왜곡된 나팔꽃 이미지의 조각들을 반복해서 조합한 물고기-모나리자 자리의 디자인을 특징짓는 기호 작용의 의미를 이미지로 지시한다.

여기서 이미지는 물고기의 시각적 현상이 아니라 무의식의 흐름과 상징이 현실적인 이미지로 변환되는 과정을 시각화하는 장치이며, 개념적 물고기와 모나리자의 추상적인 이미지를 상징하는 언어의 의미입니다.

따라서 추상화는 인간이 삶에서 경험할 수 없는 추상적인 장소를 언어적 의미 체계에서 욕망의 대상으로 추상화하여 실현된 실존적 욕망의 개념에서 멈춘 추상적 구조를 리얼리즘 이미지로 표출한다.

그것은 철학적 추상적 의미와 언어적 의미를 이미지에 전달하는 장치로, 최철주의 개념적 추상 현실주의 추상화로 작동하며, 인간 존재의 본질과 인식의 한계를 은유로 재현하여 실존적 현실주의 이미지로 만드는 철학적 추상 이미지로 디자인된다. 즉, 연못에 비친 물고기와 모나리자 자아의 형성과 해체, 모나리자의 실존적 추상 구조와 시선에 드러난 언어적 의미 사이의 갈등을 시각화하고, 배경 "나팔의 영광"과 욕망 공식을 지나쳐 물고기-모나리자를 추상화하려는 추상적 리얼리즘의 거울 이미지를 재해석합니다.

언어적 의미의 이미지로서 생명울 지닌 물고기로서 종교적 구세주애서 분열한 추상적 구조를 개념화하여서 존재적 리얼리즘 이미지로 도상된다.

<나팔꽃과 물고기-모나리자>에서 물고기는 시간성과 추상적 공간으로서의 여백에 물감의 흔적을 통해 선관적 자의식을 표현한 리얼리즘의 존재 형태다.

이 형태는 실존적 물고기에 대한 인식 이전의 감각 구조, 즉 언어적 의미의 이전 단계 이미지를 드러내며, 현대 개념 예술의 문학적 성격을 넘어 시청자의 눈을 통해 보다 다양한 시공간적 형식과 회화적 형식이 교차하는 개념적 추상화다.

여기서 이전 단계의 이미지는 새의 공격을 피하기 위해 물고기의 등과 같이 언어적 의미에서 주변과 유사한 보호색을 전달합니다. 그 결과 연못 속 물고기의 색은 존재의 영역에서 가역적인 빛의 음영을 가진 보호색으로 변합니다. 그리고 최철주의 욕망 공식은 언어 이전의 실재론과 언어 이전의 추상적 상징 사이의 갈등을 파악하여 자유로운 물고기를 물결의 흐름으로 연출함으로써 욕망의 상징적 구조로서 개념적 추상적 실재론의 관점에서 접근할 수 있도록 합니다.

이와 같이 현실주의와 추상적 상징이 반복적으로 충돌하여 언어 이전의 상징적 구조를 드러냅니다.

상징적인 물고기는 상대방의 무의식적인 욕망을 드러내는 추상적인 이미지 속에서 욕망의 대상으로 이동합니다. 이를 통해 현대 미술에서 개념적 추상적 사실주의 이미지를 실현할 수 있습니다.

최철주의 미디어 아트 "폰드"에서는 매체의 상징성에 따라 때때로 시간성과 사실성의 흔적이 담겨 있어 가역적인 빛의 역동적인 구조로 해석됩니다.

개념 추상화에서 여러 관점을 해체하는 방법으로, 우리는 물고기를 시각적 이미지로 분할하여 동적 이미지에서 정지된 평면적 단면 구조를 구현합니다.

이렇게 개념 추상 리얼리즘 회화에 적용된 이 추상적 디자인 방법에서는 언어적 의미 이전에 욕망의 표시로 작용하는 물고기의 모양을 기호로서의 이미지로, 시간성에 따라 무의식적으로 합성하면서 움직이는 욕망의 시간이 공존하는 무의식적 욕망 구조에 따라 언어적 의미의 가변적 이미지로 그 의미가 전이됩니다.

따라서 무의식적인 언어적 의미로서의 비유적 이미지 '나팔꽃'의 색상은 객체가 직면한 관습적 보편성의 현실을 가역적인 빛의 색으로 장식합니다. 물고기와 모나리자는 이 장식된 욕망 구조에서 반사된 빛과 달리 어두운 공간에 있습니다. 그것이 멈춘 자리에 나팔꽃이 만들어낸 욕망의 그림자입니다.

이것은 존재하지 않는 공간에서 상징되는 의미의 조각으로, 나팔꽃을 모방한 물고기 모나리자를 욕망의 구조로 추상화한 것입니다.

그 조각품은 회화적인 사건 이미지로 기능하며, 나팔꽃의 자리에 있는 물고기 모나리자의 단편적인 이미지와 가역적인 빛에 의해 생성된 색상의 음영이 결합되어 존재와 부재의 경계를 탐구합니다.

따라서 물체의 분리를 가속화하는 물체의 색상과 모양은 가역적인 빛에 의해 생성되는 물체 사이의 간격이 있는 동적 이미지에서 드러납니다. 그러나 고정된 배경의 의미는 언어 이전에 감각 구조의 분절 구조를 총체적으로 시각화한다 즉 추상적 오브제와 개념적 테마가 있는 풍경적 이미지로서 단순화한 추상화가 욕망구조에서 추상적 분열과 환유적 전이를 통해 욕망의 단편적 흔적의 이미지로 실제화하여서 자극적 시각효과에서 탈피한 언어적 의미의 차원으로 무의식 안에서 일어나는 의미화한 개념추상 리얼리즘 구조와 언어적 의미의 이미지가 의식과 무의식 두 차원에서 함께 기능해서 미술성에 따른 존재적 실체를 얻는다.

최철주의 개념적 추상 리얼리즘 디자인은 운동의 효과와 현상 구조가 운동의 근육이 정지된 순간 배경과 만나는 동시에 운동의 효과와 현상 구조가 교차하는 '시간의 흔적'을 보여줍니다. 따라서 동적 리얼리즘 객체 및 추상 배경 이미지와 관련된 추상화에 대한 개념적 추상 리얼리즘 디자인 방법론은 다음과 같습니다.

1, 존재적 개념추상 리얼리즘 이미지 컨셉은 리얼리즘 이미지를 재현하여 사상적 비형태의 개념적 오브제로서 추상된 이미지다. 그 이미지는 존재를 은폐한 가상적 이미지로서 평면으로 인지되어짐으로써 리얼리즘 단면 이미지로 보인다.

여기서 그 이미지가 달라도 동일한 언어적 의미를 말할때 기호적 구조로서의 추상은 유사한 색깔과 크기로 재현하는 언어적 의미에서 창의성과 자율성을 지닌 리얼리즘 오브제의 존재적 개념을 가진다. 이에 따라 언어적 의미에서 창의성과 자율성을 지닌 존재적 개념추상 리얼리즘 이미지의 컨셉은 타자의 욕망에 의해 억압된 무의식을 통해 개념적 추상적 리얼리즘 오브제의 언어적 의미로서 또 다른 존재의 이미지를 구성하는 것이다.

따라서 현실적인 구조가 결여된 이미지에서 소외된 실존적 이미지의 개념을 상징적 세계로 들어오는 비현실적 주체의 방향을 나타내는 벡터로 정의하고, 이를 현실주의 이미지의 개념적 형태로서 동기적 의미 사슬을 나타내는 타자의 구조로 정의하여 이미지를 구성합니다.

고르디우스의 매듭(Gordian Knot)처럼 풀 수 없는 의미 구조로서, 알렉산드로스는 칼로 매듭을 자르고 외부성의 본질을 포괄적이고 즉각적인 방식으로 표현하는 분할을 통해 실존적 주체로서 개념 추상의 현실적인 이미지로 드러난다.

알렉산드로스는 시간을 통해 해결할 수 없는 의미 구조를 보여주는 질서 있는 벡터로 표현 추상화와 같은 언어적 의미의 전단계로서 예측할 수 없는 효과 이미지를 무의식적으로 선택함으로써 포괄적이고 즉각적인 방식으로 칼로 매듭을 자른다.

풀기 어려운 문제로서, 시간을 통해 매듭을 의미화하여 결정된 매듭을 상징적 세계로 들어가기 전처럼 풀 수 없는 의미 구조로 물리적으로 양분하고 나누며 개념적 추상적 실재감 이미지를 존재하는 주체로 표현한다.

2. 현실적인 이미지를 언어적 의미로서 비유로 연결하는 스케치는 동적 이미지를 가역적인 빛의 구조로 구분합니다. 이는 순간적인 욕망의 개념에서 벗어나 추상적인 욕망의 배경에서 가역적인 빛의 그림자로, 현실로서의 욕망의 구조로서의 배경과 가상 존재로서의 서로의 추상적인 관점에서 형성된 객체의 존재로 구분됩니다.

배경의 세부 구조는 빛에 대한 반응의 시간성에 의해 결정될 수 없으며, 고정된 구조와 조화를 이루며 의미를 나타냅니다.

그 의미는 동적 이미지와 추상적인 정지 구조가 가역적인 시간성에 의해 추상화된 배경의 위치와 분할된 소급 가능한 빛에 의해 조명된 정지된 객체의 위치에서 이동하는 회화적 언어 구조로 현상된다.

역동적인 이미지의 움직임은 필요성 자의식의 표시로서 추상적인 구조의 시간성과 연결되어 있으며, 상징이 회화 언어로 번역되기 전에 감각적인 구조를 드러내고 초기 개념 예술의 문학적 성격을 넘어서는 형성적 현실로 작용합니다.

추상화된 배경 구조에서 원근 객관성은 동적 이미지와 달리 하늘의 범위와 원근의 크기에 의해 현상적인 구조를 왜곡시킵니다. 여기서 가역적인 빛은 표면의 또 다른 시선 구조로서 현실적인 이미지와 겹쳐진 물체로 제한됩니다.

상징적 추상 세계에서 추상 구조는 평평한 형태와 색상의 개념적 추상화에서 언어적 의미로서 이미지 스케치를 반복함으로써 욕망 배경에 반영된 존재와 상상의 형태로 존재를 드러내는 스케치이며, 역동적인 이미지, 추상 구조, 그리고 욕망 배경 구조를 실현하는 알레고리를 통과합니다.

3. 실존적 실재론의 언어적 의미의 구조화는 추상적 실재론적 객체이며, 타인의 시각에서 빛의 분별로 드러나는 추상적 객체는 욕망의 시선 체계에서 드러나는 최철주의 미적 욕망 구조로, 철학적 욕망 장치로서 추상적 의미가 다른 실존적 실재론 이미지의 스케치를 바탕으로 한 객체의 시선과 동일하게 보인다.

그 스케치는 원근 시각적 구조이며, 현상 구조에서 동적 이미지와 추상 구조의 경계는 무의식적인 존재로서의 추상적 이미지를 스케치하는 방법이자 추상적 배경의 형태에 기하학적 접선을 표현하는 이미지입니다. 그 결과 스케치는 상대방의 욕망을 반영하는 거울 이미지로 해석되며, 동시에 보는 사람이 응시하는 개념과 연결되어 보는 사람의 위치에 따라 추상 구조의 시선이 달라지는 광학적 현실 공간을 만들어냅니다.

욕망의 개념에 의해 추상화된 현실주의 공간을 구성하는 가역적 반응의 이미지가 반복되면서 욕망 배경의 위치가 추상화됩니다. 즉, 가역적 시간성에 따라 순서가 증가함에 따라 가역적인 빛을 응시하는 물체의 그림자 이미지가 동적 이미지와 추상적인 구조로 표시됩니다.

최철주의 개념적 추상 리얼리즘 디자인은 시간성에 따라 모호한 리얼리즘 이미지로 시각화되며, 정지된 순간의 효과와 현상 구조로서 정지된 배경 이미지가 정지된 순간의 배경과 만나는 동시에 구현된 "시간의 흔적"을 보여줍니다.

4. 개념추상 리얼리즘 추상화의 실제화는 최철주의 욕망 공식에 명시된 추상적 대상을 얻고, 욕망 이미지(i) 디자인(d)는 타인의 욕망을 넘어 언어적 의미의 문법적 해석을 통해 개념추상 리얼리즘 대상의 이미지가 실현되는 조건(i/d)을 구두로 해석되는 계기가 된다.

<D(I...I'd)=I(D...D'i)> 현실로서의 개념적 추상적 사실주의 이미지는 특정 대상을 추상적으로 선택하여 추상화에 도달하는데, 이때 욕망의 주체는 자신에게 추상적 사실주의가 무엇을 원하는지 묻습니다. 이는 추상화 과정에서 왜곡된 욕망 배경 이미지의 조각들을 반복적으로 결합하는 역동적이고 추상적인 구조 이미지의 디자인을 특징짓는 기호적 행위의 의미를 지시합니다.

여기서 이미지는 동적 이미지의 시각적 현상이 아니라 무의식의 흐름과 상징이 현실적인 이미지로 변환되는 과정을 시각화하는 장치이며, 개념적 동적 이미지와 추상적 구조의 추상적인 이미지를 상징하는 언어의 의미입니다.

따라서 추상화는 인간이 삶에서 경험할 수 없는 추상적인 장소를 언어적 의미 체계에서 욕망의 대상으로 추상화하여 실현된 실존적 욕망의 개념에서 멈춘 추상적 구조를 리얼리즘 이미지로 표출한다.

그것은 철학적 추상적 의미와 언어적 의미를 이미지에 전달하는 장치로, 최철주의 개념적 추상 현실주의 추상화로 작동하며, 인간 존재의 본질과 인식의 한계를 은유로 재현하여 실존적 현실주의 이미지로 만드는 철학적 추상 이미지로 디자인된다. 즉, 역동적인 이미지와 추상적인 자아 형성, 효과로서의 실존적 추상 구조, 시선에서 드러나는 언어적 의미 간의 갈등을 시각화하고, 추상적 사실주의의 거울 이미지를 현상적 배경과 욕망 공식을 넘어 역동적인 이미지와 추상적인 구조를 욕망 구조로 재해석합니다.

이 형태는 실존적 물고기에 대한 인식 이전의 감각 구조, 즉 언어적 의미의 이전 단계 이미지를 드러내며, 현대 개념 예술의 문학적 성격을 넘어 보다 다양한 시공간적 및 회화적 형태가 시청자의 눈을 통해 교차하는 언어적 의미로서의 리얼리즘 추상화다.

이와 같이 현실주의와 추상적 상징이 반복적으로 충돌하여 언어 이전의 상징적 구조를 드러냅니다.

상징적인 물고기는 상대방의 무의식적인 욕망을 드러내는 추상적인 이미지 속에서 욕망의 대상으로 이동합니다. 이를 통해 현대 미술에서 개념적 추상적 사실주의 이미지를 실현할 수 있습니다.

이것은 존재하지 않는 공간에서 상징되는 의미의 조각으로, 역동적인 이미지와 욕망의 구조를 모방한 추상적인 구조를 추상적으로 추상화한 것입니다.

추상화는 회화적 사건 이미지로 기능하며, 욕망 대신 단편적인 조각 이미지와 가역적인 빛에 의해 생성된 색상의 음영을 결합하여 존재와 부재의 경계를 탐구한다.

개념 추상 리얼리즘 회화에 적용된 이 추상적 디자인 방법에서는 언어적 의미 이전에 욕망의 신호로 작용하는 역동적인 이미지의 형태가 상징으로서의 이미지로 전이되고, 그 의미는 시간성에 따라 무의식적으로 종합되면서 움직이는 욕망의 시간이 공존하는 무의식적 욕망 구조에 따라 언어적 의미의 가변적인 이미지로 전이한다.

언어적 의미의 이미지로서 추상적 구조를 살아있는 역동적인 이미지로 개념화하고 실존적 사실주의 이미지로 이미지화하여 시간의 흔적을 통해 추상성과 자의식을 시간성에 따른 추상적 공간으로 현상적으로 표현하는 개념추상 리얼리즘 디자인으로 귀착한다./ 글. 현대 미술평론가 최철주 (문화디자인박사)

Louis Choi Chul-joo, Morning glory and fish-Mona Lisa design, 113X165cm, acrylic and composite materials on cloth, 2025

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.

This is Choi Chul-joo's "Definition of Conceptual Abstract Realism Abstraction" a new term for contemporary art that describes art that expresses social problems and abstract needs of others through verbal abstraction and symbolic images, and "transports symbolic meaning by using the image as a motif through dialogue with the image." And Choi Chul-joo's conceptual abstract realism image is an image that criticizes problems in modern desire structures and ways of consumption of life as an allegory abstraction image. Therefore, conceptual abstract realism abstraction begins with an abstract interpretation of an image in a phenomenal sense in a previous stage of linguistic meaning. In other words, it becomes a conceptual abstract by interpreting it in an abstract subjectivity before meaning a realist image. The abstract transfers conceptual abstraction, interpreted as an allegory with an image of the same linguistic meaning, to realism image and becomes an abstraction of the actual structure.

Morning glory and fish-Mona Lisa design

The more you think about the difference by looking at the shape of the "morning glory" and the fish, the more you understand the shape in one direction, so you abstractly conceive the meaning behind it. When speaking the same linguistic meaning even though the shapes are different, the abstraction as a symbolic structure is a similar color and size, that is, a structure with the same meaning is an abstraction of the realistic structure of non-real world as a conceptual form.

In fact, the reversible abstraction of the structure cannot be limited to the abstract time corresponding to the reversible light as the structure of the branches and mouth of the morning glory, and it shows the meaning of an abstract form in which the morning glory and the fish are in harmony. It illuminates the fish and the Mona Lisa reflected by the reversible light to develop the position of the 'morning glory' into a pond with a reflective structure of desire.

Here, the pond is a symbolic space before forming an ego, acting as a mirror reflecting the desires of others, and the viewer looks at the pond and faces his unconscious desires and the fish reflected in it.

Therefore, the reversible abstraction of the desire structure is the structure of morning glory flowers and branches, and the traces of abstract fish corresponding to reversible light explore the boundary between existence and absence reflecting the temporal structure in which reversible light and traces intersect.

This is not a simple illumination reflected in the pond, but a symbolic device in which the fish and Mona Lisa, which represent the desire of the batter, reflect the desire structure of the batter.

Viewers face the unconscious desire reflected in the pond, and 'morning glory' is an image method that shows morning glory in an unconscious abstract structure instead of morning glory, and the realistic spot of the morning glory is transferred to the shadow image of abstract fish and Mona Lisa as the image of light that is reflected reversibly is repeated.

Abstracts that collide with the factual structure thus serve as objects representing lack of desire at the point where the materiality of the imaginary Mona Lisa and the real fish collide, and discover the form of the linguistic structure of conceptual abstraction. As an image of its linguistic form, the reflection of the pond waves and light forms a reversible shadow structure, and the fish and Mona Lisa visualize traces of time, leaving traces of desire self-consciousness, and viewers recognize their existence and absence as conceptual forms at the same time.

In addition, abstraction as a meaning in various forms is a realistic image of conceptual abstraction that exists as an ideological informal being with various colors and sizes. Accordingly, a conceptual abstract realism design methodology related to "Morning glory and Fish-Mona Lisa" is presented

1. Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image.

Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.

Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image.

As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner.

Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time.

As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject.

2. Sketches that connect realism images into allegories as linguistic meanings distinguish fish as a reversible light structure that deviates the concept of instantaneous desire from an abstract pond to a reversible shade of light, distinguishing them from "morning glory" as a structure of desire, with the existence of objects formed from each other's abstract perspectives as reality and virtual beings.

The structure of the morning glory and branch cannot be determined according to the temporality of the response to light, and shows the meaning of harmonizing with the morning glory.

Its meaning is developed as a pictorial linguistic structure in which fish and Mona Lisa move in the position of the pond abstracted by reversible temporality and in the position of the morning glory illuminated by the divided retroactive light.

The movement of the fish is linked to the temporality of the Mona Lisa as a sign of necessity self-consciousness, reveals the sensory structure before the symbol translated into pictorial language, and becomes an abstract space pond that functions as a formative reality beyond the literary nature of early conceptual art.

Perspective objectivity in abstract pond structures distorts the reality of Mona Lisa, which contrasts with fish, as the range of the sky and the size of the perspective, where reversible light is limited to objects superimposed with realism images as another gaze structure on the surface.

In the symbolic abstract world, the Mona Lisa as a real visual image aimed at by repeating the image sketch as a linguistic meaning in the conceptual abstraction of flat formations and colors reveals its existence in the form of non-existent beings and imaginations reflected in the pond, and it is a sketch that passes through an allegory that images fish, Mona Lisa, and pond structure as reality.

3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device.

The sketch is a perspective visual structure, and the border of the pond, where water is buried on the surface's tangent line to the surface of the earth that touches the surface of the earth, is a method of sketching images that display abstraction morning glory as unconscious beings and geometric tangents in the shape of the surface of the water. The sketch is interpreted as a mirror image reflecting the desire of the other, and it is connected with the concept that the viewer is being stared at at at the same time, and the Mona Lisa's gaze creates an optical realism space that varies depending on the viewer's position.

As the image of the reversible reaction that constitutes the space of realism abstracted by the concept of desire is repeated, the spot of the morning glory is abstracted. In other words, as the sequence increases according to the reversible temporality, the shadowy image of the morning glory staring at the reversible light is displayed on the fish- Mona Lisa.

The Mona Lisa smile blurs an outline with da Vinci's spumato technique according to the temporality, visualizing ambiguous expressions as realistic images, and Choi Chul-joo's conceptual abstract realism design shows a "trace of time" embodied at the intersection of the same time as the effect and phenomenon structure of the stationary moment when the muscle of the movement meets the background of the stationary moment.

4. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.

<D(I...I')d=I(D...D'i)>The conceptual abstract realism image as a reality reaches abstraction by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants as the subject of desire. This indicates the meaning of symbolic action that characterizes the design of the fish- Mona Lisa image, which repeatedly combines pieces of distorted morning glory image in the process of abstraction.

Here, the image is not a visual phenomenon of a fish, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual fish and Mona Lisa.

Thus, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting abstract places that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image.

It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the formation and dismantling of the fish and Mona Lisa ego reflected in the pond, the conflict between the Mona Lisa's existential abstract structure and the linguistic meaning revealed in the gaze, and reinterprets the mirror images of abstract realism that passed the background "morning glory" and desire formula to abstract the fish- Mona Lisa.

As an image of linguistic meaning, it conceptualizes the abstract structure divided in religious savior as a lifelike fish and is imaged as an existential realism image.

In "Morning glory and Fish-Mona Lisa", fish is a form of existence of realism that expresses necessity and self-consciousness through traces of paint on the margins as time and abstract space.

This form reveals the sensory structure before the perception of existential fish, that is, the previous stage image of linguistic meaning, and is a conceptual abstraction in which more diverse space-time and pictorial formality intersect through the eyes of viewers beyond the literary nature of modern conceptual art.

Here, images from previous stages convey a protective color similar to their surroundings in a linguistic sense, such as the back of a fish to avoid bird attacks. As a result, the color of the fish in the pond changes to a protective color with a reversible shade of light in the realm of existence. And Choi Chul-joo's Desire Formula allows us to grasp the conflict between realism before language and abstract symbols before language so that we can approach it from the perspective of conceptual abstract realism as a symbolic structure of desire by directing free fish with the flow of waves.

In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.

The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art.

It is interpreted as a dynamic structure of reversible light in Choi Chul-joo's media art "Pond," as it sometimes contains traces of temporality and realism, depending on the symbolism of the medium.

As a way of dismantling multiple perspectives in conceptual abstraction, we implement a flat cross-sectional structure in which a fish is stationary from a dynamic image by segmenting it into a visual image.

In this abstract design method applied to conceptual abstract realism painting, the shape of the fish acting as a sign of desire before linguistic meaning is an image as a signifier, and its meaning is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of the moving desire coexists while unconsciously synthesizing according to temporality.

Therefore, the color of the figurative image 'morning glory' as an unconscious linguistic meaning decorates the reality of customary universality faced by the object with reversible colors of light. The fish and the Mona Lisa are in a dark space, in contrast to the light reflected from this decorated desire structure. It is the shadow of desire created by the morning glory in the place where it stopped.

This is a piece of meaning symbolized in the non-existent space that abstracts the fish-mona Lisa imitating the morning glory as a desire structure.

The sculpture functions as a pictorial event image and is a fragmented image of a fish-Mona Lisa in the spot of a morning glory combined with a shade of color generated by reversible light that explores the boundary between existence and absence.

Thus, the colors and shapes of objects that accelerate the separation of objects are revealed in dynamic images with intervals between objects produced by reversible light. However, the meaning of a fixed background collectively visualizes the segmental structure of sensory structures prior to speech In other words, a simplified abstraction as a landscape image with an abstract object and a conceptual theme is realized from a desire structure into an image of a fragmentary trace of desire through abstract division and transmutation, and it is a dimension of linguistic meaning that breaks away from stimulating visual effects. The realist structure and the conceptual abstract realism image of linguistic meaning that occur in the unconscious function together in both conscious and unconscious dimensions to obtain an existential realism according to artistry.

Choi Chul-joo's conceptual abstract realism design shows a "trace of time" in which the effects of motion and the phenomenal structure intersect at the same time as the effects of motion and the phenomenal structure of motion meet the background at the moment the muscles of the motion are stationary. As a result, the conceptual abstract realism design methodology for abstractions related to dynamic realism objects and abstract background images is as follows.

1, Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image.

Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.

Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image.

As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner.

Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time.

As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject.

2. Sketches that connect realist images into allegories as linguistic meanings distinguish dynamic images as a structure of reversible light, which deviates from the concept of instantaneous desire from the background of abstract desire to the shadow of reversible light, from the background as a structure of desire as an existence as reality and an existence of objects formed from each other's abstract perspectives as virtual beings.

The detailed structure of the background cannot be determined by the temporality of the response to light, and shows meaning in harmony with the fixed structure.

Its meaning is developed as a pictorial language structure in which dynamic images and abstract still structures move from positions in the background abstracted by reversible temporality and from positions in the stationary objects illuminated by the segmented retroactive reversible light.

The movement of dynamic images is linked to the temporality of abstract structures as a sign of necessity self-consciousness, revealing sensory structures before symbols translated into pictorial languages and serving as formative realities beyond the literary nature of early conceptual art.

In abstracted background structures, perspective objectivity distorts the phenomenal structure by the extent of the sky and the size of the perspective as opposed to dynamic images, where reversible light is limited to objects superimposed with realist images as another gaze structure on the surface.

In the symbolic abstract world, abstract structure is a sketch that reveals existence in the form of existence and imagination reflected in a desire background by repeating image sketches as linguistic meanings in a conceptual abstraction of flat forms and colors, and passes through an allegory that realizes dynamic images, abstract structures, and background structures of desire.

3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device.

The sketch is a perspective visual structure, and the boundary between dynamic images and abstract structures in phenomenal structures is a method of sketching an abstract image as an unconscious being and an image that expresses a geometric tangent to the form of an abstract background. As a result, the sketch is interpreted as a mirror image that reflects the desire of the other, and it is connected to the concept that the viewer is staring at at the same time, creating an optical reality space where the abstract structure's gaze varies depending on the viewer's position.

The position of the desire background is abstracted as the image of the reversible reaction that constitutes the realist space abstracted by the concept of desire is repeated. In other words, as the order increases with reversible temporality, the shadow image of the object staring at the reversible light is displayed in dynamic images and abstract structures.

Choi Chul-joo's conceptual abstract realism design, which is visualized as an ambiguous realism image according to temporality, shows a "trace of time" implemented at the intersection of the same time by the static background image as the effect and phenomenon structure of the stationary moment when the dynamic image of the movement meets the background of the stationary moment.

4. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.

<D(I...I'd)=I(D...D'i)> Conceptual abstract realism images as reality reach abstraction by abstractly selecting a specific object, where the subject of desire asks what abstract realism wants from him. This dictates the meaning of the symbolic action that characterizes the design of dynamic and abstract structural images, which repeatedly combine pieces of distorted desire background images in the process of abstraction.

Here, an image is not a visual phenomenon of a dynamic image, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual dynamic images and abstract structures.

Therefore, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting an abstract place that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image.

It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the conflict between dynamic images and abstract self-formation, existential abstract structures as effects, and linguistic meanings revealed in the gaze, and reinterprets the mirror image of abstract realism to abstract dynamic images and abstract structures beyond phenomenal backgrounds and desire formulas as desire structures.

This form reveals the sensory structure before the perception of existential fish, i.e., the previous stage image of linguistic meaning, and beyond the literary nature of modern conceptual art, it is a realism abstraction as a linguistic meaning where more diverse spatiotemporal and pictorial forms intersect through the viewer's eyes.

In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.

The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art.

This is a piece of meaning symbolized in a non-existent space, an abstract abstraction of an abstract structure that mimics the dynamic image and the structure of desire.

Abstraction functions as a pictorial event image, and instead of desire, it explores the boundary between existence and absence by combining fragmentary sculptural images with shades of color produced by reversible light.

In this abstract design method applied to conceptual abstract realism painting, the shape of a dynamic image that acts as a sign of desire before linguistic meaning is transferred to an image as a symbol, and the meaning of it is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of desire that moves while unconsciously synthesizing according to temporality coexists.

As an image of linguistic meaning, it conceptualizes abstract structure as a living dynamic image and images it as an existential realist image, resulting in a conceptual abstract realism design that phenomenally expresses abstractness and self-consciousness as abstract spaces according to temporality through the traces of time. / 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.

It is hell for a lover to support love. (2025-3-3) / Reporter Choi Chul-joo’s Cartoon Review

Choi Chul joo, It is hell for a lover to support love-9: 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 274-Morning glory and fish-Mona Lisa design, 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 k274-Morning glory and fish-Mona Lisa design: 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 k274-Morning glory and fish-Mona Lisa design-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 k274-Morning glory and fish-Mona Lisa design> 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 and fish-Mona Lisa design, 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 <k274-Morning glory and fish-Mona Lisa design> becomes a non-real abstraction of reality.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k274-Morning glory and fish-Mona Lisa design-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, Choi Chul joo, It is hell for a lover to support love-18, 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.

■ 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 Chul-joo, morning glory p142-3-Morning glory and fish-Mona Lisa design, a hand-painted picture on a computer : 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: <morning glory p142-3-Morning glory and fish-Mona Lisa design> 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 and fish-Mona Lisa design, 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 <morning glory p142-4-Morning glory and fish-Mona Lisa design> 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 Chul-joo, morning glory p142-4-Morning glory and fish-Mona Lisa design, 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.

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 273-Morning glory and fish-Mona Lisa design, 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 k273-Morning glory and fish-Mona Lisa design: 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 k273-Morning glory and fish-Mona Lisa design-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 k274-Morning glory and fish-Mona Lisa design> 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 and fish-Mona Lisa design, 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 <bamboo forest k274-Morning glory and fish-Mona Lisa design> becomes a non-real abstraction of reality.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k273-Morning glory and fish-Mona Lisa design-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 p142-2-Morning glory and fish-Mona Lisa design, a hand-painted picture on a computer

■ 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 Chul-joo, morning glory p142-1-Morning glory and fish-Mona Lisa design, a hand-painted picture on a computer : 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: <morning glory p142-1-Morning glory and fish-Mona Lisa design> 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 and fish-Mona Lisa design, 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 <morning glory p142-1-Morning glory and fish-Mona Lisa design> 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.

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

Background image of an artist's artwork: Louis Choi Chul-joo, pond-8, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k273-Morning glory and fish-Mona Lisa design-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.

■ Choi Chul-joo's conceptual abstract realism design methodology shows a "trace of time" in which the effects of motion and the phenomenal structure intersect at the same time as the effects of motion and the phenomenal structure of motion meet the background at the moment the muscles of the motion are stationary. As a result, the conceptual abstract realism design methodology for abstractions related to dynamic realism objects and abstract background images is as follows.

1, Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image.

Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.

Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image.

As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner.

Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time.

As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject.

2. Sketches that connect realist images into allegories as linguistic meanings distinguish dynamic images as a structure of reversible light, which deviates from the concept of instantaneous desire from the background of abstract desire to the shadow of reversible light, from the background as a structure of desire as an existence as reality and an existence of objects formed from each other's abstract perspectives as virtual beings.

The detailed structure of the background cannot be determined by the temporality of the response to light, and shows meaning in harmony with the fixed structure.

Its meaning is developed as a pictorial language structure in which dynamic images and abstract still structures move from positions in the background abstracted by reversible temporality and from positions in the stationary objects illuminated by the segmented retroactive reversible light.

The movement of dynamic images is linked to the temporality of abstract structures as a sign of necessity self-consciousness, revealing sensory structures before symbols translated into pictorial languages and serving as formative realities beyond the literary nature of early conceptual art.

In abstracted background structures, perspective objectivity distorts the phenomenal structure by the extent of the sky and the size of the perspective as opposed to dynamic images, where reversible light is limited to objects superimposed with realist images as another gaze structure on the surface.

In the symbolic abstract world, abstract structure is a sketch that reveals existence in the form of existence and imagination reflected in a desire background by repeating image sketches as linguistic meanings in a conceptual abstraction of flat forms and colors, and passes through an allegory that realizes dynamic images, abstract structures, and background structures of desire.

3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device.

The sketch is a perspective visual structure, and the boundary between dynamic images and abstract structures in phenomenal structures is a method of sketching an abstract image as an unconscious being and an image that expresses a geometric tangent to the form of an abstract background. As a result, the sketch is interpreted as a mirror image that reflects the desire of the other, and it is connected to the concept that the viewer is staring at at the same time, creating an optical reality space where the abstract structure's gaze varies depending on the viewer's position.

The position of the desire background is abstracted as the image of the reversible reaction that constitutes the realist space abstracted by the concept of desire is repeated. In other words, as the order increases with reversible temporality, the shadow image of the object staring at the reversible light is displayed in dynamic images and abstract structures.

Choi Chul-joo's conceptual abstract realism design, which is visualized as an ambiguous realism image according to temporality, shows a "trace of time" implemented at the intersection of the same time by the static background image as the effect and phenomenon structure of the stationary moment when the dynamic image of the movement meets the background of the stationary moment.

4. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.

<D(I...I'd)=I(D...D'i)> Conceptual abstract realism images as reality reach abstraction by abstractly selecting a specific object, where the subject of desire asks what abstract realism wants from him. This dictates the meaning of the symbolic action that characterizes the design of dynamic and abstract structural images, which repeatedly combine pieces of distorted desire background images in the process of abstraction.

Here, an image is not a visual phenomenon of a dynamic image, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual dynamic images and abstract structures.

Therefore, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting an abstract place that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image.

It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the conflict between dynamic images and abstract self-formation, existential abstract structures as effects, and linguistic meanings revealed in the gaze, and reinterprets the mirror image of abstract realism to abstract dynamic images and abstract structures beyond phenomenal backgrounds and desire formulas as desire structures.

This form reveals the sensory structure before the perception of existential fish, i.e., the previous stage image of linguistic meaning, and beyond the literary nature of modern conceptual art, it is a realism abstraction as a linguistic meaning where more diverse spatiotemporal and pictorial forms intersect through the viewer's eyes.

In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.

The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art.

This is a piece of meaning symbolized in a non-existent space, an abstract abstraction of an abstract structure that mimics the dynamic image and the structure of desire.

Abstraction functions as a pictorial event image, and instead of desire, it explores the boundary between existence and absence by combining fragmentary sculptural images with shades of color produced by reversible light.

In this abstract design method applied to conceptual abstract realism painting, the shape of a dynamic image that acts as a sign of desire before linguistic meaning is transferred to an image as a symbol, and the meaning of it is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of desire that moves while unconsciously synthesizing according to temporality coexists.

As an image of linguistic meaning, it conceptualizes abstract structure as a living dynamic image and images it as an existential realist image, resulting in a conceptual abstract realism design that phenomenally expresses abstractness and self-consciousness as abstract spaces according to temporality through the traces of time.

Louis Chul-joo Choi, a woman of the Joseon Dynasty reflected in a pond, 112X122cm, acrylic and composite materials on cloth, 2024

Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.

One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.

The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.

Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.

Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.

A Woman in the Joseon Dynasty Reflected in a Pond

Appropriate plants and fish were artificially cultivated in the ornamental pond. According to modern records, a woman in Joseon records her marriage and birthday with painting, and everyday records capture abstract desires in everyday life-like paintings through novels.

Abstract desire is an image in which the concept of insufficient desire that a woman abstracts as a subject away from the concept of flatness and color art exists as a reality of linguistic meaning.

The vector using the direction of the image desired by reality as the subject is a method of conceptual art that abstracts the concept of desire in the symbolic world. This is to repeatedly reveal the concept of existence image as a subject and desire lacking in the symbolic world as reality at all stages of the symbolic world.

In order to repeatedly reveal the concept of desire as a reality, a vector with the direction of the image desired by the real image as the involuntary subject of desire structures the concept of desire like a picture composed of the vector. In the previous stage of abstracting the concept of desire, the subject of existing desire repeatedly reveals the concept of insufficient desire in which the image of existence is abstracted as reality through conscious movement.

Therefore, abstract desire is not a conceptual art, but a double place with the concept of the selector's desire, overtaking abstract conceptual art in that double place and consciously repeatedly designing reality as a semantic entity for the abstractly deficient desire structure desired by the selector as a subject.

Women in the Joseon Dynasty, like the ornamental pond, used social activities based on the Confucian family system as an exemplary virtue of protecting social order and purity (貞節) by focusing on housework.

In the late Joseon Dynasty, as the monetary economy developed, the status system changed, the status order collapsed, Seoryul was appointed to the government office, and Cheonmin became a Yangban with a blank appointment letter, Gong Myung-cheop (帖), so Joseon women enjoyed culture freely inside the pavilion (樓亭) building as a pond building.

In addition, as the subject of desire, the woman constitutes the self by equating the reflection in the pond and the lack of desire with reality in the linguistic meaning of an abstract concept.

During the Joseon Dynasty, ponds were installed as structures to prevent water flow and erosion in the pond to see the pond and its surroundings, such as Jeongja Building (護岸), an open-ended daecheong-maru, and plants matching the lake.

The real image of the pond was designed by instantaneously capturing the real image as a correlation with the concept of desire by determining the current real place that has temporarily stopped in the shade of reversible light.

In other words, the size of the real image is omitted, and the color and background of the real object matching the custom are designed as the same pond as the image of the subject transferred to the positive film so that the real object has an aesthetic value adjusted to the place as a single image within the range of light.

The image reflected in the pond is designed as a linguistic image of a woman seen from the perspective of another as an infant, and the same self as the woman is created through consciousness movements.

It's an isolated composition from society as if a woman were on an island in the middle of a pond.

The woman in the pond cannot compare the desires of others by seeing her appearance and memories isolated from society. Therefore, in order to escape the existence of desire in an infant's mirror response, a woman who is separated from sociality describes the concept of desire in reality and explains the concept of desire in reality so that she can recognize the absence of desire as a subject by using the actions of others as a mirror.

As a reality, the subject makes the concept of unconscious desire exist as a specific object with an abstract structure of linguistic meaning.

In this way, the reality of a specific object is abstracted by looking at reality as a correlation between the actions of the other reflected in the pond and the lack of desire, and realizing the concept of desire as a subject in order to find an object that a desire that is bound to exist wants

Louis Choi Chul-joo, pond-8, a hand-painted picture on a computer

The design of Choi Chul-joo's concept of desire, which has been realized as an abstract, abstracts the actual meaning of the concept of desire by superimposing the news cartoon image published as a news desire image with the background of desire, "Morning glory," "Bamboo Forest," and "Pond."

This is a conscious expression act, and the meaning of the recognition as a subject and the lack of unconscious desire background is a dual desire structure.

In a sense, it is shared with the present in one empty space that is not in contact with the object space, but it satisfies the temporality of the object when it comes into contact with another object in a shared place,

Therefore, when light comes into contact with multiple objects, existing and past objects form a place of light according to various timeliness in the same place, and unconsciousness and consciousness intersect in the current shared place,

Here, the structure of desire where unconsciousness and consciousness intersect is captured by the instantaneous impression of events and action images, the concept of abstractly illuminating the background of everyday desire is clearly embodied, and the abstract image of desire that illuminates the concept in inductively reversible shades of light results in universal reality.

Memory is the light of time, and as the subject of desire, an image with the ego of desire and the place where the image exists as the subject of desire and desire is set up, and the memory of desire creates a place where the ego of the subject of desire and the real image exist in the present. Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)