概念抽象現実主義画家、概念抽象リアリズム絵画の概念抽象美術評

概念抽象現実主義の画家、概念抽象リアリズム絵画の概念抽象美術批評家ルイ·チェ 6

Sep 11. 2025

概念抽象現実主義の画家、概念抽象リアリズム絵画の概念抽象美術批評 [6] 現代美術評論家ルイ, 現代美術家チェ·チョルジュの現代美術批評と現代美術デザイン批評 = 現代美術今日、現代美術評論家チェ·チョルジュの美術批評、現代抽象美術画家批評: チェ·チョルジュ欲望概念抽象ポップアートは、相手の欲望芸術の抽象概念的アプローチとポップアートのデザイン形態と言語抽象的イメージを組み合わせたものである。彼の欲望の概念、つまり概念抽象芸術が現れ、形而上学的哲学的光の中で強調される言語的意味の概念と衝突する絵が、人工照明で劇的な出来事イメージを作り出す。& 現代美術の抽象絵画をデザインする抽象現代美術:抽象画家ルイ·チェ·チョルジュの現代概念美術は、他者の欲望をテーマにした非実在として、実際的造形性の痕跡と可逆的光の陰影で概念を抽象する美術だ。これは初期概念美術の概念で、ある絵画性の復帰、すなわち実在の座を代理する他者の欲望を抽象化する抽象画だ。チェ·チョルジュの欲望概念、すなわち現代美術が登場し、形而上学的および哲学的光が強調する言語的意味概念と衝突する絵が人工照明と共に劇的な事件イメージを作り出します。

崔徹柱の概念的抽象的現実主義の定義は、哲学的概念、言語的意味構造、現代美術の現実に対する視覚的表現を結合した新しい概念的抽象理論で、単純な視覚的抽象や隠喩的テーマを越え、他人の欲望を象徴として隠さず、宗教の規範を逸脱する概念的抽象的実在論芸術の思潮です.

これはチェ·チョルジュの「概念抽象的写実主義抽象化の定義」で、言語的抽象化と象徴的イメージを通じて他人の社会的問題と抽象的欲求を表現する芸術を説明し、「イメージとの対話を通じてイメージをモチーフにして象徴的意味を伝える」という現代美術の新造語です。そして、チェ·チョルジュの概念的抽象的現実主義のイメージは、現代の欲望構造と人生の消費方式の問題を寓話的抽象化のイメージで批判するイメージです。

したがって、概念的抽象的実在論抽象化は、言語的意味の前段階で現象的意味のイメージを抽象的に解釈することから始まります。つまり、実在論的イメージを意味する前に抽象的主観で解釈することで概念的抽象化になります。その抽象化は、同じ言語的意味のイメージを持つアレゴリーと解釈される概念的抽象化を実在論的イメージに転移させ、実際の構造の抽象化になる。

概念抽象リアリズム絵画:概念抽象の意味構造としてのイメージを象徴するチェ·チョルジュの概念抽象リアリズム絵画は、実質的な形式と可逆的な光の痕跡を存在し、概念を抽象化した概念抽象リアリズム美術です。これが初期概念美術の概念で、現実世界を代表する他人の欲望を抽象化した概念抽象リアリズム絵画です。彼のリアリズムは抽象的なデザイン過程と哲学理論を通じて欲望の視覚的表現を探求することによって言語的意味で構成された魅力的な事実的イメージです. 象徴的な言語的意味と写実主義的イメージは分裂を通じて現実と出会う。現実として欲望の概念の対象としての事件のイメージは社会の現象的イメージとして現れますが、非現実的な絵として抽象との出会いです。

したがって、チェ·チョルジュの概念的抽象的写実主義は、日常ニュースで現実的抽象の対象として登場した事件のイメージを芸術的絵で形成することによって典型的で一般化されます。

また、チェ·チョルジュの概念的抽象的現実主義抽象化は、日常ニュースの現実的認識構造を事件イメージと他人の抽象的欲望という概念で識別する概念的抽象的現実主義イメージとして明示されており、これは抽象的構造を文学化するアレゴリー現象です.: ルイ·チェ·チョルジュの欲望理論と視覚芸術の魅力的な交差点で現実的なイメージが登場します。彼の欲望理論と概念的抽象リアリズムの枠組みを土台に非現実的な形の光と他人の欲望を土台に可逆的な陰影の跡で概念を抽象化した芸術です。しかし、現実の場所を決して完全に把握できない抽象で表現しようとする他者の欲望、すなわち初期概念芸術の概念として絵画性の帰還を説明する概念的抽象リアリズムの抽象化です.: Louis Chul-joo Choi, morning glory 2025-2-Desire structure of objects in a pond reflected by reversible white light, 113X165cm, acrylic and composite materials on cloth, 2025 & Louis Chul-joo Choi, morning glory p100-14-1-Trump did not touch the Bible, nor the kiss, a hand-painted picture on a computer

Louis Chul-joo Choi, morning glory 2025-2-Desire structure of objects in a pond reflected by reversible white light, 113X165cm, acrylic and composite materials on cloth, 2025

オブジェとしての言語的表現イメージは文法的文章解釈と関係のない単語をイベントイメージで表す抽象的な意味を表す。しかし、文法は抽象的な非言語的行動に論理的意味を付与する。

したがって、欲望の概念を文法的言語構造で解釈するためには、言語的意味の抽象的記号を繰り返しデザインしなければならない。

その欲望の概念と同じイメージは、意識と概念設計を通じて明確に定義される時、オブジェの存在としてイメージを生成する。

可逆的な白い光に反射した池内オブジェの欲望構造

欲望概念のオブジェとして、事件イメージの表面色相対比効果と重なる可逆的な光としての光変色は、池に投射された可逆的な光の中に隠された欲望を隠す事件イメージを反映し、欲望構造の陰影色を見せる。

他者の欲望とした抽象的欲望概念が象徴的構造で欠乏した欲望の主体を成す。

これは主体が指向するイメージを作ろうとチェ·チョルジュの欲望公式に従ってデザインを繰り返し、象徴的存在から分裂した結果として事件イメージを欠乏した欲望概念を主体として実在イメージを出現させる。

チェ·チョルジュの欲望構造で反転可能な光の影の中で実在の影は事件イメージの視線方向に立った空間で相手の無意識的な欲望を表す現象的イメージを帰結する。

これは他者の欲望概念の円形オブジェが光に遮られているため、オブジェの後ろに生成された影です。

可逆的な白い光によって反射された池の中の物体の欲望構造で、欠乏した欲望の主体は池に映った事件イメージを欠乏した欲望の主体で構成しようとする抽象的欲望の概念と想像的に同一視する。

池に映った事件のイメージは、欠乏した欲望の概念を意識的な動きで表現することで、同じ意味を持つ実際のイメージを生成する。

ここで欲望構造で影は他者の欲望構造に欠乏した構成で事件イメージが彫刻されて陰弊される。

これは無意識的欲望構造で、実在のイメージで欲望の不透明な原因から誘発された行為に阻まれて生成された影だ.

これによるチェ·チョルジュの概念抽象リアリズム抽象化デザインプロセスは

芸術性によって写実主義を引き出した対象として、視覚体系から外れたもう一つの視線構造としてイメージを現実に表わすもう一つの抽象的な対象は写実主義のイメージです。

写実主義抽象化デザインで抽象化と現実の二重メッセージを効果的に伝える方法は、現代メディアアートイメージや抽象化のような現代概念抽象的写実主義抽象化を通じて概念と抽象化を現実的に表現することです。したがって、メディアアート抽象化デザインで概念抽象リアリズム抽象化デザインする過程は次の通りです。 1. リアリズムオブジェのコンセプト:リアリズムオブジェを再現し、仮想的オブジェとして形成されたイメージは、実在を隠蔽した仮想的イメージである。その仮想的イメージは平面として認知されることでリアリズムイメージに見える。ここで現実的なオブジェクトを再現する遠近感視覚システムの幾何学的平面イメージに隠されていて、無意識が表す欲望の観点から瞬間的に視線で現れます。これは他人の欲望によって抑圧された無意識を通じて言語的意味のイメージとして創意性と自律性を備えた現実主義オブジェクトの概念を概念的抽象的実在オブジェクトのもう一つの存在と定義します. 2. リアリズムのイメージをアレゴリーでつなげるスケッチ:抽象美術と芸術は、物質が現実としての存在と仮想の存在として、お互いの抽象的な観点から形成された事物の存在に区別されるものです。芸術作品の条件は存在しない存在と想像の形で存在を現わすことで、事物と事件を現実にイメージ化するアレゴリーを通過するスケッチだ。チェ·チョルジュの可逆光は光の現実的な形と動き、つまり時間性によって現在「可逆光の影に隠された実際のイメージ」で陰影処理されたイメージです。この画像は、抽象的に見える言語的意味が識別される可逆光の陰影処理された画像で現実を作り出します。これはスケッチを繰り返してアナモルフォシスイメージを現実のイメージと分離したもう一つの現実、すなわち視線の構造に見える実存的イメージと連結して抽象的な言語イメージをスケッチで形成し概念的な抽象的現実主義概念で再構成できるようにする。 3. 抽象的リアリズムオブジェの凝視:抽象的リアリズムオブジェとして他人の目に光の一点として現れる抽象的オブジェクトは、欲望の視線体系で現れるチェ·チョルジュの美学的構造として、倭商的イメージを哲学的装置として抽象的意味が異なる抽象的リアリズムオブジェ視線のように見せる。観覧者の位置と視線によって抽象的意味が変わる哲学的装置として、このイメージは写実主義空間の観点と抽象的言語的意味を一致させ、欲望の概念的観点からは抽象的で見えないオブジェが視線経路として現れます。そのイメージの概念的抽象的実在論の言語的意味において、因果関係によって制限された人間の虚構的要素として他人の欲望を内包するオブジェとしてイメージと交差し、無意識的抽象的実在論の言語的意味に構造化する. 4. 抽象的リアリズムの抽象化:抽象的実在論の抽象化は、チェ·チョルジュの欲望公式に明示された抽象的対象を得て、欲望イメージ(i)デザイン(d)は他人の欲望を越えて言語的意味の文法的解釈を通じて抽象的対象のイメージが実現される条件(i/d)を口頭で解釈される契機になる。欲望の主体として抽象的リアリズムが何を望むかを欲望の主体が自らに質問する特定の対象を抽象的選択し、実在として概念抽象リアリズム抽象化に到達<D(I...I')d=I(D...D'i)i>する。これは人間が人生の中で経験できない抽象の席を言語的意味体系で亀裂した抽象構造を欲望の対象として抽象化して実際化した抽象的欲望概念で止まったリアリズムイメージだ。文化性によると、チェ·チョルジュ概念抽象現実主義抽象化段階1:現実の中の欲望の概念を文字的因果関係と分離したイメージで蒸留し、抽象的思考を促進します。ステップ2:自然物モチーフの言語的意味とカラーパレットのような文化的に共鳴する視覚的要素を重ね合わせて、視覚的に調和しながらも概念的に密度の高い現実主義抽象イメージを作ります。それは哲学的意味と言語的意味をイメージに伝達する装置として、チェ·チョルジュの概念的抽象化で作動し、人間存在の本質と認識の限界を隠喩で再現する哲学的イメージとしての概念的抽象的現実主義抽象化だ.

チェ·チョルジュの欲望概念で高度と方向が明示されていない可逆的光は時間性にともなう存在としての現実を示している。

事件イメージの外傷的イメージを可逆的な白い光に反射された池の中の物体の欲望構造として識別する可逆的な光の存在としての実際のイメージをいう。

これは欲望概念の言語的意味を表す現実を可逆的な光の陰影イメージで表現して抽象的な欲望を実現する欲望オブジェだ。

そのオブジェは事件のイメージを識別する意識的な動きと欲望の不在を象徴する現実を繰り返し、デザインを通じて欲望概念の言語的意味を実際のイメージで表出する。

そして、実際のイメージと欲望の主体間の関係を判断する間、主体は欲望の概念を想像できないように実際のイメージに転移する。主体が欲望の対象としての欲望概念に戻ることができない実際のイメージで、事件イメージとしての欲望現象を起こす原因を提供する。

ここで欲望の現象を起こすオブジェは、チェ·チョルジュの欲望公式でデザインを連鎖して抽象的欲望概念の言語的意味としての実在イメージを作り、そのイメージが欠乏した欲望が言う意味を抽象する。

その陰影的イメージは通り過ぎる時間に止まった存在としての白い光が欲望背景である「ラッパ花」の陰影構造色と同じ青色と緑色、そして黄色が背景に吸収され、オブジェを赤色で演出する。ここで視覚体系で凝視に見える対比効果は、光変されたオブジェで反射された色が池に投射された吸収スペクトル色だ。

これは抽象的欲望がオブジェの固有色から欲望概念が言語的意味として実在色への変化として可逆的な白い光の化学的反応のように朝顔の陰影が欲望色として白い光をオブジェを特定して欲望を定義し、太陽光のように陰影の大きさを歪曲せずに平行だ.

したがって、光の方向に関係ないように平らな赤色で表象する。その表象は、光が回折した明るい影はオブジェの形に歪曲されず、全体の形を可逆的な光の陰影で構成される。これは、実際に日光を空間の光として使用して絵を描きます。実際に水墨画のように空いた空間を白く残し、その形の構造を描いた。

可逆的な白い光に反射された池内オブジェの欲望構造のオブジェとして事件イメージが欠乏した欲望が言う意味を抽象し、可逆的な太陽光の陰影で構成された実在が抽象的欲望を支える。そして、欠乏した欲望概念を言語的意識運動として欲望の座を特定する先空間に存在する実在を飾る./ 著者、現代美術評論家チェ·チョルジュ（文化デザイン博士）

Louis Chul-joo Choi, morning glory 2025-2-Desire structure of objects in a pond reflected by reversible white light, 113X165cm, acrylic and composite materials on cloth, 2025

Linguistic representation images as objects represent abstract meanings that represent words unrelated to grammatical sentence interpretation as event images. However, grammar gives logical meaning to abstract nonverbal behavior.

Thus, interpreting the concept of desire as a grammatical linguistic structure requires the design of abstract symbols in linguistic meaning repeatedly.

Images identical to the concept of desire produce images as the presence of objects when clearly defined through consciousness and conceptual design.

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.

Desire structure of objects in a pond reflected by reversible white light,

As an object of the concept of desire, the light discoloration as a reversible light overlapping the surface color contrast effect of the event image reflects the event image hiding the desire hidden in the reversible light projected into the pond, representing the shadow color of the desire structure like a spectrum.

The concept of abstract desire through the desire of the other constitutes the subject of desire lacking as a symbolic structure.

This is the result of being divided from symbolic existence by repeating the design according to Choi Chul-joo's desire formula to create the image that the subject aims for, and the real image appears as the subject with the concept of desire lacking the event image.

In Choi Chul-joo's desire structure, the shadow of reality in the shadow of reversible light results in a phenomenal image as a sign of the unconscious desire of the other in the line space in the direction of the gaze of the event image.

This is the shade created after the object because the circular object of the concept of the other's desire is hidden by light.

In the object's desire structure in the pond reflected by reversible white light, the subject of deficient desire imaginatively equates the event image reflected in the pond with the concept of abstract desire to constitute the subject of deficient desire.

The event image reflected in the pond creates a real image with the same meaning by stating the concept of insufficient desire as a conscious movement.

Here, in the desire structure, the shadow is a composition lacking in the other's desire structure, and the event image is carved and obscured.

This is a shadow created by being blocked by actions induced by the opaque cause of desire in the image of reality as a structure of unconscious desire.

Accordingly, Choi Chul-joo’s Conceptual Abstract realism Abstraction Design Process is 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.

In the concept of Choi Chul-joo's desire, reversible light, whose altitude and direction are not specified, shows reality as a being according to temporality.

It refers to the real image as the existence of reversible light that identifies the traumatic image of the event image as the structure of the desire of the object in the pond reflected by the reversible white light.

This is a desire object that realizes abstract desire by representing reality that represents the linguistic meaning of the concept of desire as a shaded image of reversible light.

The object repeatedly expresses the linguistic meaning of the concept of desire as a real image by repeating the design through conscious movement that identifies the image of the event and the reality that symbolizes the lack of desire.

And while determining the relationship between the real image and the subject of desire, the subject transitions to the real image so that the subject cannot imagine the concept of desire. It provides the cause of causing the phenomenon of desire as an event image, from the real image that the subject cannot return to the concept of desire as an object of desire.

Here, the object that causes the phenomenon of desire is Choi Chul-joo's desire formula, repeating the design to create a real image as a linguistic meaning of the concept of abstract desire, and abstracting the meaning of desire lacking the image.

In the shaded image, the object turns red as the white light as a being that has stopped in time is absorbed into the background, and the blue, green, and yellow colors that are absorbed into the morning glory background are the same shaded structural colors as the desire background of the 'morning glory'. Here, the contrast effect visible from the visual system is the color of the absorption spectrum in which the color reflected from the object changing light is projected onto the pond.

This means that abstract desire changes from the natural real color of a real object to the concept of desire as a linguistic meaning, and like the chemical reaction of reversible white light, the shadow of the morning glory defines desire by designating white light as the color of desire, and is parallel without distorting the size of the shadow like the sun light.

Therefore, it is expressed in flat red regardless of the direction of the light. A bright shadow diffracted by light consists of an overall reversible shade of light, which is not distorted into the shape of an object. This painting is actually painted using the light of the sun as a light, just like an ink-and-wash painting.

Abstracting the meaning of desire that lacks an event image as an object of the desire structure of an object in a pond reflected by reversible white light, the reality in the shadow of reversible sunlight supports abstract desire. Additionally, the concept of lack of desire is linguistic consciousness, creating a reality that exists in the line space that specifies the place of desire./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Thus, interpreting the concept of desire as a grammatical linguistic structure requires the design of abstract symbols in linguistic meaning repeatedly.

Images identical to the concept of desire produce images as the presence of objects when clearly defined through consciousness and conceptual design.

Louis Chul-joo Choi, morning glory p100-14-1-Trump did not touch the Bible, nor the kiss, a hand-painted picture on a computer

The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.

"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Louis Chul-joo Choi, morning glory p134-1-Trump did not touch the Bible, nor the kiss, a hand-painted picture on a computer

Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula.

Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire.

As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.

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.

Louis Choi Chul-joo, Bamboo Forest i241-Trump did not touch the Bible, nor the kiss

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News

Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design

Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

Cartoonist Choi Chul-joo's comic abstraction as a treacherous conceptual art means the abstraction of the conceptual image of desire as a realistic structure in art. Since the conceptual meaning of desire that exists in place of a realistic form can be divided into a cartoon criticism image, abstraction is drawn through reversible contrast that interprets the image of events and performances as an image of others' abstract desires.

Choi Chul joo cartoon review, which uses contemporary art abstraction as a treacherous conceptual art, reinterprets the image of desire as a concept of cartoon.

Louis Choi Chul-joo, Trump did not touch the Bible, nor the kiss / The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction.

- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.

- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.

■ 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 241-Trump did not touch the Bible, nor the kiss: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest i241-Trump did not touch the Bible, nor the kiss: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i241-Trump did not touch the Bible, nor the kiss-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest i241-Trump did not touch the Bible, nor the kiss-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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence

The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p130-3> 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 chuljoo, morning glory p130-3-Tyson totally gave in to the boxing match, but I'm happy> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory p130-3-Tyson totally gave in to the boxing match, but I'm happy> becomes a non-real abstraction of reality.

By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Louis Chul-joo Choi, morning glory p100-14-1-Trump did not touch the Bible, nor the kiss,

By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p130-3-Tyson totally gave in to the boxing match, but I'm happy" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest f231-Tyson totally gave in to the boxing match, but I'm happy-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

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

These event images reveal the obscured abstract structure as a shade of reversible light in the pond as a real image <morning glory p100-14-1-Trump did not touch the Bible, nor the kiss> specified by mirror theory

■ 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).

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 241, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p134-1, a hand-painted picture on a computer

Louis Chul-joo Choi, morning glory p134-3, a hand-painted picture on a computer

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

And by expressing the absence of the concept of desire in reversible temporality as a phenomenal image, "morning glory" expresses the mirror image reflected in the "pond" to abstract the structure of reality from the desire hidden in the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract color and planar structure.

The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.

In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.

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 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.

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.

Louis Chul-joo Choi, morning glory p134-2-1-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer

- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 242-Desire structure of objects in a pond reflected-Mona Lisa: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest h242-Desire structure of objects in a pond reflected-Mona Lisa: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest h242-Desire structure of objects in a pond reflected-Mona Lisa-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest h242-Desire structure of objects in a pond reflected-Mona Lisa-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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Louis Chul-joo Choi, morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa, : By repeatedly applying the concpept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, 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 p134-2-Desire structure of objects in a pond reflected-Mona Lisa,> becomes a non-real abstraction of reality.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa," is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "h242-Desire structure of objects in a pond reflected-Mona Lisa-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

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.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 242, a hand-painted picture on a computer

Louis Chul-joo Choi, morning glory p134-3-1, a hand-painted picture on a computer

Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula.

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

Louis Chul-joo Choi, morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer

Louis Chul-joo Choi, morning glory p134-4-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, morning glory p134-Desire structure of objects in a pond reflected-Mona Lisa," is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest h242-Desire structure of objects in a pond reflected-Mona Lisa-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 242, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p33-4, a hand-painted picture on a computer/ The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p33-4> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis, Chul-joo Choi, a morning glory (outside the) window 2023-3, a hand-painted picture on a computer> 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 p33-4-2> becomes a non-real abstraction of reality.

Louis, Chul-joo Choi, a morning glory (outside the) window 2023-3, a hand-painted picture on a computer

Louis Choi Chul-joo, morning glory p33-4-2, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, Choi Chul-joo's Self-Portrait=8, a hand-painted picture on a computer/ The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p33-4> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis, Chul-joo Choi, a morning glory p134-8-a self-portrait, a hand-painted picture on a computer > created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis, Chul-joo Choi, a morning glory p134-8-a self-portrait, a hand-painted picture on a computer > becomes a non-real abstraction of reality.

Louis, Chul-joo Choi, a morning glory p134-8-a self-portrait, a hand-painted picture on a computer

The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture. ■ 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.

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.

■ 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.

■ Choi Chul-joo's conceptual abstract realism science definition is conceptual abstract realism, which identifies existence as a limited form of image as a linguistic semantic image, realizes it as a formula for mathematical desire, constructs real structures in logical places, and intuitively considers abstract concepts as existential images in modern art's conceptual abstract realism science, abstracting linguistic meaning and unconscious desire through a thorough design process, the depth of the concept of contemporary art and visual reality, or how the world is viewed as an aesthetic value, are simultaneously studied.

Accordingly, the conceptual abstractive design process is

1. Concept Abstract Reality Image Sketch sketches an image by abstracting the conceptual abstract realism image as a conceptual object, and the image is a virtual image that hides its existence and sketches it into a real structure. This visualizes Choi Chul-joo's concept of desire as a conceptual abstract real image and sketches it as a philosophical abstract design process.

Here, the sketch has the existential concept of a realism object as a symbolic structure in a linguistic sense that identifies it with the conceptual abstract real image. Therefore, the image sketch of the existential concept of abstract reality with creativity and autonomy in the linguistic sense consists of a sketch of another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desire of the other.

2. Conceptual abstract image rendering (R) is an opportunity to verbally interpret the conditions (i/d) under which the image of the conceptual abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desire of the other by conceptualizing the abstract object specified in Choi Chul-joo's desire formula.

This is an abstract rendering method that automatically converts philosophical abstraction into visual images by grammatically interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades into mathematical and symbolic structures to simultaneously render AI renders that combine conceptual abstract images and conceptual abstract images created in one image. Conceptual abstract realism images reach abstract rendering as a reality <DR(I...I')d=I(DR...D'i)ir> by the subject of desire asking himself what the abstract structure wants when transferring the abstract image rendering to a realistic image. This is a method of rendering the symbolic action that characterizes the design rendering of the object seat as a realistic image by repeatedly combining the pieces of the distorted morning glory image in the process of rendering the conceptual abstract image into a realistic image with the unconscious flow and symbolic realism image.

3. Concept Abstract The actual image composition is a real object and abstracts the image by defining the concept of an existential image as an abstract concept. Abstract structure is a semantic structure that cannot be expressed as a real object, and an image in linguistic meaning that cannot be solved by existence is defined as a semantic structure that physically separates material and identical personalities to form a conceptual abstract real image as an existential subject.

4. Concept Abstract Image Design combines desire structure with the existence of reality, and the existence of objects formed from an abstract perspective, combining reversible light structure with reversible shading of light that deviates from the concept of instantaneous desire. The AI design of the conceptual abstract real image autonomously implements the conceptual abstract real image design by algorithmizing Choi Chul-joo's conceptual abstract realist theory into AI. Therefore, the abstraction of conceptual abstract realist images according to conceptual abstract realist theory in the spatial structure abstracts perspective objectivity as another gaze structure on the surface, and the object overlapping a realism image is abstracted from the object's real image as the scope of space limited by reversible light and the size of the perspective.

5. Conceptual abstraction The abstract realist image's abstraction is an aesthetic desire structure in which an abstract realist object, which is an image-structured in a linguistic sense, is revealed as a point of light to the eyes of others, is revealed in the gaze system of desire. By designing an image with an abstract meaning as a philosophical device, aesthetic abstraction is painted with an image of an existential realism object that appears to have the same meaning. Choi Chul-joo's abstraction as a conceptual abstract realist image is a tool that visualizes his desire formula through an art algorithm, and it is a conceptual, language, design, psychology, and philosophical realist abstraction. Therefore, the abstraction of an abstract realist image abstracts the conceptual abstract linguistic meaning of a realist space by equating the perspective of a realist space with the conceptual abstract linguistic meaning of an object.

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p134, a hand-painted picture on a computer

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