Art Critic Louis Choi Chul-joo

Contemporary ArtReview The Three Graces

Art Critic Louis Choi Chul-joo Criticism [76] morning glory and "The Three Graces" fish & Conceptual Abstract Realism Abstraction Design Methodology, Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.: morning glory and "The Three Graces" fish & Conceptual Abstract Realism Abstraction Design Methodology

Louis Choi Chul-joo, morning glory and The Three Graces fish, 113X165cm, acrylic and composite materials on cloth, 2025

morning glory and "The Three Graces" fish

The more you think about the difference by looking at the shapes of the "morning glory" and "The Three Graces" fish, the more you understand the shape, so the meaning behind the faces of the three goddesses, who symbolize aesthetic structure in "The Three Graces" Greek mythology, is envisioned as "morning glory" and "The Three Graces" fish in an abstract background. When speaking of the same linguistic meaning even though the shapes are different, abstraction as a symbolic structure is a structure of similar color and size, that is, the same meaning, and human inner desires and aesthetic senses are visually dismantled and recombined as a conceptual form of abstraction.

In fact, the reversible abstraction of the structure here shows the meaning of an abstract form in which the morning glory and "The Three Graces" fish are in harmony with the abstract temporality that corresponds to the reversible light as the structure of the branches and mouths of the morning glory in which the desire of the other is harmonized with the linguistic semantic structure in the abstract background of "The Three Graces" fish as the subject. Its meaning develops in a pond as a reflective structure of desire in the place of the morning glory, which is retroactively illuminated with light in a reversible temporality.

Here, the pond is a symbolic space before forming the self, and functions as a mirror in which the desires of others are reflected, so the viewer looks at the pond and faces <The Three Graces>'s own unconscious desires reflected in it.

Fish traces explore the boundary between existence and absence, reflecting the temporal structure in which reversible light and traces intersect.

This is not just a reflection of the shape reflected in the pond, but a symbolic device in which "The Three Graces" fish, which represents the other's desire, reflects the other's desire structure.

Therefore, the viewer faces his unconscious desire reflected in the pond, and "morning glory" is a method of image that displays unconscious actual morning glory in the place of morning glory, and as the light image of reversible reaction is repeated, the spot of the realistic morning glory is transferred to the shadow image of the abstract morning glory.

Abstraction, which collides with the realistic structure, functions as an object that reveals the lack of desire at the point where "The Three Graces" of the imagination and the materiality of the fish of the real world collide, discovering the form of the linguistic structure of conceptual abstraction. As an image of its linguistic form, the waves of the pond and the reflection of light form a reversible shadow structure, and the waves of pond and <morning glory "The Three Graces" fish>, which explore the tension between aesthetic values and other desires, linguistic semantic structures, and harmony between desire structures and real images as a subject, leave traces of necessity self-consciousness, and philosophical thinking devices are operated in which viewers visually interpret their existence and absence as a conceptual form at the same time.

In addition, abstraction as a meaning with different forms is a realistic image of conceptual abstraction that exists as an ideological non-form with different colors and sizes. Accordingly, abstraction as an object. Conceptual abstraction Realist design related to <morning glory "The Three Graces" fish> is an existential conceptual abstract image that is abstracted as a conceptual object in an ideological non-form by recreating the realist image. The image is seen as a realist cross-sectional image by being perceived as a plane as a virtual image that obscures existence.

Here, even if the images are different, abstraction as a symbolic structure has an 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 desire of the other.

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

As an unsolvable semantic structure like the Gordian knot, Alexander the Great is revealed as an abstract realism image as an existential subject through division that expresses the essence of ex post facto by cutting the knot with a knife and expressing the essence of ex post facto.

It is an orderly vector that displays the orientation to solve this unsolvable semantic structure in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a whole stage of linguistic meaning, such as expression abstractism. This is a semantic structure that cannot be solved as an existence before the abstract structure enters the symbolic world, and it expresses the image of realism in conceptual abstraction as an existential subject in which the knot determined by synonymously meaningful is physically divided into two equal parts to solve the event.

Louis Choi Chul-joo, morning glory and The Three Graces fish, 113X165cm, acrylic and composite materials on cloth, 2025

Sketches that connect realist images into allegories as linguistic meanings distinguish objects as reversible light structures, which deviate from the concept of instantaneous desire from abstract ponds to reversible light shades, from "morning glory" as a structure of desire, with objects formed from each other's abstract perspectives as reality and virtual beings.

The structure of the morning glory and branch cannot be determined according to the temporality that corresponds to light, and shows the meaning of harmonizing with the morning glory. Its meaning is developed as a pictorial language structure in which objects move on the spot of the pond abstracted by reversible temporality and the spot of the morning glory illuminated by the divided retroactive light.

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

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

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

The structuring of the linguistic meaning of existential real is an abstract real object' realism image that is revealed as a point of light to the eyes of others, and Choi Chul-joo's aesthetic structure revealed in the gaze system of desire looks the same as the gaze of the object, which is based on the distorted image as a philosophical device and the existential real image. The image is a perspective visual structure, and the boundary of the pond structure where water is buried on the surface that is in contact with the surface is the geometric tangent of the object surface and the image of an abstract morning glory as an unconscious being.

It is interpreted as a mirror image reflecting the desire of the other and is connected to the concept that the viewer is staring at "The Three Graces" fish at the same time, and <The Three Graces>'s gaze creates an optical realism space that varies depending on the viewer's location.

As the image of the reversible reaction that constitutes the realist space abstracted by the concept of desire is repeated, the spot of the morning glory is abstracted. In other words, the shaded image of the morning glory staring at the reversible light is displayed on the "The Three Graces" fish as it is sequenced according to the reversible temporality, and "The Three Graces" fish divided at the same temporality is reconstructed into a realistic abstraction with a shade of reversible light.

Its abstraction coincides with the perspective of realism space and the abstract linguistic meaning of fish and Mona Lisa, and abstract and invisible objects from the conceptual point of desire appear as visual pathways by time.

This visualizes the structure of desire and the aesthetic concept of reality through tension and harmony between aesthetic value and human desire and linguistic semantic structure through the subject.

"The Three Graces", the goddess of beauty in Greek mythology, is substituted for the Mona Lisa to divide the symbolic aesthetic sense of desire according to time.

The Mona Lisa smile visualizes the ambiguous expression as a realistic image by blurring one outline with da Vinci's spumato (sfumato) technique depending on the temporality, but as a double object, it appears to be an "aesthetic trace of time" embodied through the movement of facial muscles and nerves superimposed with the Choi Chul-joo's "The Three Graces".

Conceptual Abstract Realism The realization of abstraction is a realism desire image that can verbally interpret the conditions (i/d) under which the image (i) of conceptual abstract realism is realized by grammatically interpreting the linguistic meaning beyond the design (d) of the desire of others by conceptualizing the abstract object specified in Choi Chul-joo's desire formula.

In addition, when the conceptual abstraction as the subject of desire is transferred to a realism image, the conceptual abstract realism image as a reality reaches abstraction by selecting a specific object as the actual image of the abstract concept by the subject of desire asking himself what the abstract structure wants, <D(I...I')d=I(D...D'i)i>. This indicates the meaning of symbolic action that characterizes the design of "The Three Graces" fish's space, which combines pieces of distorted morning glory image repeatedly in the process of abstraction.

Here, the image is not a visual phenomenon of "The Three Graces" fish, but a device that visualizes the flow of unconsciousness and the transition of symbols to realism images, and it is the meaning of language that symbolizes the abstract image of the conceptual "The Three Graces" fish and the morning glory as a constant body in the place.

In this way, abstraction that stopped from the concept of existential desire, which was realized by abstracting the abstract structure that cracked in the linguistic semantic system as an object of desire, is expressed as a realistic image.

Therefore, images recognize the present as a shade of reversible light by visually expressing the nature of human existence and the limitations of perception by obscuring or revealing reality through reversible shades of light, that is, by illuminating the present in which light from the past is sustainable. This is the effect that light from the abstract past has been transferred to a real image as the same structure as the current artificial lighting, and is represented by a conceptualistic realism image that takes the place of the formative traces of the unconscious past as the desire of others.

"The Three Graces" fish, which appears as an object that visualizes the desires of others, reveals the structure of desire through the conflict between linguistic meaning and real image.

This is a device that communicates the philosophical and linguistic images of the formative structure, Choi Chul-joo's conceptual abstraction, which operates as a realist abstraction and is designed as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor to become an existential realist image. In other words, it is a philosophical device that visualizes the formation and dismantling of "The Three Graces" fish self reflected in the pond, and the conflict between the existential abstract structure of the morning glory and the linguistic meaning of the morning glory, in which the desire structure of the other is revealed through staring, and reinterprets the mirror image of the abstract realism image that passed the Choi Chul-joo desire formula, resulting in the abstraction of morning glory and "The Three Graces" fish.

As an image of linguistic meaning, it conceptualizes the abstract structure divided by religious saviors as a "The Three Graces" fish with life and is imaged as an existential realism image.

The "The Three Graces" Fish expresses the real image in linguistic meaning through the collision between the religious abstract structure and the real image. Here, "The Three Graces" Fish is a form of existence of realism that expresses necessity of self-consciousness through traces of paint on the margins as temporal and abstract spaces.

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

Here, like the back of a "The Three Graces" fish, the image of the previous stage in linguistic meaning transfers a protective realism iamge color similar to the surrounding color to avoid attacks from birds. Therefore, the image of "The Three Graces" fish in the pond is realized as a being in a reversible light shade.

And Choi Chul-joo's Desire Formula, which produced the free "The Three Graces" fish according to the wave flow so that it can be approached from the perspective of conceptual abstract realism as a symbolic structure of desire, can be identified as a conflict point between realism and abstract symbols before language.

In this way, realism and abstract symbols repeatedly collide to reveal the symbolic structure before language through transgenic transfer. In this way, realism and abstract symbols repeatedly collide to reveal the symbolic structure before language through transgenic transfer.

The symbolic "The Three Graces" fish transfers to an abstract image's desire object that reveals the unconscious desire of the other. This continues in modern craft art, which leads to the belief that fish will always keep their eyes open and protect precious things, and transforms the sculpture of contemporary art into a conceptual abstract realism style.

The "The Three Graces" fish, symbolized as an abstract realism object, is a collection of symbolic objects and expands the structure of desire by distorting the boundary between reality and non-existence.

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

It is a method of implementing the dismantling of multiple viewpoints directed in conceptual abstract painting by dividing at the time of the flat cross-sectional structure of "The Three Graces" fish as a realism image.

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

Therefore, the color of the figurative image of the 'morning glory', the background of desire as an unconscious linguistic meaning, becomes the color of light that reverses the reality of customary universality facing the object. Unlike the light reflected from the decorated shape, the morning glory and the "The Three Graces" fish preside (駐在) in the dark margin space, and the shadow created by the morning glory becomes the "The Three Graces" fish.

Here, the reversible color of light as a grammatical being in the meaning of language is a single-phase realism image of cultured customs seen as a gaze. This is a piece of meaning symbolized in a non-realistic space that abstracts a "The Three Graces" fish that imitates a morning glory as a structure of desire.

The sculpture functions as a pictorial event image, a fragmented (離間) image of a "The Three Graces" fish in the spot of a morning glory, combined with a shade of color generated by reversible light that explores the boundary between existence and absence.

The gap between the real self and the object is that the color and shape of the object speeding up the division of the object is a visualization of the object of the sensory structure before language, that is, a landscape image with a conceptual theme rather than a portrait, and the object realizes it from the structure of desire into an image of a fragmentary trace of desire through abstract division and transmutation, and the meaningful realism structure and linguistic image that take place within the unconscious mind function together in both conscious and unconscious dimensions to obtain an existential reality according to artistry.

Therefore, in <morning glory & 'The Three Graces' fish> images obscure or reveal reality through reversible shades of light. This visually expresses the nature of human existence and the limitations of perception, that is, by illuminating the present in which light from the past is sustainable, recognizing the present as a shade of reversible light. In other words, the light of the abstract past is transferred to the real image as the same structure as the current artificial lighting, and the conceptual abstract structure results in the realist image. This represents abstraction, which takes the place of the formative traces of the unconscious past as the desire of others, as an image of the real place./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Conceptual Abstract Realism Abstraction Design Methodology

1 Conceptual Abstract Realism concept of realism is an image abstracted as a conceptual object in a non-ideological form by recreating the realist image. The image is a virtual image whose existence is obscene and is perceived as a plane, making the realist image appear as a real structure.

Here, even if the image is different from the actual structure, when the same linguistic meaning is spoken, abstraction as a symbolic structure has an existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces in similar colors and sizes. Accordingly, the concept of abstract realism abstraction with creativity and autonomy in the linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desire of the other.

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.

The conceptual abstract realism abstraction as an existential subject is revealed through division, which expresses the essence of ex post facto in a comprehensive and immediate way of solving an image with a different linguistic meaning as a semantic structure that cannot be expressed as a real image.

It is an orderly vector that displays the orientation to solve this unsolvable semantic structure in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a whole stage of linguistic meaning, such as expression abstractism.

This is a semantic structure that cannot be solved as a being before the abstract structure enters the symbolic world, and it is a concept that abstracts conceptual realism as an existential subject by physically dividing the material and same essence of ex post facto that solves events by synonymously meaning knots.

2. Sketches on the linguistic semantic structure of conceptual abstraction connect realist images into allegories in linguistic meaning, distinguishing objects from reversible light structures that deviate from the concept of instantaneous desire and turn into reversible shadows of light, and distinguish them from 'morning glory' as a structure of desire as reality and objects formed from each other's abstract view as virtual beings.

The structure of the morning glory and its branches does not determine the position of the structure depending on the time of the response to light, but shows the meaning of harmonizing with the morning glory.

Its meaning is developed as a pictorial linguistic structure in which the object moves in the position of the object abstracted by reversible temporality and in the position of the morning glory illuminated by the divided retroactive light.

The movement of the object is linked to temporality as a sign of necessity self-consciousness, reveals the sensory structure before the symbol translated into pictorial language, and becomes a place of abstract space that actually functions formatively beyond the literary nature of early conceptual art.

Perspective objectivity in an abstract spatial structure distorts the real image of an object contrasted with the object as the range of space and the size of the perspective in which reversible light is limited to the object superimposed on the surface as another gaze structure.

In the symbolic abstract world, image sketches as linguistic meanings are repeated in conceptual abstractions in flat formations and colors to reveal the existence of objects as real visual images and imaginations, and it is a sketch of a linguistic semantic structure that passes through an allegory that images morning glory and object structures as reality.

3. The image structure in the linguistic meaning of conceptual abstract realism is an abstract realism object, and an abstract object revealed as a point of light in the eyes of others identifies as a philosophical device the distorted image as an aesthetic desire structure revealed in the gaze system of desire, such as the gaze of an object with an existential realism image that appears the same as the abstract meaning. An image is a perspective visual structure, a method of producing an image that expresses geometric tangents and abstract morning glory as unconscious beings.

It is interpreted as a mirror image reflecting the desire of the other and is connected to the concept that the viewer is staring at the object at the same time, and the object's reflex gaze creates an optical realism space that varies depending on the viewer's position.

As the image of the reversible reaction that constitutes the space of realism abstracted as the concept of desire is repeated, the spot of the morning glory is abstracted. In other words, the shadowy image of the morning glory staring at the reversible light is displayed on the object as it is sequenced according to the reversible temporality, and the image of the linguistic meaning of conceptual abstract realism abstraction is structured as a shade of reversible light from the object divided at the same temporality. The abstraction coincides with the abstract linguistic meaning of the object from the perspective of realist space, and from the conceptual point of desire, an abstract and invisible object appears as a gaze path according to temporality.

Through this theme, the structure of desire and the aesthetic concept of reality are visualized as a realist image through tension and harmony between aesthetic values, human desires, and linguistic semantic structures, but it appears to be an "aesthetic trace of time" embodied as a double object.

4. The actualization of conceptual abstract realism abstraction is an opportunity to verbally interpret the conditions (i/d) under which the image of the object of conceptual abstract realism is realized through grammatical interpretation of the linguistic meaning beyond the desire of the other by designing the image (i) of desire by conceptual abstract realism specified in Choi Chul-joo's desire formula. In addition, the subject of desire asks itself what the abstract structure wants when transferring the conceptual abstraction as the subject of desire to the realist image and selects a specific object as the actual image of the abstract concept, so that the conceptual abstract realism image as reality reaches abstraction <D(I...I')d=I(D...D'i)>.

This indicates the meaning of the symbolic action that characterizes the design in the place of the object, which repeatedly combines pieces of the distorted image of the morning glory during the abstraction process. Here, the image is not a visual phenomenon of an object, but a device that visualizes the flow of unconsciousness and the transition of symbols to a realism image, and the abstract that imitates the morning glory and the figurative object as a constant figure in the place are the meanings of language that symbolizes the conceptual abstract realism image of the morning glory.

In this way, abstraction that stopped from the concept of existential desire, which was realized by abstracting the abstract structure that cracked in the linguistic semantic system as an object of desire, is expressed as a realistic image.

Therefore, images recognize the present as a shade of reversible light by visually expressing the nature of human existence and the limitations of perception by obscuring or revealing reality through reversible shades of light, that is, by illuminating the present where light from the past is sustainable. This is the effect that light from the abstract past has been transferred to a real image as the same structure as the current artificial lighting, and the conceptual abstract realism image, which takes the place of the formative traces of the unconscious past as the desire of others, is abstracted.

Objects that appear as objects that visualize the desires of others reveal the structure of desire through conflict between linguistic meaning and real image.

This is a device that conveys the philosophical desire design and linguistic image of the formation structure, and is designed as a philosophical desire image that works as Choi Chul-joo's conceptual abstract realism abstraction to reproduce the essence of human existence and the limits of perception in a metaphor.

■ 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.