개념추상리얼리즘 AAS 만화｜단편 소설 무대 위의 유령

개념추상리얼리즘 AAS 만화｜팝아트 AAP 개념추상 단편소설가 최철주 1

개념추상 리얼리즘 AAS 만화 & AAP 소설 [1] Pop-Art AAS Realism Cartoon Artist & AAP Conceptual Abstract Realism , Choi Chul-joo's AAP Artist Choi Chul-joo Web Short Story: AAP (Ai Aid Plot) Short Story "ghosts on stage" with the concept of Choi Chul-joo, a Ph.D. in Culture Design [1] ghosts on stage, 팝아트 AAS 리얼리즘 만화미술가 & AAP 개념추상 리얼리즘 소설가, 루이 최철주의 욕망개념 추상디자인 욕망 공식 적용 추상화: 현대 콘셉트 AAS 팝 만화 아티스트 최철주는 타인의 욕망 예술에 대한 추상적 개념적 접근과 팝아트의 디자인 형식 및 언어적 추상 이미지를 결합합니다. 그의 욕망 개념, 즉 개념 추상 미술이 등장하고 형이상학적, 철학적 빛에서 강조되는 언어적 의미 개념과 충돌하는 그림이 인공 조명과 함께 극적인 사건 이미지를 연출합니다. Contemporary Concept AAS Pop cartoon artist Louis Choi Chul-joo 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 painting that conflicts with the concept of linguistic meaning emphasized in metaphysical and philosophical light produces a dramatic event image with artificial lighting. / 현대 개념 추상미술가의 신작 읽기 - 미술 비평: 현대 개념 추상미술 비평 디자인 과정 현대 개념 팝아트 작가와 현대 개념 추상미술가의 최철주 작가는 현대 개념 추상미술로서 시각미술 이론을 통해 미적 가치의 예술성을 고찰하고, '나팔꽃' 작품을 통해 추상적 욕망 개념과 언어적 의미 구조를 반영하여 지각과 미적 구조를 해석함으로써 추상적 욕망의 언어적 의미와 동일한 실제 이미지를 추상화합니다. Reading New Works of Modern Concept Abstract Artist and Art Criticism - Art Criticism: Concept Abstract Art Criticism Design Process of Contemporary Concept Pop Art Artist and Contemporary Concept Abstract Artist: Choi Chul-joo, a modern concept abstract artist and critic, examines the artistry of aesthetic value through visual art theory as a contemporary conceptual abstract art, and interprets perceptions and aesthetic structures by reflecting abstract desire concepts and linguistic semantic structures through his "morning glory" work, resulting in the abstraction of real images identical to the linguistic meaning of abstract desire./ 현대미술평론가 루이스 최철주는 사진 만화 미술 공예 디자인의 미적 가치 과정의 예술성을 검증하고 시각 예술 이론을 통해 작품의 의미에 접근하는 현대미술 개념 비평가다 Contemporary Art Critic Louis Choi Chul-joo is a contemporary conceptual art critic who validates the artistry of the aesthetic value process of photographic cartoon art craft design and approaches the meaning of the work through visual art theory:

회화 언어 구조란 추상적 욕망의 이미지가 욕망 개념의 언어적 의미 구조인 것처럼 여겨지는 시선의 현실상이다. 미술평론가 최철주는 현대미술비평과 함께 욕망추상디자인이라는 개념으로 현대미술비평의 미적 가치, 프로세스, 예술성에 접근하고 있다. 그의 비평은 사진, 만화, 미술, 디자인의 예술성이 언어적 문법 구조로 작품의 의미에 접근해 욕망 개념의 현실을 비판하는 시각예술 이론을 가리킨다,/ 현대 추상미술 비평가 루이 최철주의 사건과 행위 이야기는 시각예술을 통한 현대 개념의 추상적 욕망을 언어적 의미를 시각화한다. 이처럼 사진, 만화, 미술, 디자인의 미적 가치, 과정, 예술성을 검증하고 최철주 추상예술이론으로 작품의 의미에 접근하는 현대미술평론 작품은: Louis Choi Chul-joo's AAP novel and conceptual abstract realism AAS cartoon: AAP 웹 소설 [1] 무대 위의 유령들; 제1부: 선포된 해체/ A New Drug Developer

무대 위의 유령들 ghosts on stage

루이 (Louis / 최철주)

세계적인 현대미술가이자 무대미술가인 루이는 사물의 외형적 재현을 거부하고 본질적인 개념만을 시각화하는 **'개념추상 리얼리즘'**의 창시자로, 셰익스피어의 고전을 해체하여 무대 위에 거대한 설치 미술을 구현하는 천재적인 예술가이며, 차갑고 논리적인 완벽주의 뒤에 예술의 소멸을 두려워하는 인간적인 고독을 간직한 인물입니다.

Louis (Choi Cheol-joo), a world-renowned contemporary artist and scenographer, is the founder of 'Conceptual Abstract Realism,' which rejects the figurative representation of objects to visualize their essential concepts; he is a genius artist who deconstructs Shakespearean classics into massive stage installations, concealing a deeply human solitude and a fear of art’s transience behind his cold, logical perfectionism.

에이드리언 밀러 (Adrian Miller)

로열 오페라 하우스의 수석 연출가인 에이드리언은 정통적인 서사와 사실적인 무대 미학을 중시하는 거장으로, 루이의 파격적인 개념추상이 관객의 몰입을 방해한다고 믿으며 사사건건 충돌하지만, 결국 루이의 설계를 통해 연극의 새로운 지평을 발견하게 되는 루이의 가장 강력한 라이벌이자 예술적 동반자입니다.

Adrian Miller, the chief director of the Royal Opera House, is a maestro who values traditional narrative and realistic stage aesthetics; although he constantly clashes with Louis, believing that Louis's radical conceptual abstraction disrupts the audience's immersion, he eventually becomes Louis's most formidable rival and artistic partner who discovers a new horizon of theater through Louis's designs.

엘레나 보르코프 (Elena Volkov)

러시아 출신의 전설적인 프리마 발레리나이자 현대 무용가인 엘레나는 루이의 설치물 사이에서 자신의 육체를 하나의 '움직이는 추상화'로 완성시키는 인물로, 무대 장치를 단순한 배경이 아닌 대화해야 할 유기체로 인식하며 루이의 개념추상 리얼리즘을 몸의 언어로 가장 완벽하게 번역해내는 영감을 주는 뮤즈입니다.

Elena Volkov, a legendary Russian prima ballerina and contemporary dancer, completes her body as a 'moving abstract painting' amidst Louis's installations; she perceives stage sets not as mere backgrounds but as organic entities to converse with, serving as an inspiring muse who most perfectly translates Louis's Conceptual Abstract Realism into the language of the body.

소피아 첸 (Sophia Chen)

빛을 다루는 마법사로 불리는 젊은 천재 조명 디자이너 소피아는 루이가 설계한 무색의 추상 구조물에 빛의 파장과 그림자의 깊이를 입혀 생명력을 불어넣는 인물로, 기술적 한계를 뛰어넘어 루이의 머릿속에만 존재하는 찰나의 미학을 현실의 공간에 투사하는 소중한 조력자입니다.

Sophia Chen, a brilliant young lighting designer known as the 'wizard of light,' breathes life into Louis's colorless abstract structures by applying light wavelengths and shadow depths; she is a vital collaborator who transcends technical boundaries to project the ephemeral aesthetics existing only in Louis's mind into physical space.

마르쿠스 폰 랑게 (Marcus von Lange)

예술계의 보이지 않는 손이라 불리는 뉴욕 메트로폴리탄 오페라의 이사장이자 막대한 자본을 움직이는 후원자인 마르쿠스는 루이의 예술적 가치를 일찍이 알아보고 그를 세계 무대로 이끌었으나, 때로는 예술적 신념보다 상업적 성공과 대중성을 요구하며 루이를 딜레마에 빠뜨리는 복합적인 조력자이자 감시자입니다.

Marcus von Lange, the chairman of the Metropolitan Opera in New York and a powerful patron often called the 'invisible hand' of the art world, recognized Louis's value early on and brought him to the world stage; however, he is a complex supporter and overseer who often plunges Louis into dilemmas by prioritizing commercial success and popularity over artistic conviction.

제1부: 선포된 해체

제1회: 파리의 새벽, 캔버스의 비명 (Dawn in Paris, The Scream of Canvas)

파리의 북쪽 끝, 낡은 가스등이 마지막 숨을 몰아쉬는 새벽녘의 작업실에서 루이는 수백 번을 읽어 너덜너덜해진 셰익스피어의 <햄릿> 판본을 바닥에 내팽개친다. 그는 엘시노어 성의 돌벽이나 왕자의 검은 의상 같은 구태의연한 재현의 굴레에서 벗어나기 위해, 희곡의 문장들을 단어 단위로 해체하여 캔버스 위에 기하학적인 선과 거친 질감으로 재배열하기 시작한다. 붓 대신 나이프를 든 그의 손길은 마치 육신의 껍질을 벗겨내어 뼈대를 드러내려는 해부학자의 칼날처럼 날카로우며, 마침내 캔버스의 하얀 침묵을 깨고 그어진 단 하나의 굵은 흑색 선은 왕자의 고뇌를 넘어선 '존재의 개념' 그 자체를 표효하듯 드러낸다. 이것은 단순한 그림이 아니라 공간의 질서를 재편하는 설계도이며, 이제껏 보지 못한 '개념추상 리얼리즘'이라는 새로운 무대의 탄생을 알리는 비명이자 선언이다.

푸르스름한 새벽빛이 감도는 파리의 지붕들과 루이의 작업실 창문에서 새어 나오는 강렬한 백색광.. 세상은 환영의 안락함 속에 잠들어 있으나, 여기 진실의 차가운 빛 아래에서 엘시노어의 고색창연한 성벽들은 마침내 순수한 개념의 공허 속으로 무너져 내려야만 한다. 바닥에 흩어진 셰익스피어의 텍스트 조각들과 그 위를 짓밟고 서 있는 루이의 구두.. 언어는 국왕의 유령을 가두는 감옥이다; 나는 이 문장들을 갈기갈기 찢어 그의 배신이 가진 진동만이 들쭉날쭉한 선으로 남을 때까지 멈추지 않을 것이다. 며칠 밤을 지새운 듯 충혈되었지만 형형하게 빛나는 눈동자, 캔버스를 노려보는 강렬한 시선.. 사람들은 성벽과 왕관을 기대하겠지만, 나는 그들에게 영혼의 건축물을, 그 어떤 눈도 감히 측정하지 못한 광기의 기하학을 선사할 것이다. 캔버스 위에 흑연과 안료를 짓이기며 나이프가 날카로운 소리를 내며 그어지는 순간.. 이것은 단순한 붓질이 아니다; 그것은 리얼리즘의 비명이자, '사느냐 죽느냐'의 본질을 공간의 결 속에 새겨 넣는 개념적인 흉터이다. 하얀 배경 위에 거칠게 교차하는 검은 선들과 깊은 심연을 상징하는 거대한 면적의 회색 얼룩.. 이 공허를 보라. 이것이 진정한 엘시노어이며, 이곳에서는 생각의 그림자들이 우리 발밑의 돌덩어리들보다 더 실재적인 법이다. 캔버스 위의 그림이 서서히 3차원 무대 평면도로 겹쳐지며 루이의 미소가 번지는 마지막 장면.. 이제 커튼은 유령들이 들려주는 이야기가 아니라, 빛과 추상의 뼈대로 지어진 진실의 무대 위에서 비로소 오를 것이다.

In a studio at the northern edge of Paris, where the old gas lamps breathe their last at dawn, Louis flings a tattered edition of Shakespeare's Hamlet to the floor, a book worn thin by hundreds of readings. To break free from the shackles of conventional representation—the stone walls of Elsinore or the prince's black doublet—he begins to deconstruct the play’s sentences into individual words, rearranging them on canvas as geometric lines and raw textures. Holding a palette knife instead of a brush, his touch is as sharp as an anatomist’s blade trying to strip away the skin to reveal the skeletal frame; finally, a single, bold black line slashed across the white silence of the canvas roars the 'concept of existence' itself, transcending the prince's agony. This is not merely a painting but a blueprint reorganizing the order of space, a scream and a manifesto announcing the birth of a new stage—'Conceptual Abstract Realism'—the likes of which the world has never seen.

The world sleeps in the comfort of illusion, but here, in the cold light of truth, the ancient walls of Elsinore must finally crumble into the void of pure concept. "Language is a cage that traps the ghost of the King; I will tear these words apart until only the vibration of his betrayal remains as a jagged line." They expect a castle and a crown, but I shall give them the architecture of a soul, a geometry of madness that no eye has dared to measure. "This is not a stroke of paint; it is a scream of reality, a conceptual scar that carves the essence of 'to be or not to be' into the very fabric of space." Look at this void—this is the true Elsinore, where the shadows of thought are more real than the stones beneath our feet. "Now the curtain rises not on a story told by ghosts, but on a reality built from the skeletal remains of light and abstraction."

제2회: 유령의 형상화 (Embodiment of the Ghost)

루이는 작업실의 벽면 가득 붙은 선왕의 삽화들과 묘사들을 응시하며, 형체 없는 존재인 유령을 어떻게 무대 위에 구현할 것인지 깊은 고뇌에 잠긴다. 그는 기존의 흐릿한 조명과 연기, 혹은 끔찍한 분장을 통한 재현은 유령의 본질인 '부재하는 존재감'을 오히려 희석시킨다고 확신한다. 대신 루이는 차가운 새벽 공기처럼 피부에 스며드는 감각, 혹은 깊은 바다 밑바닥에서 느껴지는 압도적인 정적과 같은 '비물질적인 질감'에 주목한다. 마침내 그의 손은 차가운 청색 안료를 움켜쥐고 캔버스 위에 거칠지만 섬세하게 겹겹이 쌓아 올리기 시작한다. 마치 얼어붙은 시간의 파편이 응축된 듯, 혹은 망자의 슬픔이 차갑게 굳어버린 듯한 그 독특한 푸른 질감은, 선왕의 유령이 단지 무대를 떠도는 그림자가 아니라 관객의 심연에 스며드는 차가운 감각으로 현현할 것임을 선언하는, 루이의 '개념추상 리얼리즘'이 탄생하는 순간이었다.

어두운 작업실, 벽면에 걸린 햄릿 유령의 전통적인 삽화들이 루이의 등 뒤에서 희미하게 빛나고, 루이는 텅 빈 캔버스 앞에서 붓 대신 손가락으로 허공을 휘젓고 있다. 그들은 흰색으로 휘감기거나 안개에 싸인 유령 같은 형상, 삶을 조악하게 모방한 것을 기대한다. 그러나 어떻게 이처럼 얄팍한 모방에 의지하지 않고 부재, 즉 한때 존재했던 것의 싸늘한 메아리를 진정으로 형상화할 수 있단 말인가?" 루이가 돋보기를 들고 셰익스피어의 텍스트 중 유령의 등장 장면을 확대하여 읽고 있다. 글자들 사이에서 '서늘함(chill)', '차가움(cold)', '침묵(silence)' 같은 단어들이 빛을 발하며 떠오른다. 희곡은 눈이나 손에 대해 말하는 것이 아니라, '피를 얼어붙게 하는' '차가운 공포', 즉 보이는 것이 아니라 느껴지는 존재에 대해 말한다. 진정한 유령은 감각 속에, 감지할 수 없는 공기의 변화 속에, 살아있는 자들에게 드리우는 바로 그 싸늘함 속에 존재한다. 루이의 손이 팔레트 위에 놓인, 마치 얼음 조각처럼 차갑고 깊은 청색 안료를 움켜쥔다. 빛을 받으면 미세하게 반짝이는 듯한 질감이 강조된다. 이 파란색은 하늘이나 바다의 파란색이 아니다; 그것은 잊혀진 꿈들의 색깔이며, 무덤 속에서 침묵한 속삭임들의 색깔이자, 시대를 초월한, 모든 것을 집어삼키는 슬픔의 정수이다. 루이가 팔레트 나이프로 캔버스 위에 청색 안료를 두껍게 겹겹이 쌓아 올린다. 거친 텍스처가 살아나면서 빛에 따라 음영이 다르게 드리워진다. 이 안료의 각 층은 기억이자, 산산조각 난 왕국의 파편이며, 형체를 만드는 것이 아니라 무대의 공기 그 자체에 스며들 절망의 촉각적인 밀도를 쌓아 올리는 것이다. 캔버스 전체를 뒤덮은 거대하고 차가운 청색 추상화. 정지된 파도 같기도, 얼어붙은 절규 같기도 한 그 형상에는 형체가 없지만 강력한 존재감이 느껴진다. 보라. 눈도 없고, 입도 없고, 살도 없다. 오직 남겨진 것의 견딜 수 없는 차가움만이 있을 뿐, 그것의 추상성 속에서 너무나도 절대적이어서 관객들의 뼈 속까지 오싹하게 만들고, 그들 자신 안에서 유령을 느끼도록 강요할 것이다. 무대 위를 가득 채운 거대한 청색 설치물과 그 앞에서 몸을 움츠린 햄릿의 뒷모습. 유령은 보이지 않지만, 그 거대한 청색 질감에서 뿜어져 나오는 압도적인 분위기로 존재감을 드러낸다. 늙은 왕은 성벽을 배회하지 않을 것이다; 그는 성벽 그 자체가 될 것이며, 편재하는 싸늘함, 살아있는 자들을 집어삼키고 그들 자신의 죽음의 짐을 속삭이는 푸른 침묵이 될 것이다.

Louis gazes at the myriad illustrations and descriptions of the deceased King covering his studio walls, lost in deep contemplation on how to embody the formless entity of a ghost on stage. He firmly believes that conventional representations—through hazy lighting, theatrical smoke, or gruesome makeup—only dilute the ghost's true essence: its 'absent presence.' Instead, Louis focuses on 'immaterial textures,' like the cold dawn air seeping into the skin or the overwhelming silence felt at the bottom of the deep ocean. Finally, his hands grasp cold blue pigment and begin to layer it, roughly yet delicately, onto the canvas. This unique blue texture, as if shards of frozen time have condensed or the sorrow of the departed has solidified into coldness, declares that the late King's ghost will manifest not merely as a shadow wandering the stage, but as a chilling sensation permeating the audience's depths—this was the precise moment Louis's 'Conceptual Abstract Realism' was truly born.

They expect a spectral figure, draped in white or shrouded in mist, a grotesque imitation of life. But how can one truly embody absence, the chilling echo of what once was, without resorting to such shallow mimicry? "The script speaks not of eyes or hands, but of a 'cold fear' that 'freezes the blood,' a presence felt, not seen. The true ghost resides in the sensation, in the imperceptible shift of air, in the very chill it casts upon the living." This blue is not the blue of the sky or the sea; it is the color of forgotten dreams, of whispers silenced in the grave, the very essence of a timeless, consuming sorrow. "Each layer of this pigment is a memory, a fragment of a king's shattered reign, building not a form, but a palpable density of despair that will permeate the very air of the stage." There. No eyes, no mouth, no flesh. Only the unbearable cold of what remains, a presence so absolute in its abstraction that it will chill the audience to their bones, forcing them to feel the ghost within themselves. "The old king will not stalk the ramparts; he will be the ramparts themselves, an omnipresent chill, a blue silence that swallows the living and whispers the burden of their own mortality."

제3회: 데생의 반란 (Rebellion of the Sketch)

루이의 작업실 바닥에는 수많은 데생과 스케치들이 찢겨진 채 나뒹굴고 있다. 그는 수십 년간 훈련된 손으로 완벽하게 재현해 낸 인체의 해부도와 원근법이 적용된 성벽 스케치들을 냉정하게 응시한다. 그 순간, 루이의 내면에서는 익숙함에 대한 격렬한 거부감이 치솟는다. 그는 사물의 형태가 아닌, 그 형태를 규정하는 **'본질적인 에너지'와 '개념적 존재'**를 갈구한다. 캔버스 위에 그려진 완벽한 비율의 남성 누드 데생을 향해 팔레트 나이프를 휘두른 루이는, 근육의 섬세한 묘사를 망가뜨리고 육체를 가로지르는 힘의 방향과 무게의 중심점만을 남긴다. 스케치가 찢어지는 굉음은 단순한 종이의 훼손이 아니라, 예술의 오랜 관습에 대한 반항이자 새로운 미학의 탄생을 알리는 선언이었으며, 마침내 루이는 사물의 모든 불필요한 외피를 벗겨내고 그 안에 숨겨진 '개념적 뼈대'만을 남기는, 자신만의 **'개념추상 리얼리즘'**을 향한 결정적인 한 발을 내딛는다.

루이의 작업실 바닥에 햄릿 성벽, 인물 누드 등 정교하게 그려진 데생들이 갈기갈기 찢겨진 채 널브러져 있다. 강렬한 조명 아래 그 파편들이 극적으로 대비된다. 수십 년의 훈련, 고통스러울 정도로 정밀했던 수많은 시간들—모두 보이는 세계를 그저 흉내 내기 위함이었다. 그러나 만약 보이는 것이 거짓이라면, 실재의 피부 아래에 숨겨진, 존재의 진정한 진동을 가리는 베일이라면 어찌할 것인가? 이젤 위에 놓인, 근육의 섬세한 움직임까지 완벽하게 묘사된 남성 누드 데생. 루이가 그것을 차가운 시선으로 응시한다. 이 완벽한 형태, 이 흠잡을 데 없는 해부도는 단지 덧없는 영혼을 가두기 위해 지어진 감옥일 뿐이다. 이 단순한 선들 안에 사유의 고통, 운명의 무게, 보이지 않는 행동의 추진력은 어디에 있단 말인가? 루이가 붓 대신 날카로운 팔레트 나이프를 든 채 데생을 향해 들어 올린다. 나이프 끝이 데생의 심장 부위를 향하고 있다. 붓은 그저 장식할 뿐이다. 그러나 칼은 핵심을 꿰뚫어, 모든 곡선과 각도, 모든 상승과 하강을 지시하는 본질적인 힘, 즉 개념적인 구조를 드러낸다. 나이프가 데생을 가로지르며 찢는 순간. 종이가 찢기는 소리가 들리는 듯한 역동적인 연출과 함께, 루이의 얼굴에는 해방감과 광기가 섞인 표정이 스쳐 지나간다. 저 소리가 들리는가? 그것은 낡은 패러다임이 산산조각 나는 비명이자, 모방이라는 폭정으로부터 형태가 해방되는 소리이다. 이 파괴로부터 더욱 진실한 비전이 솟아날 것이다! 찢겨진 데생 위로, 원래의 인체 형상은 사라지고 힘의 방향을 나타내는 굵은 선들과 무게 중심점만이 강조된 추상적인 '뼈대'가 그려져 있다. 이것은 몸이 아니다; 이것은 의도의 벡터이자, 절망의 축이며, 행동과 마비 사이에서 포착된 존재의 순수한 다이어그램이다. 이것이 바로 피부 아래의 진실이다. 완성된 '개념적 뼈대' 앞에서 루이가 캔버스를 응시한다. 그의 눈에는 확신과 새로운 시작에 대한 뜨거운 열망이 담겨 있다. 배경의 찢겨진 데생들이 더욱 드라마틱하게 보인다. 그들이 성벽과 육체에 집착하게 두어라. 나의 무대는 생각의 뼈대 그 자체로 지어질 것이며, 관객들로 하여금 보이지 않는 힘, 인간 존재의 원초적이고 추상적인 현실을 느끼게 할 개념적인 건축물이 될 것이다.

On the floor of Louis's studio, countless torn drawings and sketches lie scattered. He gazes coldly at anatomical studies of the human body and perspective-driven fortress sketches, all perfectly rendered by hands trained over decades. In that moment, a violent rejection of the familiar surges within Louis. He yearns not for the form of an object, but for the 'essential energy' and 'conceptual existence' that define it. Swinging his palette knife at a perfectly proportioned male nude drawing on the canvas, Louis obliterates the delicate depiction of muscle, leaving only the vectors of force and centers of gravity that traverse the body. The deafening rip of the sketch is not merely the destruction of paper but an act of rebellion against long-standing artistic conventions and a declaration announcing the birth of a new aesthetic. Finally, Louis takes a decisive step toward his own 'Conceptual Abstract Realism,' stripping away all superfluous outer layers of objects to reveal only their hidden 'conceptual skeletons.'

Decades of training, hours of painstaking precision—all to merely echo the visible world. But what if the visible is a lie, a veil that conceals the true vibration of existence, the raw pulse beneath the skin of reality? "This perfect form, this flawless anatomy—it is merely a cage built for the fleeting spirit. Where is the agony of thought, the weight of destiny, the invisible thrust of action within these mere lines?" The brush merely adorns. The knife, however, cuts to the core, revealing the essential force, the conceptual structure that dictates every curve and angle, every rise and fall. "Hear that sound? It is the scream of an old paradigm shattering, the liberation of form from its tyrannical obligation to mimic. From this destruction, a truer vision shall emerge!" This is not a body; it is a vector of intention, a pivot of despair, the pure diagram of a being caught between action and paralysis. This is the truth beneath the skin."

번역: "이것은 몸이 아니다; 이것은 의도의 벡터이자, 절망의 축이며, 행동과 마비 사이에서 포착된 존재의 순수한 다이어그램이다. 이것이 바로 피부 아래의 진실이다. "Let them cling to their castles and flesh. My stage will be built from the very bones of thought, a conceptual architecture that compels the audience to feel the unseen forces, the raw, abstract reality of human existence."

제4회: 로열 오페라 하우스의 초대 (Invitation from the Royal Opera House)

파리의 초라한 작업실에 갇혀 개념추상의 광야를 홀로 헤매던 루이에게, 어느 날 런던 로열 오페라 하우스로부터 한 통의 서신이 도착한다. 붉은 봉인으로 봉해진 그 편지는 관습과 전통의 상징인 그곳에서 루이의 파격적인 예술 세계, 즉 '개념추상 리얼리즘'을 셰익스피어 4대 비극에 적용해 달라는 파격적인 협업 제안이었다. 루이는 처음에는 이 제안을 비웃는다. 고전과 현대, 보수와 혁신이라는 극단적인 이질감이 마치 기름과 물처럼 섞이지 않을 것이라 확신했기 때문이다. 그러나 편지 속에는 수석 연출가 에이드리언 밀러의 굳건한 서명이 담겨 있었고, 이는 단순한 호기심을 넘어선, 침체된 고전 무대에 새로운 숨결을 불어넣으려는 극장의 필사적인 몸부림임을 루이는 직감한다. 이제 루이의 붓은 더 이상 캔버스에만 머무르지 않고, 런던의 웅장한 극장, 즉 전통의 심장부를 향한 거대한 예술적 도전의 문을 열게 될 것이다.

어수선한 작업실, 루이가 찢겨진 데생들 사이에서 무표정한 얼굴로 팔레트 나이프를 들고 있다. 창문으로 들어오는 새벽빛이 그를 비춘다. 또 다른 새벽, 형태의 폭정에 맞서는 또 다른 싸움. 바깥 세상은 아름다운 그림을 요구하지만, 나의 영혼은 그 기만적인 아름다움 아래 숨겨진 뼈대 같은 진실을 갈망한다. 작업대 위에 놓인 붉은 봉인으로 봉해진 두툼한 편지. 편지에는 런던 로열 오페라 하우스의 문장이 선명하게 박혀 있다. 고대 문명의 보루, 연극적 관습의 심장부에서 온 서신. 대체 어떤 대담한 요구가 그들의 금빛 새장을 벗어나 이 겸손한 혼돈의 성역에까지 도달할 수 있었을까? 루이가 편지를 펼쳐 읽는 순간, 그의 눈썹이 서서히 올라간다. 처음에는 냉소적인 표정이었으나, 이내 의아함과 미묘한 호기심이 스쳐 지나간다. "셰익스피어의 4대 비극에 '개념추상 리얼리즘'을 적용해달라고… 그들로부터? 그들은 혁신을 추구하는가, 아니면 그들의 예측 가능한 웅장함 속에 새로운 스캔들을 더하려는 것인가?" 편지의 마지막 장, 수석 연출가 에이드리언 밀러의 굵고 단호한 서명이 클로즈업된다. 서명 뒤로 웅장한 로열 오페라 하우스의 로고가 희미하게 보인다. 에이드리언 밀러. 흔들림 없는 전통과 동의어인 이름, '올바른' 방식의 수호자. 그가 이런 모험을 지지하다니… 여기에는 단순한 예술적 호기심 이상의 것이 작용하고 있다; 그것은 절박함, 다시 태어나고자 하는 갈증의 냄새를 풍긴다. 편지를 내려놓고 작업실 창문 너머 파리 시내를 바라보는 루이. 그의 입가에 작은 미소가 번진다. 냉소적이던 표정 대신 흥미와 도전 의지가 엿보인다. 그들은 자신들이 낡은 무대를 장식할 새로운 화가를 초대한다고 믿고 있다. 그러나 그들은 자신도 모르게 반란의 문을 열었으니, 그들의 익숙한 세계를 해체하고 생각의 뼈대로부터 재건할 침묵의 혁명 말이다. 루이의 시선이 파리 지붕들 너머, 멀리 런던의 상징적인 건축물(국회의사당, 빅벤 등)이 보이는 듯한 환영을 향한다. 그의 손에는 나이프 대신 셰익스피어의 낡은 희곡이 들려 있다. 파리의 캔버스는 내 마음의 메아리를 담기에는 너무 작아졌다. 이제 런던의 웅장한 극장이 전율할 것이니, 왕의 유령이 아닌 진정한 혁명의 망령이 그 유서 깊은 무대를 거닐게 될 것이다.

One day, a letter arrives from the Royal Opera House in London for Louis, who has been confined to his humble Parisian studio, wandering alone in the wilderness of conceptual abstraction. Sealed with a red emblem, the letter contained a radical collaboration proposal from this very symbol of custom and tradition: to apply his groundbreaking art world—'Conceptual Abstract Realism'—to Shakespeare's four great tragedies. Louis initially scoffs at the offer, convinced that the extreme disparities between classic and modern, conservative and innovative, would mix like oil and water. However, the letter bore the firm signature of Chief Director Adrian Miller, and Louis instinctively realized this was more than mere curiosity; it was the theater's desperate struggle to breathe new life into a stagnant classical stage. Now, Louis's brush will no longer be confined to the canvas, but will open the door to a monumental artistic challenge directed toward London's majestic theater, the very heart of tradition.

Another dawn, another battle against the tyranny of form. The world outside demands pretty pictures, while my soul craves the skeletal truth beneath their deceptive beauty. "A missive from the bastions of antiquity, the very citadel of theatrical convention. What audacious claim could possibly escape their gilded cages and reach this humble sanctuary of chaos?" To apply 'Conceptual Abstract Realism' to Shakespeare's four great tragedies... from them? Do they seek innovation, or merely a new scandal to spice up their season of predictable grandeur? "Adrian Miller. A name synonymous with unwavering tradition, a guardian of the 'proper' way. For him to endorse such a venture... there is more at play here than mere artistic curiosity; it smacks of desperation, a hunger for rebirth." They believe they invite a new painter to adorn their old stage. But they have unwittingly opened the gates to a rebellion, a silent revolution that will dismantle their familiar worlds and rebuild them from the very bones of thought. "The canvas of Paris has become too small for the echoes of my mind. Now, let the grand theater of London tremble, for the true specter of revolution, not merely a king's ghost, is about to walk its venerable boards."

제5회: 연출가와의 첫 조우 (The First Encounter with the Director)

런던 로열 오페라 하우스의 육중한 문을 열고 들어선 루이를 맞이한 것은, 수십 년간 고전의 정수를 지켜온 거장 연출가 에이드리언 밀러의 압도적인 위압감이었다. 웅장한 무대 위, 에이드리언은 화려한 성벽 세트와 사실적인 의상 시안들을 펼쳐 보이며 관객이 즉각적으로 인지할 수 있는 '덴마크의 왕궁'을 완벽하게 재현할 것을 요구한다. 그러나 루이는 그 화려한 시안들을 무심하게 지나치며, 무대 중앙에 덩그러니 놓인 차가운 금속 구조물과 기하학적인 조명의 궤적만을 제시함으로써 에이드리언의 권위에 정면으로 도전한다. 재현(Representation)이야말로 연극의 미덕이라 믿는 에이드리언과, 보이지 않는 개념(Concept)을 심는 것만이 진실에 도달하는 유일한 길이라 믿는 루이 사이의 대립은 차가운 공기를 가르는 칼날처럼 날카롭게 타오른다. 이들의 첫 만남은 단순한 협업의 시작이 아니라, 전통이라는 견고한 성벽을 허물고 그 자리에 사유의 뼈대를 세우려는 혁명가와 성벽을 지키려는 수호자 사이의 피할 수 없는 전쟁의 서막이었다.

웅장한 로열 오페라 하우스 내부. 높은 천장과 붉은 벨벳 좌석이 가득한 객석을 배경으로 루이가 무대 중앙으로 걸어 들어온다. 나는 천 개의 예측 가능한 비극의 메아리가 금빛 서까래를 떠도는 짐승의 뱃속으로 들어선다. 이곳은 살아있는 영혼을 위해서가 아니라, 박제된 과거의 유해를 위해 지어진 성당이다. 완벽한 턱시도 차림의 에이드리언 밀러가 화려한 성벽 설계도를 펼치며 위엄 있게 루이를 맞이한다. 환영하오, 루이 선생. 여기서 우리는 단순히 연극 놀이를 하는 것이 아니오. 우리는 역사를 복원하며, 관객들에게 엘시노어의 습한 돌 냄새를 맡고 왕관의 무게를 느낄 수 있을 만큼 실재적인 세계를 제공하오. 루이가 에이드리언의 화려한 도면들을 보지도 않고 한쪽으로 밀어내며, 자신이 가져온 검은 가방에서 단순한 금속 선들로 이루어진 모형을 꺼낸다. 당신의 엘시노어는 인형의 집일 뿐이며, 영혼을 표면적인 디테일에 빠뜨리는 값비싼 장식품들의 집합일 뿐이오. 햄릿의 정신이라는 개념적 심연, 그 진정한 공허는 당신이 색칠한 바위들 뒤에 안전하게 숨겨져 있단 말이오. 에이드리언이 루이의 추상적인 모형을 가리키며 얼굴을 붉힌다. 두 사람 사이의 공간에 불꽃이 튀는 듯한 긴장감이 감돈다. 이 뼈대만 남은 감옥을 무대라고 부르는 거요? 관객은 왕과 유령, 소용돌이치는 왕국을 보러 오는 것이지, 예술가가 게을러서 완성하지 못한 숙제를 대신하느라 기하학적 퍼즐을 뚫어지게 보러 오는 게 아니란 말이오! 루이가 무대 바닥을 강하게 밟으며 에이드리언의 눈을 똑바로 응시한다. 그의 눈에는 확신에 찬 광기가 서려 있다. 나는 그들에게 구경할 왕국을 주는 것이 아니오. 나는 그들에게 광기의 내부 건축물을, 그들 자신의 공포가 현현할 수 있는 서늘한 푸른 공허를 제공하는 것이오. 왜냐하면 유일하게 진실한 연극은 오직 관객의 눈 뒤편에서 일어나는 것이기 때문이오! 무대 양쪽 끝에 서서 서로를 노려보는 두 사람. 그들 사이의 무대는 에이드리언의 사실적인 도면과 루이의 추상적인 선들이 뒤섞여 혼란스럽지만 강렬한 에너지를 뿜어낸다. 그렇다면 이 비전의 전쟁을 시작해 봅시다, 루이 선생. 당신의 '개념'이 나의 '현실'이라는 무게를 견뎌낼 수 있을지, 아니면 첫 커튼이 올라가기도 전에 이 극장의 유령들이 당신의 추상을 통째로 집어삼킬지 두고 보겠소.

As Louis stepped through the heavy doors of the Royal Opera House in London, he was met by the overwhelming presence of Adrian Miller, a master director who had guarded the essence of the classics for decades. Standing on the majestic stage, Adrian presented elaborate blueprints for fortress sets and realistic costume designs, demanding a perfect reproduction of the 'Danish Royal Palace' that the audience could instantly recognize. However, Louis indifferently bypassed those grand designs and challenged Adrian’s authority head-on by presenting only cold metallic structures and trajectories of geometric light placed at the center of the stage. The confrontation between Adrian, who believed representation was the ultimate virtue of theater, and Louis, who believed that planting an invisible concept was the only way to reach the truth, blazed as sharply as a blade cutting through freezing air. Their first encounter was not merely the beginning of a collaboration, but the prelude to an inevitable war between a revolutionary seeking to tear down the solid walls of tradition to erect a framework of thought and a guardian determined to protect those very walls.

I enter the belly of the beast, where the echoes of a thousand predictable tragedies haunt the gilded rafters, a cathedral built not for the living spirit, but for the embalmed remains of the past. "Welcome, Monsieur Louis. Here, we do not merely play at theater; we restore history, providing the audience with a world so tangible they can smell the damp stone of Elsinore and feel the weight of a crown." Your Elsinore is a dollhouse, a collection of expensive distractions that drown the soul in surface detail while the true void, the conceptual abyss of Hamlet’s mind, remains safely hidden behind your painted rocks. "You dare call this skeletal cage a stage? The audience comes to see a king, a ghost, a kingdom in turmoil—not to squint at a geometric puzzle that demands they do the work the artist was too lazy to complete!" I do not offer them a kingdom to look at; I offer them the internal architecture of madness, a chilling blue void where their own fears can manifest, for the only true theater is the one that happens behind the spectator's eyes! "Then let us begin this war of visions, Monsieur Louis. We shall see if your 'concept' can survive the weight of my 'reality,' or if the ghosts of this house will swallow your abstractions whole before the first curtain rises."

제6회: 텍스트의 감옥 (The Prison of Text)

에이드리언 밀러와의 날카로운 대립 후, 루이는 고전 연극이라는 거대한 텍스트의 감옥에 갇힌 듯한 절망감에 휩싸인다. 로열 오페라 하우스의 거대한 도서관, 먼지 쌓인 책장 사이를 헤매며 그는 수백 년간 변치 않은 셰익스피어의 희곡 <햄릿>을 다시 읽는다. 수많은 주석과 해석들이 빼곡히 채워진 그 텍스트는 마치 자신의 예술적 자유를 억압하는 거대한 벽처럼 느껴진다. 그의 눈에 들어오는 것은 단어와 문장들이 아니라, 그 빽빽한 활자들 사이, 혹은 활자의 이면에 숨겨진 **'보이지 않는 공간'과 '사유의 여백'**이었다. 마치 고고학자가 유물 속에서 과거의 흔적을 발견하듯, 루이는 햄릿의 유명한 독백 "To be, or not to be"에서 '존재'와 '비존재' 사이의 끊임없는 진동과 갈등의 에너지를 시각적인 언어로 치환할 가능성을 감지한다. 그는 텍스트 자체가 아닌, 텍스트가 관객에게 던지는 질문, 즉 **'텍스트 너머의 개념적 잔향'**에 주목하기 시작한다. 이 순간, 루이는 텍스트의 감옥을 부수고 무대 위에 새로운 시각적 언어를 창조할 해방의 열쇠를 손에 쥐게 된다.

런던 로열 오페라 하우스의 웅장한 도서관. 루이가 끝없이 이어지는 고서들 사이에서 압도된 표정으로 서 있다. 먼지 낀 공기 속에 고요함이 감돈다. 단어들의 영묘, 각 권의 책은 사상, 이론, 해석의 비석이다. 이곳에서 전통은 힘을 얻지만, 천 명의 학자들의 유령에 질식당하며 창의력이 죽으러 오는 곳이기도 하다. 루이가 두꺼운 <햄릿> 희곡을 펼친다. 페이지마다 빼곡한 주석과 밑줄이 가득하며, 그의 얼굴에는 답답함이 역력하다.

4백 년간의 잉크, 강요된 의미. 모든 행은 감옥의 창살이며, 모든 주석은 연극의 진정한 정신, 인간 투쟁의 날것 그대로의 길들여지지 않은 본질을 이 텍스트 감옥 안에 묶어두는 사슬이다. 루이의 시선이 활자들이 빽빽한 페이지 속에서 단어와 단어 사이, 줄과 줄 사이의 '비어 있는 공간'을 예리하게 응시한다. 그의 눈동자에 빛이 스친다. 하지만 잠깐. 만약 진실이 단어 자체에 있는 것이 아니라, 그 단어들 사이의 침묵 속에 있다면? 명시적인 선언이 아니라, 진정한 인간 경험이 머무는, 의미심장한 공허함, 말 없는 공간 속에 있다면? <햄릿> 희곡 속 "To be, or not to be" 문장이 클로즈업된다. 루이의 손가락이 이 문장을 따라 흐르며, 그 위로 푸른빛의 에너지 선들이 떠오르는 듯한 시각적 효과가 나타난다. "사느냐 죽느냐… 이 질문은 단순히 말해지는 것이 아니다; 그것은 존재와 망각 사이의 끊임없는 진동으로 울려 퍼진다. 어떻게 그 진동을 그릴 수 있을까? 어떻게 그 영원한 갈등을 숨 쉬는 무대로 조각할 수 있을까?" 루이의 머릿속에서 '존재'와 '비존재'의 개념이 차가운 청색과 희미한 회색의 추상적인 형태로 무대 위에 구현되는 상상이 펼쳐진다. 텍스트가 아닌, 개념이 무대를 채우는 모습이다. 무대는 이 말 없는 진실들을 위한 메아리 방이 되어야 한다. 관객이 단지 단어를 듣는 것이 아니라, 햄릿 영혼의 마찰, 그의 절망의 원초적이고 개념적인 건축물을 느끼는 도가니가 되어야 한다. 루이가 도서관 창문 밖을 내다본다. 그의 얼굴에는 더 이상 좌절감이 아닌, 새로운 발견과 예술적 해방감으로 인한 강렬한 확신이 감돈다. 그의 손에는 셰익스피어 희곡 대신 빈 노트가 들려 있다. 그들은 나에게 텍스트의 감옥을 주었지만, 나는 그 벽 안에서 열쇠를 찾았다. 나의 무대는 보이지 않는 것과의 대화이자, 순수한 개념의 공연, 셰익스피어에 대항하는 것이 아니라 그의 천재성의 길들여지지 않은 정신을 위한 반란이 될 것이다!

After the sharp confrontation with Adrian Miller, Louis is engulfed in despair, feeling trapped in the vast prison of classical theater's text. Wandering through the dusty shelves of the Royal Opera House's immense library, he rereads Shakespeare's Hamlet, a play unchanged for centuries. The text, crammed with countless annotations and interpretations, feels like a colossal wall suppressing his artistic freedom. What catches his eye are not the words and sentences themselves, but the 'invisible spaces' and 'margins of thought' hidden between or behind the dense typography. Just as an archaeologist uncovers traces of the past within an artifact, Louis perceives the possibility of translating the perpetual oscillation and conflict of 'being' and 'non-being' in Hamlet's famous soliloquy, "To be, or not to be," into a visual language. He begins to focus not on the text itself, but on the questions the text poses to the audience—that is, the 'conceptual resonance beyond the text.' At this moment, Louis grasps the key to liberation, ready to break free from the prison of text and create a new visual language on stage.

A mausoleum of words, each bound volume a tombstone for a thought, a theory, an interpretation. This is where tradition finds its strength, yet it is also where creativity comes to die, suffocated by the ghosts of a thousand scholars. "Four hundred years of ink, of imposed meaning. Every line a prison bar, every annotation a chain binding the true spirit of the play, the raw, untamed essence of human struggle, within this textual cage." But wait. What if the truth lies not in the words themselves, but in the silence between them? Not in the explicit declarations, but in the pregnant voids, the unspoken spaces where true human experience resides?" To be, or not to be... The question is not merely spoken; it resonates, a perpetual vibration between existence and oblivion. How can I paint that oscillation? How can I sculpt that eternal conflict into a stage where it breathes? "The stage must become an echo chamber for these unspoken truths, a crucible where the audience doesn't just hear the words, but feels the very friction of Hamlet's soul, the raw, conceptual architecture of his despair." They gave me a prison of text, but I have found the key within its very walls. My stage will be a dialogue with the invisible, a performance of pure concept, a rebellion not against Shakespeare, but for the untamed spirit of his genius!

제7회: 색채의 망령 (The Specter of Color)

무대 디자인이 본격화되자, 에이드리언은 복수와 분노로 점철된 <햄릿>의 후반부를 장식할 강렬한 선홍빛 천과 핏빛 조명을 주문한다. 그는 그것이 관객의 아드레날린을 자극할 '복수의 색'이라 확신한다. 그러나 루이는 모두의 예상을 깨고 무대를 온통 기분 나쁜 '얼룩진 회색'으로 뒤덮기 시작한다. 루이에게 있어 진정한 복수는 타오르는 불꽃 같은 빨간색이 아니라, 영혼을 서서히 좀먹어 들어가는 무기력한 우울이자, 확신과 의심 사이에서 길을 잃고 오염된 '회색의 망령'이었기 때문이다. 그는 에이드리언의 거센 항의에 맞서, 피는 씻어내면 그만이지만 영혼에 들어앉은 회색 얼룩은 죽음으로도 지워지지 않는 법이라며 자신의 신념을 굽히지 않는다. 캔버스 위에 흩뿌려진 납빛 회색의 파편들은 이제 무대 위에서 단순한 배경이 아니라, 인물들의 무너져가는 내면을 형상화한 거대한 심리적 압박으로 변모하며 전통적인 색채 미학에 강력한 균열을 일으킨다.

무대 위에 선명한 붉은색 벨벳 천들을 늘어뜨리며 열정적으로 설명하는 에이드리언. 루이는 그 옆에서 무표정하게 이를 지켜본다. 이 진홍색을 보시오, 루이! 이것은 정의를 구하는 아들의 본능적인 비명이며, 곧 닥칠 국왕 살해의 냄새와 날것 그대로의 순수한 분노로 공기조차 물들일 강력한 색조요. 루이가 에이드리언이 내민 붉은 천을 밀어내고, 자신의 팔레트에서 탁하고 얼룩진 회색 물감을 나이프로 긁어내 보여준다. 당신의 빨간색은 너무 시끄럽고 너무 쉽소. 그것은 훨씬 깊은 부패를 가리는 얕은 가면일 뿐이지요. 왕자의 심장 속에 깃든 복수는 타오르는 불꽃이 아니라, 자아의 지평선을 지워버리는 차갑고 숨 막히는 안개요. 루이가 커다란 붓으로 깨끗한 시안 위에 회색 물감을 거칠게 칠한다. 회색 안에는 은색, 검정색, 갈색이 뒤섞인 기분 나쁜 얼룩이 보인다. 진정한 복수는 얼룩진 회색이오. 그것은 납과 재의 색이며, 절박한 '예'와 마비시키는 '아니오' 사이의 정체된 공간의 색이자, 아버지의 망령과 아들의 광기가 만나는 곳의 색이지요. 분노한 에이드리언이 루이의 어깨를 붙잡고 소리친다. 배경의 무대 조명이 붉은색과 회색으로 갈라지며 대립을 강조한다. 당신은 나의 걸작을 지루함의 색으로 익사시키겠다는 거요? 관객은 열정을 원하지, 비 내리는 런던 오후의 황량한 우울을 원하는 게 아니오; 그들은 투쟁의 열기를 보고 싶어 하지, 그 소멸을 보고 싶은 게 아니란 말이오! 루이가 무대 바닥에 회색 안료를 흩뿌리자, 그 입자들이 공중으로 떠오르며 거대한 망령의 형상을 이룬다. 그의 눈은 확신으로 가득 차 있다. 열정은 산 자들이 죽은 자를 잊기 위해 하는 거짓말이오. 나는 그들에게 양심의 무게를, 햄릿의 망설임이 남긴 회색 얼룩이 자신들의 살결 위로 기어오르는 것을 느낄 만큼 밀도 높은 심리적 압박을 줄 것이오. 결국 무대의 붉은 천들이 하나둘 내려가고, 그 자리를 루이의 거대한 회색 구조물과 얼룩진 그림자들이 채우기 시작한다. 루이는 그 중심에 고독하게 서 있다. 빨간색은 그것이 속한 어둠 속으로 사라지게 두시오. 내일이면 세상은 가장 무서운 망령이 하얀 갑옷을 입은 자가 아니라, 돌아갈 길을 찾지 못한 영혼이 남긴 지워지지 않는 회색 얼룩임을 알게 될 것이오.

As the stage design moves into full swing, Adrian orders intense scarlet fabrics and blood-red lighting to decorate the latter half of Hamlet, a segment saturated with revenge and fury; he is certain that these are the 'colors of vengeance' that will stimulate the audience's adrenaline. However, Louis defies everyone's expectations and begins to coat the entire stage in a sickening 'stained gray.' For Louis, true revenge is not a flaming red but a lethargic melancholy that slowly eats away at the soul—a 'specter of gray' contaminated by losing one's way between conviction and doubt. Facing Adrian's fierce protest, Louis remains steadfast, arguing that while blood can simply be washed away, the gray stains settled in the soul cannot be erased even by death. The leaden gray fragments scattered across the canvas now transform on stage from mere backdrops into a colossal psychological pressure embodying the characters' crumbling inner selves, creating a powerful rift in traditional color aesthetics.

Look at this crimson, Louis! It is the visceral scream of a son seeking justice, a hue so potent it will stain the very air with the scent of impending regicide and raw, unadulterated fury. "Your red is too loud, too easy—a shallow mask for a much deeper rot. Revenge in the heart of a prince is not a blazing fire that consumes, but a cold, suffocating fog that erases the horizon of the self." True vengeance is stained gray—the color of lead, of ash, of the stagnant space between a desperate 'yes' and a paralyzing 'no' where the ghost of a father meets the madness of a son. "You would drown my masterpiece in the color of boredom? The audience demands passion, not the dreary gloom of a rainy London afternoon; they want to see the heat of the struggle, not its extinction!" Passion is a lie told by the living to forget the dead. I will give them the weight of the conscience, a psychological pressure so dense that they will feel the gray stains of Hamlet's indecision creeping onto their own skin. "Let the red fade into the shadows where it belongs. Tomorrow, the world will see that the most terrifying ghost is not the one in white armor, but the indelible gray stain left behind by a soul that cannot find its way back."

제8회: 무대 설계도의 비밀 (The Secret of the Stage Blueprint)

루이의 '얼룩진 회색' 무대 시안을 보고 경악을 금치 못했던 에이드리언 밀러는, 그의 파격적인 색채 미학을 마지못해 수용한다. 그러나 루이는 여기에 그치지 않고, 3차원 무대 공간 자체를 2차원 추상화의 원리로 재해석한 기하학적인 무대 설계도를 제시한다. 이 설계도는 일반적인 무대 평면도가 아니었다. 그것은 마치 살아있는 유기체처럼 끊임없이 변형하고 재구성될 수 있는, 빛과 그림자, 그리고 구조물이 한데 어우러진 '개념적 공간'의 청사진이었다. 에이드리언은 복잡한 선과 알 수 없는 기호들로 가득 찬 이 설계도를 이해하려 애쓰지만, 그의 눈에는 혼란스러운 추상화로만 보일 뿐이다. 루이는 이 설계도가 단순한 무대가 아니라, 관객이 햄릿의 비극적 심리 속으로 직접 걸어 들어갈 수 있는 '사유의 미로'임을 역설한다. 무대 위에 존재하는 모든 요소는 감각적 재현을 위한 것이 아니라, 오직 하나의 개념, 즉 '인간 존재의 불확실성'이라는 거대한 질문을 시각화하기 위한 도구로 기능할 것이라는 루이의 선언은, 로열 오페라 하우스의 모든 전통적 관념을 뒤흔드는 폭탄 선언과 같았다.

루이가 거대한 무대 설계도를 펼친다. 설계도는 기존의 평면적인 도면과 달리 복잡한 기하학적 선들과 알 수 없는 기호들로 가득 차 있다. 이것은 단순히 무대 설계도가 아니오, 밀러 선생; 이것은 햄릿의 파편화된 현실의 개념적 뼈대이며, 물리적 공간의 지도가 아니라, 그의 의심, 고뇌, 존재론적 위기의 바로 그 건축 구조를 보여주는 지도요. 에이드리언이 설계도 위로 얼굴을 가까이 대고 복잡한 선들을 이해하려 애쓰지만, 그의 표정은 혼란으로 가득 차 있다. 이게 무슨 광기요? 벽은 어디에 있소? 성은? 배우들을 위한 식별 가능한 길은? 이것은 선들의 뒤죽박죽일 뿐, 어린아이의 낙서이지, 이제까지 구상된 가장 위대한 비극을 위한 설계도가 아니란 말이오! 루이가 설계도 위에 손을 얹고, 3차원 공간이 2차원 추상 형태로 변환되는 개념을 설명하듯 허공에 기하학적인 도형들을 그린다. 무대는 정적인 상자가 아니오; 그것은 역동적인 캔버스요. 이 선들은 물리적 장벽을 나타내는 것이 아니라, 운명의 보이지 않는 힘, 절망의 심리적 각도, 햄릿의 파편화된 정신의 변화하는 평면을 2차원으로 투영한 것이오. 설계도 위에서 특정 선들이 빛을 발하고, 그 빛이 드리우는 그림자가 또 다른 기하학적 형태를 만들어내는 것을 루이가 손으로 가리킨다. 그리고 빛은, 밀러 선생, 단순히 조명이 아니오. 그것은 공허를 조각하고, 어둠 속에서 일시적인 진실을 새기는 끌이오. 그림자는 부재가 아니라, 항상 존재하고 끊임없이 변화하는 불확실성의 무거운 망토요. 설계도 속 기하학적 구조물들이 마치 미로처럼 복잡하게 연결되어 있고, 그 안으로 배우들이 작은 점처럼 움직이는 상상도가 루이의 머릿속에 떠오른다. 관객은 단지 구경하는 것이 아니라, 생각의 미로 속을 헤매며 길을 잃을 것이오. 그들은 성을 마주하는 것이 아니라, 고뇌하는 양심의 바로 그 건축적 형태를, '사느냐 죽느냐'의 질문이 강철과 빛으로 형상화된 것을 마주할 것이오. 루이가 설계도를 든 채 무대 중앙에 서서, 관객석을 향해 강렬한 눈빛을 보낸다. 그의 뒤로 로열 오페라 하우스의 웅장한 공간이 추상적인 형태로 변모하는 환영이 나타난다. 이것은 단순히 연극이 아니오, 이것은 개입이오. 나는 무대를 짓는 것이 아니라, 존재 자체를 해부하는 것이오. 관객이 나의 디자인의 stark하고 기하학적인 매개 변수 안에서 인간 취약성의 날것 그대로의 꾸밈없는 진실을 마주하게 만들 것이오.

Adrian Miller, horrified by Louis's 'stained gray' stage proposal, reluctantly accepts his unconventional color aesthetic. However, Louis does not stop there, presenting a geometric stage blueprint that reinterprets the three-dimensional stage space itself through the principles of two-dimensional abstraction. This blueprint was no ordinary stage floor plan. It was a conceptual space, a living organism of light, shadow, and structure that could be endlessly transformed and reconfigured. Adrian struggles to comprehend this blueprint, filled with complex lines and unknown symbols, seeing only a confusing abstraction. Louis, however, insists that this blueprint is not merely a stage but a 'labyrinth of thought' where the audience can directly step into Hamlet's tragic psyche. Louis's declaration—that every element existing on stage would function not for sensory representation but as a tool to visualize a single concept: the grand question of 'the uncertainty of human existence'—was like a bombshell shaking every traditional notion of the Royal Opera House.

This is not merely a stage blueprint, Monsieur Miller; it is the conceptual skeleton of Hamlet's fractured reality, a map not of physical space, but of the very architecture of his doubt, his anguish, his existential crisis. "What madness is this? Where are the walls? The castle? The discernible paths for actors? This is a jumble of lines, a child's scribble, not a blueprint for the greatest tragedy ever conceived!" The stage is not a static box; it is a dynamic canvas. These lines represent not physical barriers but the invisible forces of fate, the psychological angles of despair, the shifting planes of Hamlet's fragmented mind projected onto two dimensions. "And light, Monsieur Miller, is not merely illumination. It is a chisel, sculpting the void, carving temporary truths from the darkness. Shadow is not absence, but the heavy cloak of uncertainty, ever present, ever shifting." The audience will not merely watch; they will wander, lost in a labyrinth of thought, confronting not a castle, but the very architectural form of a tormented conscience, the question of 'to be or not to be' made manifest in steel and light. "This is not merely a play, it is an intervention. I am not building a stage; I am dissecting existence itself, forcing the audience to confront the raw, unadorned truth of human fragility within the stark, geometric parameters of my design."

제9회: 첫 번째 비난 (The First Denunciation)

루이의 파격적인 무대 설계와 '얼룩진 회색'의 미학이 언론을 통해 유출되자, 런던의 보수적인 예술 평단은 즉각적으로 날 선 비난을 퍼붓기 시작한다. 유서 깊은 로열 오페라 하우스의 전통을 모욕했다는 평론가들의 공격은 마치 굶주린 늑대들의 울음소리처럼 루이의 주변을 에워싸고, 대중은 그를 '고전을 파괴하는 무례한 침입자'로 낙인찍는다. 에이드리언 밀러조차 쏟아지는 비난의 화살 앞에서 루이와 거리를 두기 시작하고, 웅장했던 극장의 복도는 이제 루이에게 있어 세상에서 가장 차갑고 긴 유배지가 된다. 작업실 창밖으로 보이는 런던의 화려한 불빛조차 그에게는 냉소적인 시선처럼 느껴지지만, 루이는 이 지독한 고독 속에서 오히려 자신의 신념이 더욱 선명해지는 것을 경험한다. 그는 비난의 기사들이 널브러진 어두운 무대 위에 홀로 서서, 진정한 예술이란 대중의 박수 속이 아니라 타협할 수 없는 고독의 심연에서 비로소 완성되는 것임을 깨달으며, 자신을 향한 모든 공격을 새로운 창조를 위한 연료로 삼기로 결심한다.

신문 1면에 루이의 무대 설계도와 함께 '로열 오페라의 수치', '전통의 파괴자'라는 자극적인 헤드라인이 장식되어 있다. 평론가들의 잉크가 독처럼 흐르며, 이 유서 깊은 기관의 정체된 공기에 불을 붙이기도 전에 혁신의 불꽃을 잠재우려는 검은 파도가 되어 밀려온다. 극장 복도를 걸어가는 루이. 그를 지나치는 단원들과 관계자들이 수군거리며 차가운 눈빛을 보낸다. 한때 협업의 약속으로 메아리치던 바로 그 복도들이 이제는 뼈아픈 진실의 불편함보다 아름다운 거짓말의 안전함을 선호하는 자들의 침묵 섞인 심판으로 진동한다. 에이드리언이 루이의 시선을 피하며 어두운 무대 뒤편으로 사라진다. 루이는 그 뒷모습을 고독하게 바라본다. 이 웅장한 무대의 수호자인 나의 후원자조차 여론의 그늘 속으로 물러나 버렸고, 나로 하여금 대중적 무지의 폭풍 속에서 이 반란의 배를 홀로 조종하게 내버려 두었다. 어두운 작업실, 루이가 창밖의 런던 야경을 등지고 앉아 있다. 바닥에는 찢겨진 비난 기사들이 흩어져 있다. 도시는 천 개의 냉소적인 눈들로 반짝이며, 각 불빛은 분류할 수 없는 것을 두려워하는 세상, 메시지를 듣느니 차라리 그 전달자를 십자가에 못 박으려 하는 사회의 증거가 된다. 루이가 흩어진 기사들 사이에서 자신의 붓을 강하게 움켜쥐며 일어선다. 그의 눈에는 흔들림 없는 확신이 서린다. 그러나 이 공허한 침묵 속에서 나는 내 목적의 강철 같은 핵심을 발견한다; 진정한 예술이란 금빛 홀에서 도달한 합의가 아니라, 영혼의 심연 가장 밑바닥에서 내뱉는 고독한 비명이기 때문이다. 텅 빈 어두운 무대 중앙, 루이가 핀 조명 하나를 받으며 서 있다. 그는 자신을 향한 비난을 딛고 더 거대한 창조를 향해 나아갈 준비가 되어 있다. 그들이 돌을 던지고 그들의 두려움으로 내 이름을 더럽히게 두라, 모든 모욕은 내 저항의 걸작 속에 담긴 하나의 붓질에 불과하며, 나는 그들의 기대를 허문 잔해 위에 나의 성전을 세울 것이니.

As Louis's radical stage design and his aesthetic of 'stained gray' are leaked through the media, London's conservative art critics immediately begin to unleash a barrage of sharp denunciations. The critics' attacks, claiming he insulted the long-standing traditions of the Royal Opera House, surround Louis like the howling of hungry wolves, while the public labels him a 'rude interloper destroying the classics.' Even Adrian Miller begins to distance himself from Louis in the face of the pouring arrows of criticism, and the once majestic corridors of the theater now become the coldest and longest place of exile in the world for him. Even the brilliant lights of London seen outside his studio window feel like cynical glares, yet in this terrible solitude, Louis experiences his convictions becoming even clearer. Standing alone on the dark stage littered with vitriolic articles, he realizes that true art is not completed amidst the applause of the masses, but within the uncompromising abyss of solitude, and he resolves to use every attack against him as fuel for a new creation.

The ink of the critics runs like poison, a black tide intended to drown the spark of innovation before it can ignite the stagnant air of this venerable institution. "The very hallways that once echoed with the promise of collaboration now vibrate with the silent judgment of those who prefer the safety of a beautiful lie to the discomfort of a skeletal truth." Even my patron, the guardian of this grand stage, retreats into the shadows of public opinion, leaving me to steer this vessel of rebellion through a storm of collective ignorance alone. "The city glitters with a thousand cynical eyes, each light a testament to a world that fears what it cannot categorize, a society that would rather crucify the messenger than hear the message." But in this hollow silence, I find the iron core of my purpose; for true art is not a consensus reached in a gilded hall, but a solitary scream uttered from the very bottom of the soul's abyss. "Let them throw their stones and stain my name with their fear, for every insult is but a brushstroke in the masterpiece of my defiance, and I shall build my temple on the ruins of their expectations."

제10회: 선포된 해체 (The Declared Dismantling)

평단의 무자비한 폭격과 에이드리언의 외면 속에서도 루이는 멈추지 않았고, 마침내 로열 오페라 하우스의 거대한 어둠 속에 <햄릿>의 첫 번째 구조물이 그 기괴하고도 매혹적인 위용을 드러냈다. 그것은 전통적인 성벽이나 왕좌가 아니라, 차가운 강철 선들이 복잡하게 얽혀 허공을 가르는 거대한 '사유의 뼈대'였으며, 마치 관객의 심장을 꿰뚫으려는 듯 날카로운 기하학적 궤적을 그리며 서 있었다. 루이는 이 차가운 금속 구조물 앞에 서서, 이것이 단순한 세트가 아니라 400년간 박제되었던 텍스트의 권위를 해체하고 인간 존재의 적나라한 진실을 드러낼 단두대임을 선포한다. 극장에 모여든 단원들은 그 압도적인 형태 앞에서 전율하며, 이제 연극은 재현의 안락함을 벗어나 개념의 폭풍 속으로 던져졌음을 직감한다. 루이의 지휘 아래 첫 번째 조명이 구조물을 때리는 순간, 견고했던 전통의 성벽은 환영처럼 무너져 내리고, 그 자리에는 오직 인간 영혼의 파편화된 진실만이 강렬한 금속성 빛을 내뿜으며 예술적 혁명의 서막을 알렸다.

거대한 무대 위, 짙은 어둠 속에서 차가운 금색과 은색 빛을 반사하는 거대한 금속 뼈대가 서서히 모습을 드러낸다. 엘시노어의 견고한 돌들이 정신의 뼈대와도 같은 진실로 대체되는 새로운 현실의 탄생을 목격하라. 이것은 왕을 모시기 위한 것이 아니라, 양심이라는 덧없는 망령을 가두기 위해 설계된 기하학적 감옥이다. 구조물 앞에 선 루이가 단원들을 향해 양팔을 벌리며 당당하게 선언한다. 그의 뒤로 날카로운 금속 선들이 배경을 가른다. 나는 재현의 종말과 박제된 단어의 해체를 선포하노라; 너무나 오랫동안 우리는 사실주의라는 가면 뒤에 숨어왔으나, 오늘 우리는 무대를 발가벗겨 인간 존재의 날것 그대로의 굴하지 않는 강철 같은 진실과 마주할 것이다. 무대 아래에서 구조물을 올려다보는 배우들과 스태프들. 그들의 얼굴에는 공포와 경외심이 교차하며, 구조물의 압도적인 스케일에 압도당한다. 이 새로운 건축물의 무게로 진동하는 공기가 느껴지는가? 햄릿의 영혼이 내뱉는 진실되고 고통스러운 비명을 억눌러온 수 세기 동안의 전통을 부숴버릴 듯 무거운 이 침묵이 느껴지는가? 멀리 객석 어둠 속에서 이 광경을 지켜보는 에이드리언. 그의 눈에는 자신이 알던 연극이 파괴되는 것에 대한 공포와 부인할 수 없는 예술적 전율이 서린다. 밀러 선생, 당신은 파괴를 보고 있지만 나는 해방을 보고 있소; 미래를 건설하기 위해서는, 정신의 금빛 감옥에 불과하게 된 과거의 기념비들을 해체할 용기를 먼저 가져야만 하기 때문이오. 루이의 신호에 맞춰 날카로운 핀 조명이 구조물의 심장부를 때린다. 빛은 금속 면에 반사되어 수천 개의 파편으로 갈라지며 무대를 가득 채운다. 빛이 공허에서 의미를 새기는 칼날이 되게 하라, 이 차가운 금속을 존재하거나 존재하지 않는다는 것의 아름답고도 두려운 불확실성에 대한 살아 숨 쉬는 증거로 점화시키는 전기적 박동이 되게 하라. 구조물의 그림자가 관객석 끝까지 길게 뻗어나가고, 루이는 그 중심에서 마치 혁명가처럼 서 있다. 전통의 벽이 무너지는 환영이 오버랩된다. 혁명은 함성이 아니라 바닥을 치는 강철의 차가운 금속음과 함께 시작되었노라; 당신들의 기대라는 벽이 무너져 내리고, 인간 조건의 냉혹하고 기하학적인 진실만이 남는 것을 지켜보라.

Despite the merciless bombardment from critics and Adrian's withdrawal, Louis did not falter, and finally, amidst the vast darkness of the Royal Opera House, the first structure for Hamlet revealed its bizarre yet mesmerizing grandeur. It was not a traditional castle wall or a throne, but a colossal 'skeleton of thought' made of cold steel lines intricately intertwined to pierce the void, standing with sharp geometric trajectories as if to transfix the audience's very hearts. Standing before this frigid metal edifice, Louis declares that this is not a mere set, but a guillotine that will dismantle the 400-year-old authority of the fossilized text and expose the naked truth of human existence. The troupe gathered in the theater trembles before its overwhelming form, intuitively sensing that the play has now moved beyond the comfort of representation and into the storm of pure concept. The moment the first light strikes the structure under Louis's command, the solid walls of tradition crumble like a phantom, and in their place, only the fragmented truth of the human soul emits an intense metallic glow, signaling the dawn of an artistic revolution.

Witness the birth of a new reality, where the solid stones of Elsinore are replaced by the skeletal truths of the mind, a geometric cage designed not to house a king, but to trap the fleeting ghost of a conscience. "I declare the end of representation and the dismantling of the fossilized word; for too long we have hidden behind the mask of realism, but today, we strip the stage bare to confront the raw, unyielding steel of human existence." Can you feel the air vibrate with the weight of this new architecture, a silence so heavy it threatens to crush the centuries of tradition that have stifled the true, agonizing scream of Hamlet’s soul? "You see destruction, Monsieur Miller, but I see liberation; for to build the future, one must first possess the courage to dismantle the monuments of the past that have become nothing more than gilded prisons for the spirit." Let the light be a blade that carves meaning from the void, an electric pulse that ignites this cold metal into a living, breathing testament to the beautiful, terrifying uncertainty of being or not being. "The revolution has begun not with a shout, but with the cold clank of steel against the floor; watch as the walls of your expectations crumble, leaving only the stark, geometric truth of the human condition."

A New Drug Developer

Choi Chul-joo AAS conceptual abstract realism a cartoon drawing《A New Drug Developer》-1

사실주의 만화로 렌더링된 개념 추상 소설, AAP 소설은 언어적 의미의 이미지로서 개념을 추상화하고 종교적 구세주의 분열된 추상 구조를 실존적 사실주의 만화 이미지로 변환합니다. 이는 시간성과 추상적 공간의 여백에 물감의 흔적을 통해 실존적 사실주의를 표현하는 만화 형식이 됩니다. 이 형식은 다양한 시간과 공간, 회화적 형식을 넘나들며 지각 이전의 구조, 즉 언어적 의미 이전의 희극적 이미지를 드러냄으로써 현대 개념미술의 문학적 성격을 초월합니다.

색은 현상적 이미지를 다르게 오해하는 원인을 제공합니다. 글쓰기는 삶의 이야기를 바탕으로 소설을 구성합니다. 바람은 가벼운 물체를 흔듭니다. 한 그루의 나무 위에서도 두꺼운 줄기는 가만히 있고 나뭇가지는 떨립니다. 하지만 빛에 의해 확산된 색조는 태양의 위치에서 발산합니다. 사물의 순간적인 떨림으로 인해 만들어진 풍경이 진정으로 존재하지 않는다는 것을 느낀 낭만주의 화가는 대신 현대 미술이 되는 얼어붙은 프레임을 발견합니다. 이처럼 얼어붙은 장면은 최철주의 개념 추상적 리얼리즘을 통해 만화와 소설의 스토리라인으로 배열됩니다.

신약 개발자 A New Drug Developer

색은 현상적 이미지를 오해하는 다른 원인을 제공합니다. 이 글은 소설을 삶의 이야기와 함께 구성합니다.

바람이 가벼운 물체를 흔듭니다. 나무에서는 줄기의 두꺼운 부분이 멈추지만 하나는 흔들립니다.

그러나 빛에 의해 퍼진 색조는 태양의 위치에서 분사됩니다. 낭만주의 화가가 물체가 흔들리는 순간에 만들어진 풍경은 존재하지 않는다고 느꼈을 때 발견한 정지 화면이 현대 미술이 됩니다. 최철주의 개념적 추상적 사실주의 개념은 만화 콘티와 소설을 구성하는 플롯을 만들어냅니다.

개념적 추상 소설 플롯으로 사실주의 만화 렌더링

이 소설은 개념을 언어적 의미의 이미지로 추상화하고 종교적 구세주주의로 나뉜 추상적 구조를 개념화하여 실존적 사실주의 만화 이미지로 이미지화한 것입니다.

이것은 사실주의의 존재를 바탕으로 한 만화 형식으로, 여백에 물감의 흔적을 통해 필요성에 대한 자의식을 시간과 추상적인 공간으로 표현합니다.

이 형식은 지각 이전의 실존적 추상 플롯, 즉 언어적 의미의 이전 단계의 만화 이미지의 감각 구조를 드러내며, 현대 개념 예술의 문학적 성격을 넘어 시청자의 눈을 통해 보다 다양한 시공간적 형식과 회화적 형식이 교차하는 개념적 추상 리얼리즘 플롯을 기반으로 한 만화 이미지입니다.

여기서 언어적 의미의 이전 무대 이미지는 물고기의 등과 같은 새의 공격을 피하기 위해 주변 색과 유사한 보호색으로 구성된 만화로 소설 줄거리를 옮깁니다. 따라서 연못에 있는 물고기의 이미지는 가역적인 빛의 그림자 속에서 영역으로 실현된 소설을 구성합니다.

또한, 최철주의 욕망 공식은 파동의 흐름에 따라 자유로운 물고기를 생산하여 욕망의 상징적 구조로서 개념적 추상적 실재론의 관점에서 접근할 수 있도록 했으며, 소설과 만화를 언어 이전의 실재론과 추상적 상징의 충돌 지점으로 식별합니다.

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

상징적 만화는 타인의 무의식적인 욕망을 드러내는 추상적 이미지 욕망 대상으로 전환됩니다. 이는 물고기가 항상 눈을 뜨고 소중한 것을 지킬 것이라고 믿게 만드는 추상적 리얼리즘 소설과 만화로 이어지는 현대 미술의 조각적이고 개념적인 추상 리얼리즘 스타일로 구현됩니다.

소설은 만화 매체의 상징성에 따라 시간과 현실의 흔적이 담긴 삶의 이야기를 담고 있기 때문에, 최철주의 AAP 소설은 줄거리를 콘티로 하여 평평한 단면 구조의 관점에서 AAS 만화를 연출합니다.

이것은 AAP 소설 관점의 해체를 현실주의 만화 이미지로 구현하는 방법입니다.

개념 추상 리얼리즘 소설에 적용된 이 만화 디자인 방법은 언어적 의미 이전에 욕망의 흔적으로 작용하는 AAP 소설의 신호이며, 시간성에 따라 무의식적으로 종합하면서 움직이는 시간이 공존하는 무의식적 욕망 구조에 따라 만화 이미지의 의미가 가변적인 언어적 의미로 만화 이미지로 전이됩니다.

따라서 무의식적인 언어 의미로서 AAP 소설의 줄거리는 가역적인 빛의 색으로 AAS 만화를 만들어 대상에 직면한 관습 보편성의 현실을 보여줍니다.

이 장식된 만화에서 언어의 의미에서 문법적 존재로서의 이미지는 교육받은 관습의 단상 리얼리즘 이미지입니다. 이는 욕망 구조로서의 리얼리즘 이미지를 추상화한 비현실적 공간에서 상징되는 의미의 조각입니다.

그 조각품은 가상의 사건 이미지로 기능하며, 존재와 부재의 경계를 탐구하는 가역적인 빛에 의해 생성된 색채의 음영과 결합된 기울기 추상적인 사실주의 만화입니다.

이처럼 AAP 소설의 줄거리는 사건의 이미지를 무의식적인 언어적 의미로 연결하여 장식합니다. 빛의 가역적인 색으로 대상을 마주하는 관습적 보편성의 현실을 조명하는 AAS 만화를 '나팔꽃', '죽나무숲', '폰드'를 배경으로 한 욕망 구조의 개념적 추상화로 표현합니다.

개념 추상적 사실주의 추상화 AAS 만화로서의 AAP 소설 플롯은 실제 자아와 사물의 형태의 구분 구조를 언어 이전의 감각 구조의 객체 규칙 시각화로, 즉 초상화가 아닌 개념적 주제를 가진 풍경을 만화 이미지로 전환하여 추상적 무의식 내에서 일어나는 발음의 차원에서 일어나는 의미 있는 사실주의 구조로 구성됩니다. AAP 소설 플롯의 구성 요소인 AA 만화 콘티와 대사는 추상적 무의식 속에서 일어나는 의미 있는 사실주의 구조로서 추상적 언어의 의미를 이미지로 의식적, 무의식적 차원에서 함께 작용하여 만화의 형식성을 부여합니다.

Choi Chul-joo AAS conceptual abstract realism a cartoon drawing《A New Drug Developer》-Double Spy Artificial Intelligence Robot Codex-m134-9-1

개념 추상주의 AAS 만화 디자인 방법론

1. 개념 추상주의 AAS 만화 개념은 사실주의 이미지를 재현하여 비이데올로기적 형태로 개념 대상으로 추상화한 만화 이미지입니다. 이 이미지는 살의 존재를 숨기는 가상의 이미지로 평면으로 인식되며, 개념 추상화에서 욕망의 구조로서 '나팔꽃', '죽나무숲', '폰드'를 배경으로 합성된 구조물로, 사실주의 만화 일러스트 이미지를 렌더링하여 실제 구조물처럼 보입니다.

여기서 추상적 사실주의 만화는 실제 구조와 이미지가 다르더라도 동일한 언어적 의미를 말할 때 언어적 의미에서 창의성과 자율성을 지닌 실존적 사실주의 대상 개념을 추상과 유사한 색상과 크기로 재생산합니다. 따라서 언어적 의미에서 창의성과 자율성을 지닌 실존적 개념 추상적 사실주의 만화의 개념은 타인의 욕망에 의해 억압된 무의식을 통해 개념적 추상적 사실주의 대상의 언어적 의미로서 존재의 또 다른 이미지를 구성합니다.

따라서 AAP 소설 줄거리는 만화의 내용과 대사로 설정되며, 만화는 상징적 세계로 들어온 비현실적 실존 주체의 방향을 나타내는 벡터인 사실주의 이미지의 개념적 형태이며, 현실적인 구조가 결여된 이미지에서 소외된 실존적 이미지의 개념을 정의하여 이미지를 형성합니다.

소설 플롯은 다양한 형태의 언어적 의미를 가진 이미지를 의미 구조로 동의어화하여 해결해야 할 방향을 표현하는 질서 있는 벡터입니다. 사후 만화의 본질인 만화 콘티의 장면 이미지로 표현된 분할을 통해 개념주의적 만화가 실존적 주체로 드러납니다.

따라서 개념적 추상 현실주의 AAS 만화 개념은 동의어로 의미 있는 소설 플롯으로 구성된 만화 이미지의 선을 의식적으로 선택하여 언어적 의미의 예비 단계로 예측할 수 있도록 하여 개념적 현실주의를 만화로 포괄적이고 즉각적으로 추상화하는 개념입니다.

2. 개념 추상적 사실주의 추상화의 언어적 의미 구조에 대한 먼 스케치는 "나팔꽃", "죽나무 숲", 그리고 욕망 구조로서의 "폰드"와 겹쳐지며, 현실주의적 이미지를 언어적 의미로서의 알레고리로 연결하는 스케치는 대상이 추상적인 대상에서 가역적인 빛의 그림자로 순간적인 욕망 개념의 전환인 가역적인 빛 구조입니다.

만화 스케치에서 가역적인 시간성으로 추상화된 객체의 위치를 이동시켜 그 의미를 회화적 언어 구조로 추상화합니다.

추상 만화는 소설 플롯의 움직임을 통해 필요성 자의식의 표시로서 시간성과 연결되며, 그림 언어로 번역된 기호 이전의 감각 구조를 드러내고, 스케치는 초기 개념 미술의 형성적 현실로 기능하는 추상적인 공간에 배치됩니다.

추상적인 공간 구조에서 원근 객관성은 수면을 위한 또 다른 시선 구조이며, 객체와 만화 스케치는 가역적인 빛이 사실주의 이미지와 겹쳐진 객체로 제한되는 공간 범위와 대조됩니다.

이것은 상징적 추상 세계에서 평면적인 형태와 색상으로 개념적 추상화 속에서 이미지 스케치를 반복하여 언어적 의미로서 객체의 존재를 드러내는 언어적 의미 구조의 만화 스케치이며, 나팔꽃과 객체 구조를 현실로 묘사하는 알레고리를 통과하는 언어적 의미 구조의 만화 스케치입니다.

3. 개념적 추상주의 만화의 언어적 의미에서 이미지 구조는 타인의 눈에 빛의 한 점으로 드러나는 추상적 사실주의 객체이며, 추상적 객체는 추상적 의미와 동일하게 나타나는 실존적 사실주의 이미지를 가진 객체의 시선, 욕망의 시선 체계에서 드러나는 미적 욕망 구조를 가진 왜소한 이미지를 식별하는 등 철학적 장치입니다. 이미지는 기하학적 접선과 추상적 나팔꽃을 무의식적인 존재로 표현하는 이미지를 만드는 원근 시각적 구조입니다. 타인의 욕망을 반영한 거울 이미지로 해석되어 관람자가 동시에 응시하고 있다는 환상적인 개념과 연결되며, 객체의 반응 시선은 관람자의 위치에 따라 달라지는 광학적 사실주의 공간을 만들어냅니다.

나팔꽃의 자리는 욕망의 개념이 반복되면서 추상화되는 현실주의의 구성을 구성하는 가역적 반응의 이미지로 추상화됩니다. 즉, 가역적인 빛을 응시하는 나팔꽃의 그림자 이미지가 가역적인 시간성에 따라 순서대로 객체에 표시되고, 개념적 추상화 현실주의 추상화의 언어적 의미의 만화 이미지는 동일한 시간성에서 분할된 객체의 가역적인 명암으로 구조화됩니다. 만화는 현실주의 공간의 관점과 객체의 추상적인 언어적 의미를 일치시키며, 욕망의 개념적 관점에서는 AAP 소설 플롯의 시간성에 따라 추상적이고 보이지 않는 객체가 시선 경로로 나타납니다.

이는 새로운 주제를 통해 미적 가치, 인간의 욕망, 언어적 의미 구조 간의 긴장과 조화를 통해 욕망의 구조와 현실의 미적 개념을 현실적인 이미지로 시각화하지만, 만화의 대상으로 구현됩니다.

4. 개념 추상적 사실주의 AAS 만화의 실현은 최철주의 욕망 공식에 명시된 추상적 대상을 개념화하여 욕망의 이미지를 설계함으로써 타인의 욕망을 넘어 언어적 의미를 문법적으로 해석함으로써 개념 추상적 사실주의 대상의 이미지가 실현되는 조건(i/d)을 구두로 해석할 수 있는 기회입니다. 또한 욕망의 주체로서의 개념 추상화를 현실주의적 이미지로 전이할 때 욕망의 주체는 추상적 구조가 무엇을 원하는지 스스로 묻고 추상적 개념의 실제 이미지로서 특정 대상을 선택하여 개념 추상적 사실주의 이미지가 만화에 현실로 도달하도록 합니다

개념 추상주의 만화 제작 과정에서 왜곡된 나팔꽃, 대나무 숲, 연못 이미지를 반복적으로 결합한 사물의 좌석 디자인을 특징짓는 상징적 행위의 의미를 나타냅니다. 여기서의 이미지는 사물의 시각적 현상이 아니라 무의식의 흐름과 상징이 현실적 이미지로 전환되는 과정을 시각화한 장치이며, 나팔꽃을 모방한 추상과 장소의 상수체로서의 개념 만화 대상은 개념 추상적 사실주의의 이미지를 상징하는 언어의 의미입니다.

이처럼 AAS 만화에서 '나팔꽃', '죽림', '폰드'를 개념적 욕망 구조로 배경에 넣어 인간이 삶에서 경험할 수 없는 추상적인 장소를 만들고, 언어적 의미 체계에서 균열된 추상 구조를 욕망의 대상으로 추상화하고 실현하기 위해 실존적 욕망의 개념에서 멈춘 만화를 현실적인 이미지로 표현했습니다.

따라서 AAS 만화 이미지는 가역적인 빛의 음영을 통해 현실을 숨기거나 드러내거나, 즉 과거의 빛이 지속 가능한 현재를 조명함으로써 인간 존재의 본질과 인식의 한계를 시각적으로 표현합니다. 이는 추상적 과거의 빛이 현재의 인공 조명과 동일한 구조로 실제 이미드에 전달되고, 무의식적 과거의 형성 흔적을 타인의 욕망으로 대체하는 개념적 추상적 리얼리즘 만화 이미지가 추상화되는 효과입니다.

"나팔꽃", "죽나무 숲", 그리고 "연못"을 개념적 욕망 구조로 시각화한 대상은 언어적 의미와 실제 이미지의 충돌을 통해 욕망 구조를 드러냅니다.

이것은 형성 구조의 철학적 및 언어적 이미지를 전달하고, 인간 존재의 본질과 인식의 한계를 은유로 재현하는 철학적 이미지로 디자인된 개념적 추상 현실주의 AAS 만화가 되는 장치입니다./ 글. 현대 미술평론가 최철주 (팝아트 AAS 리얼리즘 만화미술가 & 문화디자인박사)

Conceptual abstract novels rendered as realist cartoons, AAP novels abstract concepts as images of linguistic meaning and transform the divided abstract structure of religious saviors into existential realist cartoon images. This becomes a cartoon form that expresses existential realism through the traces of paint on the margins of temporality and abstract space. This form transcends the literary nature of contemporary conceptual art by revealing the structure before perception, that is, the comical image before the linguistic meaning, as it crosses various time, space, and pictorial forms through the viewer's gaze.

Color provides the cause for misinterpreting phenomenal images differently. Writing composes a novel out of the stories of life. The wind shakes light objects. Even on a single tree, the thick trunk remains still, while the branches tremble. Yet the hues diffused by light radiate from the position of the sun. A Romantic painter, sensing that the landscape created by the momentary trembling of objects does not truly exist, finds instead a frozen frame that becomes modern art. In this way, the frozen scene is arranged into a storyline for comics and novels through Choi Chul-joo’s conceptual abstract realism.

A New Drug Developer

Color provides a different cause of misunderstanding phenomenal images. The writing composes the novel with the story of life.

The wind shakes the light object. In a tree, thick sections of the stem are stopped, but one is shaken.

However, the color tone spread by light is sprayed from the position of the sun. The still screen found by the Romantic painter when he felt that the scenery created by the moment in the shaking of the object does not exist becomes modern art. Choi Chul-joo's conceptual abstract realistic concept creates a plot that composes the cartoon conti and the novel.

Rendering a Realist cartoon with a conceptual abstract novel plot

It is a novel that abstracts the concept as an image of linguistic meaning and conceptualizes the abstract structure divided in religious saviorism and is imaged as an existential realism cartoon image.

This is a cartoon form based on the existence of realism, which expresses necessity self-consciousness through traces of paint on the margins as time and abstract space.

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

Here, the previous stage image in the linguistic sense transfers the novel plot to a cartoon composed of a protective color similar to the surrounding color to avoid attacks from birds, such as the fish's back. Therefore, the image of a fish in a pond constitutes a novel that has been realized as a zone in a reversible shadow of light.

In addition, Choi Chul-joo's desire formula, which produced free 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, identifies novels and cartoons as a conflict point between realism and abstract symbols before language.

In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language as a cartoon through transgenic transfer.

Symbolic cartoons transfer to abstract image desire objects that reveal the unconscious desires of others. This is realized as a sculpture and conceptual abstract realism style of contemporary art that continues with abstract realism novels and cartoons that make you believe that fish will always keep their eyes open and protect precious things.

Since the novel contains the story of life with traces of time and reality according to the symbolism of the cartoon medium, Choi Chul-joo's AAP novel directs AAS cartoons from the point of view of a flat cross-sectional structure with the plot as conti.

This is a way of embodying the dismantling of the AAP novel perspective as a lalist cartoon image.

This cartoon design method applied to conceptual abstract realism novels is a sign of AAP novels that act as traces of desires before linguistic meaning, and the meaning of cartoon images is transferred to cartoon images in variable linguistic meaning according to the unconscious desire structure in which the moving time coexists while unconsciously synthesizing according to temporality.

Therefore, as an unconscious language meaning, the plot of the AAP novel creates an AAS cartoon in a reversible color of light, showing the reality of the customs universality faced with the object.

In this decorated cartoon, the image as a grammatical being in the meaning of language is a single-phase realism image of educated customs. This is a piece of meaning symbolized in a non-realistic space that abstracts the image of realism as a desire structure.

The sculpture functions as a fictional event image and is a tilt-abstract realism cartoon combined with shades of color generated by reversible light that explores the boundary between existence and absence.

In this way, the plot of the AAP novel is decorated by linking the image of event as an unconscious language meaning. It renders the AAS cartoon, which illuminates the reality of customary universality facing the object with a reversible color of light, as a conceptual abstraction of desire structure set in "morning glory", "Bamboo Forest", and "Pond".

Conceptual Abstraction Realism Abstraction as an AAS cartoon composes the AAP novel plot as a meaningful realist structure that takes place in the dimension of enunciation that takes place within the abstract unconsciousness by turning the division structure of the real self and the shape of the object into an object rule visualization of the sensory structure before language, that is, a landscape with a conceptual theme rather than a portrait, into a cartoon image. The AAS cartoon conti and dialogue, which are the components of the AAP novel plot as a meaningful realist structure that takes place in the abstract unconsciousness, functioning together in both conscious and unconscious dimensions as an image of the meaning of the abstract language, rendering the formality of the cartoon.

Choi Chul-joo AAS conceptual abstract realism a cartoon drawing《A New Drug Developer》-Controller AIC-X-morning glory-138-13

Conceptual Abstractionism AAS cartoon design methodology

1. Concept Abstractionism The AAS cartoon concept is a cartoon image abstracted as a conceptual object in a non-ideological form by reproducing a realism image. The image is a virtual image that conceals the existence of the flesh, and is recognized as a plane, and as a structure of desire in conceptual abstraction, it is a structure synthesized against the background of "morning glory", "Bamboo Forest", and "Pond", and it appears to be a real structure by rendering a realist cartoon illustration image.

Here, even if the image is different from the actual structure, when the same linguistic meaning is spoken, abstract realism cartoons have an existential concept of realism objects with creativity and autonomy in a linguistic sense that reproduces in similar colors and sizes as abstract. Accordingly, the concept of an existential conceptual abstract realism cartoon 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 AAP novel plot is set as the cartoon's content and dialogue, and the cartoon is a conceptual form of a realism image, a vector representing the orientation of the non-realistic existential subject that has entered the symbolic world, and an image is formed by defining the concept of an existential image that is alienated from an image lacking a realistic structure.

The novel plot is an orderly vector that expresses a direction to solve by synonymizing images of linguistic meanings with different forms as a semantic structure. Through the division expressed as a scene image of cartoon conti, the essence of ex post facto, the conceptualistic cartoon is revealed as an existential subject.

Therefore, the conceptual abstract realism AAS cartoon concept is a concept that abstracts conceptual realism as a cartoon in a comprehensive and immediate way by consciously selecting the lines of cartoon images composed of synonymously meaningful novel plots so that they can predict them as a preliminary stage of linguistic meaning.

2. Concept Abstract Realism A distant sketch of the linguistic semantic structure of abstraction overlaps "morning glory" "Bamboo Forest," and "Pond" as a desire structure in which a sketch that connects a realist image into an allegory as a linguistic meaning is a reversible light structure in which an object is a transition of the concept of instantaneous desire from an abstract object to a shadow of reversible light.

Its meaning is abstracted into a pictorial language structure by moving the place of objects abstracted in reversible temporality in cartoon sketch.

The abstract cartoon is connected to temporality as a sign of necessity self-consciousness through the movement of the novel plot, reveals the sensory structure before the symbol translated into pictorial language, and the sketch is placed in an abstract space that functions as a formative reality of early conceptual art.

Perspective objectivity in abstract spatial structure is another gaze structure for sleep, and objects and cartoon sketches are contrasted with the range of space in which reversible light is limited to objects superimposed with realism images.

This is a cartoon sketch of a linguistic meaning structure that reveals the existence of an object as a real visual image aimed at by repeating image sketches as a linguistic meaning in a conceptual abstraction in flat formations and colors in the symbolic abstract world, and it is a cartoon sketch of a linguistic meaning structure that passes through an allegory that images morning glory and object structure as reality.

3. Conceptual Abstractionism The image structure in the linguistic meaning of cartoons is an abstract realist object that is revealed as a point of light in the eyes of others, and an abstract object is a philosophical device, such as the gaze of an object with an existential realist image that appears the same as the abstract meaning, identifying a dwarf image with an aesthetic desire structure that is revealed in the gaze system of desire. An image is a perspective visual structure that creates an image that expresses geometric tangent and abstract morning glory as unconscious beings. It is interpreted as a mirror image reflecting the desires of others and is connected with the fantastic concept that the viewer is staring at it at the same time, and the object's reaction gaze creates an optical realist space that varies depending on the viewer's position.

The spot of the morning glory is abstracted as the image of the reversible reaction that constitutes the construction of realism that is abstracted as the concept of desire is repeated. 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 cartoon image of the linguistic meaning of conceptual abstraction realism abstraction is structured as a reversible light shade of the object divided at the same temporality. The cartoon matches the perspective of realist space with the abstract linguistic meaning of the object, and from the conceptual point of desire, an abstract and invisible object appears as a gaze path according to the temporality of the AAP novel plot.

This visualizes the structure of desire and the aesthetic concept of reality as a realist image through tension and harmony between aesthetic values, human desires, and linguistic semantic structures through novel themes, but is implemented as an object of cartoons.

4. Conceptual Abstract Realism The actualization of AAS comics 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 others by designing the image of desire (i) by conceptualizing the abstract object specified in Choi Chul-joo's desire formula. In addition, when transferring conceptual abstraction as a subject of desire to a realist image, the subject of desire asks himself what the abstract structure wants and selects a specific object as a real image of an abstract concept, so that the conceptual abstract Realism image reaches the cartoon as a reality <D(I...I')d=I(D...D'i)>.

Conceptual Abstractionism This indicates the meaning of the symbolic action that characterizes the design of the seat of the object, which repeatedly combines the distorted morning glory, bamboo forest, and pond image during the cartoon production process. The image here is not a visual phenomenon of the object, but a device that visualizes the flow of unconsciousness and the transition of symbols to the realist image, and the abstract mimicking the morning glory and the conceptual cartoon object as the constant body of the place are the meanings of language that symbolizes the image of conceptual abstract realism.

In this way, "morning glory", "Bamboo Forest", and "Pond" are put in the background as a conceptual desire structure in AAS cartoons to create an abstract place that humans cannot experience in life, and to abstract and actualize the cracked abstract structure in the linguistic meaning system as an object of desire, the cartoon stopped from the concept of existential desire is expressed as a realist image.

Therefore, AAS cartoon images visually express the nature of human existence and the limitations of perception by concealing or revealing reality through reversible shades of light, that is, by illuminating the present in which the light of the past is sustainable. This is the effect that light from the abstract past has been transferred to the actual imid as the same structure as the current artificial lighting, and the conceptual abstract realism cartoon image that takes the place of the formative traces of the unconscious past as the desire of others is abstracted.

The object that visualizes "morning glory", "Bamboo Forest", and "Pond" as a conceptual desire structure reveals the desire structure through the collision between the linguistic meaning and the actual image.

This is a device that communicates the philosophical and linguistic images of the formative structure and becomes a conceptual abstract realism AAS cartoon designed as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor./ Writing. Choi Chul-joo, a contemporary art critic (Pop-Art AAS Realism Cartoon Artist & Doctor of Cultural Design)

AAS conceptual abstract realism a cartoon drawing《A New Drug Developer》-m141-14

Choi Chul-joo’s concept of desire, encapsulated in the metaphor of “morning glory,” presents a radical departure from metaphysical linguistic traditions that emphasize meaning as a stable, referential structure. Instead, his work constructs a visual grammar of desire that foregrounds absence, insufficiency, and the temporality of longing. By generating dramatic event-images suffused with reversible shades of white light, Choi resists the materialist ontology of 18th-century painting, which sought to anchor meaning in physical perception and representation. His images do not depict desire as a fixed object but rather as a dynamic interplay of linguistic abstraction and visual temporality, where the grammatical structure of desire becomes a spatial principle—an architecture of insufficiency.

From a cognitive science perspective, this approach aligns with contemporary understandings of perception as a constructive, symbolic process. Choi’s use of superimposed temporal layers and reversible illumination reflects how the human mind processes absence—not as a void, but as a generative space shaped by the desire of the Other. This resonates with Lacanian psychoanalysis, which posits that desire is always mediated through the symbolic order and structured by the gaze of the Other, and with Freudian theory, which frames desire as a product of unconscious lack. In Choi’s work, the pond becomes a reflective surface—not merely of light, but of intersubjective longing—where the image of an event is not a representation but a manifestation of the desires that circulate beyond the self.

The dualistic nature of his visual grammar—where real images are treated as events and spatial composition mirrors the structure of desire—suggests a cognitive model in which perception is inseparable from symbolic mediation. The reversible light, unfolding over time, transforms material into image, and image into object, thereby collapsing the distinction between representation and event. In this way, Choi’s concept of abstract desire is not only a philosophical proposition but a cognitive experiment: a visual system that externalizes the internal logic of desire, revealing how the mind constructs reality through the absence of what it seeks.

Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and linguistic meaning.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 283,

Choi Chul-joo’s application of the desire formula "D(I...I')d=I(D...D')i" to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest k283,

Choi Chul-joo’s Concept of Desire Formula: “Mathematical Desire and the Image of Reality”, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.

Choi Chul-joo’s “Desire Formula” can be understood as a sophisticated simulation of cognitive architecture, wherein desire is not perceived as a mere psychological impulse or a product of external linguistic structures, but rather as a logical axiom—what he terms “mathematical desire”—that is abstractly designed and rendered into concrete phenomena through visual form, thereby demonstrating how internal absence is externalized as image; and this process, particularly exemplified in the appearance of the “morning glory” as a flat, reversible light image on March 1, 2022, at the Flushing Town Hall exhibition in New York, reveals how the human cognitive system constructs and reflects desire not through direct perception but through symbolic temporality and spatial abstraction, aligning with Lacan’s notion of the subject as constituted by the desire of the Other and Freud’s theory of unconscious lack as the engine of symbolic substitution, such that Choi’s visual language becomes a translation of psychoanalytic structure into visual mathematics, showing that cognition does not merely receive the world but actively reconstructs it through the interplay of absence, logic, and symbolic mediation, and thus, his “Desire Formula” stands as a remarkable artistic experiment that formalizes the ontology of desire into a visual system of cognitive logic.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest k283-pond,

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.

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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest k283-pond-mirror,

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.

Louis Chul-joo Choi, missing pond, 112X249cm, acrylic and composite materials on cloth, 2024

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.

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.

Louis Choi Chul-joo, the Mona Lisa reflected in the pond, 113X165cm, acrylic and composite materials on cloth, 2025

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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Controller AIC-X-morning glory-138-13: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light./ The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, 113X165cm, acrylic and composite materials on cloth, 2025

Desire Concept Realistic Abstract Work: Louis Chul-joo Choi, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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.

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-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, 113X165cm, acrylic and composite materials on cloth, 2025> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Chul-joo Choi, Controller AIC-X-morning glory-138-13, > 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Double Spy Artificial Intelligence Robot Codex-m134-9-1: 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.

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 "Louis Chul-joo Choi, morning glory-Double Spy Artificial Intelligence Robot Codex-m134-9-1" 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 "Bamboo Forest j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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.

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.

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p138, a hand-painted picture on a computer

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

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 "Louis Chul-joo Choi, morning glory-Double Spy Artificial Intelligence Robot Codex-m134-9-1" 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

Louis Choi Chul-joo, Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer

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

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

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

■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.

Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.

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

Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.

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

And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.

The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.

Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.

The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.

And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.

As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.

The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.

The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.

Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.

In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.

Desire Concept Realistic Abstract Work: Louis Chul-joo Choi, morning glory 134-9-1: 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.

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

■ Choi Chul-joo's concept of desire, "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, encapsulated in the metaphor of “morning glory,” presents a radical departure from metaphysical linguistic traditions that emphasize meaning as a stable, referential structure. Instead, his work constructs a visual grammar of desire that foregrounds absence, insufficiency, and the temporality of longing. By generating dramatic event-images suffused with reversible shades of white light, Choi resists the materialist ontology of 18th-century painting, which sought to anchor meaning in physical perception and representation. His images do not depict desire as a fixed object but rather as a dynamic interplay of linguistic abstraction and visual temporality, where the grammatical structure of desire becomes a spatial principle—an architecture of insufficiency.

From a cognitive science perspective, this approach aligns with contemporary understandings of perception as a constructive, symbolic process. Choi’s use of superimposed temporal layers and reversible illumination reflects how the human mind processes absence—not as a void, but as a generative space shaped by the desire of the Other. This resonates with Lacanian psychoanalysis, which posits that desire is always mediated through the symbolic order and structured by the gaze of the Other, and with Freudian theory, which frames desire as a product of unconscious lack. In Choi’s work, the pond becomes a reflective surface—not merely of light, but of intersubjective longing—where the image of an event is not a representation but a manifestation of the desires that circulate beyond the self.

The dualistic nature of his visual grammar—where real images are treated as events and spatial composition mirrors the structure of desire—suggests a cognitive model in which perception is inseparable from symbolic mediation. The reversible light, unfolding over time, transforms material into image, and image into object, thereby collapsing the distinction between representation and event. In this way, Choi’s concept of abstract desire is not only a philosophical proposition but a cognitive experiment: a visual system that externalizes the internal logic of desire, revealing how the mind constructs reality through the absence of what it seeks.

Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and linguistic meaning.

■ 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.

Choi Chul-joo’s application of the desire formula "D(I...I')d=I(D...D')i" to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.

■ The image of Choi Chul-joo's desire formula, 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 Concept of Desire Formula: “Mathematical Desire and the Image of Reality”, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.

Choi Chul-joo’s “Desire Formula” can be understood as a sophisticated simulation of cognitive architecture, wherein desire is not perceived as a mere psychological impulse or a product of external linguistic structures, but rather as a logical axiom—what he terms “mathematical desire”—that is abstractly designed and rendered into concrete phenomena through visual form, thereby demonstrating how internal absence is externalized as image; and this process, particularly exemplified in the appearance of the “morning glory” as a flat, reversible light image on March 1, 2022, at the Flushing Town Hall exhibition in New York, reveals how the human cognitive system constructs and reflects desire not through direct perception but through symbolic temporality and spatial abstraction, aligning with Lacan’s notion of the subject as constituted by the desire of the Other and Freud’s theory of unconscious lack as the engine of symbolic substitution, such that Choi’s visual language becomes a translation of psychoanalytic structure into visual mathematics, showing that cognition does not merely receive the world but actively reconstructs it through the interplay of absence, logic, and symbolic mediation, and thus, his “Desire Formula” stands as a remarkable artistic experiment that formalizes the ontology of desire into a visual system of cognitive logic.

Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making./ � Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:

D; The archetype of desire, representing the foundational lack or drive.

I...I'; A sequence of visual representations through which desire is projected.

d; The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I; The emergent image of desire, a perceptual unit.

D...D'; The recursive layers of desire, reflecting its multiplicity and transformation.

i; The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

✅ Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence

D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient

d reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely,

I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (d). This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.

✅ A Visual-Cognitive Model of Desire: Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.

✅ Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

Choi Chul-joo’s desire formula,

D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:

D; The archetype of desire, representing the foundational lack or drive.

(I...I'); A sequence of visual representations through which desire is projected.

d; The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I; The emergent image of desire, a perceptual unit.

D...D'; The recursive layers of desire, reflecting its multiplicity and transformation.

i; The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

✅ Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence

D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient

d reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (d).

This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing. Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.

Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making.

■ 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.

Choi Chul-joo’s design process of abstract desire unfolds as a recursive and symbolically mediated architecture of perception, in which the concept of desire is not treated as a direct reflection of empirical reality but rather as a cognitive construct that emerges through the abstraction of image beyond the boundaries of the real, forming a correlation between realities that resists causal reduction, and in this first phase, desire is abstracted not to represent reality but to escape the epistemological trap of translating abstract concepts into fixed material structures, thereby allowing the mind to engage in symbolic inference rather than empirical mapping; then, in the second phase, the scope for revealing desire is shaped by omitting the actual dimensionality of the abstract concept and rendering it as a shaded echo of the original image, while the object is aesthetically encoded with culturally resonant colors to grant it symbolic legitimacy, and this process of visual obscuration—where clouds and shaded light fragment the aesthetic structure—mirrors the brain’s tendency to process desire through layered symbolic filters and perceptual ambiguity, thus enabling the cognitive system to hold multiple meanings within a single image; in the third phase, the subject who paints abstraction becomes the agent of symbolic realization, translating unconscious desire into a conscious phenomenon through repeated visual gestures, where line and color are cognitively formed but not consciously controlled, and this recursive loop between unconscious structure and conscious image reflects the mind’s capacity to externalize latent drives through symbolic behavior without direct awareness, thereby demonstrating that desire is not merely felt but cognitively enacted; and finally, in the fourth phase, the abstracted concept of desire becomes a fragment of reality refracted through reversible light and shadow, where the object is no longer directly visible but concealed and reconstituted as a visual echo, and this transformation—achieved through the planar movement of monochromatic painting carved into the surface of perception—reveals how the mind integrates spatial abstraction and symbolic light into a recursive system of emotional logic, ultimately showing that desire, in Choi’s framework, is not a static emotion but a dynamic cognitive architecture that oscillates between absence and presence, image and structure, unconscious repetition and symbolic realization.

■ 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.

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.

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.

Here is a refined academic-style interpretation of your concept, written in English from the perspective of a distinguished cognitive scientist with psychoanalytic insight:

The Design Results of Choi Chul-joo's Desire Abstract Concept

A Cognitive-Psychoanalytic Interpretation of Linguistic Meaning and Subject Formation

In Choi Chul-joo’s abstract design of desire, the linguistic outcome reveals a complex interplay between passivity and agency, where the object fixated on the desire of the Other remains passive in structure, yet the emergence of the sympathizer—who internalizes and mirrors the Other’s desire—transforms the dynamic into one of active execution. This transformation occurs through a recursive identification, wherein the sympathizer becomes not merely a reflective surface but a new subject of desire, capable of enacting the same drive. The subject who accepts or resonates with the Other’s desire does not remain external to it but becomes structurally embedded within it, thereby forming a second-order subjectivity that executes desire as if it were their own.

This recursive mirroring leads to a symbolic generalization, where the sympathizer attempts to universalize the Other’s desire, positioning it as a victorious force—akin to a conqueror who reclaims desire as a public object. However, when this generalization fails—particularly when desire, refracted through reversible light and symbolic shadow, resists becoming a publicly shared act—the structure collapses into antagonism. The subject of inappropriate or misaligned desire and the sympathizer, once aligned through shared affect, now oppose the original subject who enacted desire according to the generalized will of the Other.

From a psychoanalytic perspective, this dynamic reflects Lacan’s theory of the subject as constituted through the desire of the Other, and Freud’s notion of identification and transference, where unconscious drives are projected, mirrored, and contested within relational structures. Cognitively, Choi’s design reveals how desire is not a solitary impulse but a socially and symbolically mediated architecture, where subjectivity is formed, fractured, and reconstituted through linguistic abstraction, visual metaphor, and recursive identification.

■ 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.

Choi Chul-joo’s Concept of Desire Formula: Mathematical Desire and the Image of Reality, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.

Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and linguistic meaning.

■ the abstract design process of conceptual abstract realism: 1. Conceptual Abstract Realism The current object is illuminated with reversible light so that the illuminated form can be repeatedly visually recognized according to the past temporality to actualize the subject's structure as a shaded structure of reversible light. And the design concept that constitutes conceptual abstract realism abstraction is determined as a philosophical result that can be expected with abstract causality so that the object is repeated as a design with the present gaze so that it appears to be a realistic image according to temporality. 2. The object of conceptual abstract realism is that the absence of desire as a non-verbal meaning is alienated from the symbolic world and loses its essence as the subject of desire. In the previous stage of linguistic meaning, according to grammar revealed as a symbolic image of existence, it was separated into a realist image recognized as an abstract desire concept and divided into a realist image, and the realist image as the subject of the desire structure is linguistically and diachronically meaningful. 3. The design of a realism image is an image that lacks the linguistic meaning of conceptual abstract realism, and the image in a linguistic sense is repeatedly designed as a post-effect of the desire structure being re-embodied, and a new conceptual abstract realism image is repeatedly designed. The direction and viewpoint of reversible light that make up the image along the chain of design are all stages of the perspective visual system according to temporality, and the line space of the visual structure, in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image produce a realism image at the intersection of the existential place with continuity. 4. Realistic abstraction creates a multi-loyal structural image of the linguistic meaning of unconscious structure composed of shadows at multiple points of reversible light separated from perspective, and girls are abstracted as divided subjects as talents that can be stared at momentarily while dismantled at a stereoscopic single point. 5. Conceptual Abstract Realism Abstractism Rendering is a conceptual abstract realism of wanting and linguistic desires that cannot be perceived at the level of expression consciousness, visualizing philosophical psychological structures and rendering them with linguistic meaning at the intersection of conceptual abstraction and unrealistic realism. As this becomes conceptual abstract realism abstraction, unconscious desires that represent the color tone and shape of desires invisible in the shade of reversible light become maps as conceptual abstract realism abstraction.

■ conceptual abstraction rendering process: 1. Integration of linguistic meaning and visual images: The abstract concept of desire is realized when the desire of others has an aesthetic meaning by facing the linguistic meaning in the image of an event as an object of a pictorial structure reflecting the present desire, and the image in the painting is closely connected to the linguistic meaning structure. As an object representing the concept of desire, the same concept of desire as the event image is divided into unconscious and real images, and an image modeling unconscious desire as an existential real image is sketched.

As for the sketch form of the current concept of desire, the concept of absolute desire is a symbolic metaphor shown in abstraction, and the concept of desire is abstracted as the desire of others, but it does not go beyond the scope of an imitative picture. Therefore, it is the modern conceptual abstract realism sketch that resulted in a real image through Choi Chul-joo's desire formula, which interpreted abstract concepts in a linguistic sense as the desire of others. This is a realism that interprets the concept of abstract desire as a real structure as a expressive image with a linguistic meaning in the real world, where pictorial event images are closely connected with linguistic semantic structures. Here, by applying existential semantics as an event and performance image, the object of the real structure is represented as a phenomenal image of the real world, and the abstract structure is identified with conceptual reality. 2. Visualization of Abstract Desire Concept: To accept the difference from the actual image in the concept of abstract desire as the meaning of the linguistic concept, and to embody the unconscious desire as an abstract image, the abstract image that constitutes the relationship structure with desire is painted and embodied in the actual structure created by the linguistic meaning of the conceptual reality of desire structure. This is an abstraction of Choi Chul-joo's conceptual abstract realism, which hides the formative reality of desire in pictures and abstracts event images based on real news, away from the social constraints (制約) acceptable in religious customs. Abstraction is a subjective concept that refers to linguistic meaning and expresses the viewing effect of colloquial enunciation and event video broadcasts in abstraction. This abstraction represents the true value of the concept of need and is an expressive aesthetic structure that embodies the elements that depend on the news.

The abstraction is represented as an abstraction which is a truth value of the concept of desire as an expressive aesthetic structure of one speech act that identifies the viewing effect of colloquial language and event video broadcasting as an enunciation. 3. The artistic experiment of reversible light and temporality: The experiment of conceptual abstract realism renders abstraction based on temporality in the linguistic sense that desire and reality are the same. Here, the structure of desire is abstracted by forming a semantic relationship between desire and reality according to temporality. In the abstraction, the abstract reality of desire is the causal structure of desire, that is, the antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aphoria image. In abstraction composed of real images as the structure of desire, the morphological image of visible metaphor is transferred to abstract language meaning. Therefore, the real image as a result of exploring the existential realism according to temporality through the shadow of reversible artificial lighting is a metamorphic fixation as an abstract meaning in which the desire structure is obscured. In other words, in abstraction, the other's desire as an image of social events transforms into an additional form. As such, conceptual abstract realism rendering is raised by time and existence through the shadow of reversible lighting, repeatedly designing realistic images induced by social phenomena, creating a realism image with a desire formula, and the subject based on the event image repeatedly designing and rendering a realist image induced by social phenomena with a desire formula.

■ Choi Chul-joo’s Conceptual Abstract realism Abstraction Design Process

Another abstraction that reveals the image as a reality as another structure of gaze that deviates from the visual system as an object that led to realism according to artistry is the image of realism.

In realism abstraction design, a way to effectively convey the dual message of abstraction and reality is to realistically represent concepts and abstractions through contemporary conceptual abstract realism abstractions, such as contemporary media art images or abstractions. Thus, the process of designing conceptual abstrac realism abstractions in media art abstract design is as follows

1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.

2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality. Choi Chul-joo's reversible light is an image shaded at the present time in what is called "a real image obscured by the shadow of reversible light" according to its realistic form and movement of light, that is, the temporality. The image creates reality as a shaded image of reversible light, where the linguistic meaning seen as abstraction is identified. It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.

3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism. Through this process of transformation, viewers experience linguistic abstraction in which forms follow concepts and forms become entangled with meaning.

4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning. And to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This formula suggests a dynamic interplay: desire (D) is echoed across repeated images (I...I'), ultimately shaping an abstract concept (i). This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system.

According to Culturality, Choi Chul-joo Concept Abstraction Realism Abstraction Stag's step 1: Distill the concept of desire in reality into images separated from literal causation to promote abstract thinking. step 2: Overlapping the linguistic meaning of the natural object motif with culturally resonant visual elements such as color palettes creates visually harmonious yet conceptually dense realism abstract image. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

4. The 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).

Here is a refined and cohesive academic-style interpretation of your concept, written in English from the perspective of a cognitive scientist with psychoanalytic insight: Choi Chul-joo’s application of the desire formula D(I...I')d=I(D...D')i to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.

� Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:

D: The archetype of desire, representing the foundational lack or drive.

I...I': A sequence of visual representations through which desire is projected.

d: The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I: The emergent image of desire, a perceptual unit.

D...D': The recursive layers of desire, reflecting its multiplicity and transformation.

i: The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

� Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient

� reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (D).

This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.

Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—

Choi Chul-joo’s desire formula D(I...I')d=I(D...D')i an be visualized as a dynamic vector field, where each component represents a transformation in the structure of desire:

Left-hand side D(I...I')d: Desire D is activated by a sequence of images I...I', forming a directional vector across perceptual space. The coefficient d scales this vector, representing unconscious forces, cultural pressure, and social visibility. This side models the generation vector, where desire emerges from visual stimuli and is modulated by internal dynamics.

Right-hand side I(D...D')i: Recursive structures of desire D...D'′ are transformed into a singular image I, which is cognitively resolved into a conceptual value i. This side models the resolution vector, where abstract desire is re-rendered into perceptual form and interpreted semantically.

Transformation Arrows: Arrows between both sides represent recursive feedback loops, showing how desire oscillates between abstraction and realization.

The entire graph behaves as a fixed-point system, where desire continuously loops through image, structure, and meaning.

� Cognitive Psychologist’s Perspective: Desire as Symbolic Simulation

This is the moment of symbolic closure, where desire becomes intelligible.

This graph reveals that desire is not a linear impulse but a recursive cognitive algorithm, where the mind loops through symbolic abstraction, perceptual encoding, and conceptual resolution. The object—whether a pop art image, a shaded metaphor, or a reflective pond—functions as a recursive node in this system, simulating the architecture of desire through visual recursion and symbolic feedback.

5. 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.

6. The Design Results of Choi Chul-joo's Desire Abstract Concept, Choi Chul-joo’s abstract concept of desire through the psychoanalytic frameworks of Jacques Lacan and Sigmund Freud. Choi’s design reveals how desire is not a solitary impulse but a relational and recursive structure, shaped by identification, symbolic generalization, and unconscious antagonism. Through the lens of Lacanian subjectivity and Freudian transference, we examine how the sympathizer becomes a secondary subject of desire, how desire is refracted through reversible light, and how conflict emerges when symbolic generalization fails.

Introduction: Desire as a Relational Structure: Choi Chul-joo’s abstract concept of desire challenges the notion of desire as a private, internal drive. Instead, it is presented as a relational construct, emerging through the interaction between the subject, the Other, and the sympathizer. This triadic structure reflects Lacan’s theory that desire is always the desire of the Other, and Freud’s view that identification and transference are central to the formation of subjectivity. Although the object of desire remains passive, the sympathizer—who internalizes and mirrors the Other’s desire—transforms into an active subject capable of executing the same desire. This process of identification aligns with Freud’s theory of ego formation through the internalization of external drives, and with Lacan’s notion that the subject is constituted through the gaze and desire of the Other. The sympathizer does not merely reflect but enacts, becoming a second-order subject of desire. The sympathizer attempts to generalize the Other’s desire, positioning it as a universal or victorious act—akin to a conqueror who reclaims desire as a public object. This symbolic generalization reflects Lacan’s concept of the Imaginary, where the subject misrecognizes itself in the mirror of the Other’s desire, and Freud’s idea of sublimation, where unconscious drives are elevated into socially acceptable forms. However, this generalization is fragile and contingent. When desire, refracted through reversible light and symbolic shadow, fails to become a publicly shared act, the structure collapses. The subject of inappropriate or misaligned desire and the sympathizer—once aligned—now antagonize the original subject who enacted desire according to the generalized will of the Other. This breakdown mirrors Freud’s theory of repression and resistance, and Lacan’s Real, which resists symbolization and disrupts the symbolic order.

Choi Chul-joo’s design results reveal that desire is not a fixed entity but a recursive psycho-social system, shaped by identification, symbolic mediation, and unconscious conflict. Through Lacanian and Freudian lenses, we see that the sympathizer’s transformation into a subject, the attempt to generalize desire, and the eventual collapse into antagonism reflect the complex architecture of human desire—an architecture that Choi renders visible through abstract conceptual design.

7. Applying Choi Chul-joo’s conceptual abstract realism design methodology to the visualization of desire in Louis Choi Chul-joo’s Morning Glory, at the initial stage of existential conceptual abstraction, the realistic elements of the morning glory are abstracted into a conceptual object that embodies desire, where this abstraction functions not merely as a visual reproduction but as a cognitive apparatus translating the inherent lack of desire into a perceivable visual structure, allowing the viewer to recognize the recursive interplay between the object of desire and the symbolic structures that govern it; in the subsequent stage of sketching and structural composition, the dynamic images of the morning glory are linked to the abstract background through reversible light and segmented temporality, generating a visual grammar in which the phenomenological movement of the image interacts with the static abstraction of the background, thereby extending linguistic meaning into visual form and revealing the unconscious mechanisms through which desire is produced, mediated, and repeated; following this, at the stage of desire formalization, the formula D(I…I’)d = I(D…D’)i is applied so that the morning glory simultaneously functions as object, image, and conceptual abstraction, where the sequential arrangement of repeated visual instances reflects the recursive structure of desire and the dynamic coefficient (d) modulates perceptual and symbolic forces, transforming desire into a visualized abstraction that positions the floating flower in the sky as a nodal point for cognitive recognition and psychoanalytic reflection; in the conceptual interpretation stage, these recursive visual patterns consolidate into a singular conceptual desire image (i), establishing dynamic interactions between image, structure, and meaning, while the linguistic-semantic integration stage ensures that the abstract realism image conveys philosophical, psychoanalytic, and aesthetic significance simultaneously, realizing both the existential reality of the object and the symbolic mediation of desire, with the viewer’s gaze incorporated through reflection, inversion, and recursive feedback loops; finally, at the stage of full realization of conceptual abstract realism, all phases converge to unify dynamic images, abstract structures, and desire-laden backgrounds into a coherent visual grammar, producing an image that embodies perceptual, symbolic, and conceptual properties simultaneously, thereby demonstrating the methodological rigor of Choi Chul-joo and transforming the desire depicted in Morning Glory into a visual language extended across image, abstraction, and spatiotemporal structure, achieving a recursive, relational, and cognitive resonance that manifests the philosophical and aesthetic dimensions of contemporary conceptual abstract realism.

Louis Choi Chul-joo’s Morning Glory (poster; morning glory and fish-Mona Lisa design) operates not as a representational depiction of reality but as a cognitive visual apparatus that transforms the visualization of absence into a site for the philosophical contemplation of desire, wherein abstraction functions not as a formal negation but as an epistemological structure that converts the disjunction between language and image into the generative principle of desire; in this work, where language fails to stabilize meaning, the image intervenes as the substitute for that linguistic insufficiency, visually articulating the movement of desire through its compositional grammar—through chromatic contrast, reflective inversions, and spatial ruptures—thus extending the semantic field of language into a visual syntax that materializes cognition; the inverted human figure mirrored beneath the pond, the symbolic red stems, and the deep blue spatial abyss together construct a field in which the absence of the Real does not signify emptiness but instead becomes the very motor of desire, producing what may be called a substitutive realism, a mode in which abstraction replaces the absent Real and, paradoxically, reveals its cognitive structure more profoundly than direct representation could; within this process, language’s failure to fix meaning is transfigured into an event of vision, wherein the spectator, recognizing simultaneously the negation of the linguistic and the reflection of the visual, experiences perception not as mere sensory reception but as a philosophical event operating within the cognitive structure of lack; thus, Morning Glory realizes Choi’s concept of reversible illumination, in which language and image illuminate one another reciprocally, generating meaning through their mutual reflections, while this continual slippage and rotation of meaning around the axis of absence constitutes a visual grammar of desire that transforms the absence of the Real into a cognitive syntax of symbolic production; consequently, abstraction here extends beyond the denial of representation to become a philosophical device for the contemplation of lack, providing empirical validation for Choi’s Art Theory of the Structure of Desire and demonstrating that art does not mirror the Real but instead reflects the structure of its absence, reconstructing perceptual reality through the visual logic of desire; ultimately, Morning Glory stands as an exemplary philosophical construct in which linguistic meaning expands into visual form, showing that abstraction can serve as a medium of cognitive realism wherein the image substitutes for the Real and allows the subject to think, rather than merely to see, through the aesthetic experience of desire and lack.

8. “The Visual Grammar of Desire and the Image-Expansion of Linguistic Meaning in Louis Choi Chuljoo’s Morning Glory”: Louis Choi Chuljoo’s Morning Glory (2025-1: Pond Rendering Reflects Current Desire) operates not as a representational depiction of reality but as a cognitive visual apparatus that transforms the visualization of absence into a site for the philosophical contemplation of desire, wherein abstraction functions not as a formal negation but as an epistemological structure that converts the disjunction between language and image into the generative principle of desire; in this work, where language fails to stabilize meaning, the image intervenes as the substitute for that linguistic insufficiency, visually articulating the movement of desire through its compositional grammar—through chromatic contrast, reflective inversions, and spatial ruptures—thus extending the semantic field of language into a visual syntax that materializes cognition; the inverted human figure mirrored beneath the pond, the symbolic red stems, and the deep blue spatial abyss together construct a field in which the absence of the Real does not signify emptiness but instead becomes the very motor of desire, producing what may be called a substitutive realism, a mode in which abstraction replaces the absent Real and, paradoxically, reveals its cognitive structure more profoundly than direct representation could; within this process, language’s failure to fix meaning is transfigured into an event of vision, wherein the spectator, recognizing simultaneously the negation of the linguistic and the reflection of the visual, experiences perception not as mere sensory reception but as a philosophical event operating within the cognitive structure of lack; thus, Morning Glory realizes Choi’s concept of reversible illumination, in which language and image illuminate one another reciprocally, generating meaning through their mutual reflections, while this continual slippage and rotation of meaning around the axis of absence constitutes a visual grammar of desire that transforms the absence of the Real into a cognitive syntax of symbolic production; consequently, abstraction here extends beyond the denial of representation to become a philosophical device for the contemplation of lack, providing empirical validation for Choi’s Art Theory of the Structure of Desire and demonstrating that art does not mirror the Real but instead reflects the structure of its absence, reconstructing perceptual reality through the visual logic of desire; ultimately, Morning Glory stands as an exemplary philosophical construct in which linguistic meaning expands into visual form, showing that abstraction can serve as a medium of cognitive realism wherein the image substitutes for the Real and allows the subject to think, rather than merely to see, through the aesthetic experience of desire and lack.

■ Conceptual Abstract Realism Abstraction Rendering is a philosophical design process that automatically visualizes the concept of desire through the "art algorithm" of conceptual abstract realist Louis Choi Chul-joo, and it renders conceptual abstraction sketches manually as a pre-stage of systematization that combines with AI to create conceptual abstract art. This is not a simple image generation of an art algorithm, but a method of automatically converting philosophical concepts into visual images by interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible shades of light into mathematical and symbolic structures to suggest the possibility of fusion with AI. In addition, AI-based conceptual art creation system Louis Choi Chul-joo's philosophical art theory can be algorithmized to build a system that autonomously generates conceptual art. It expands to digital installation art where images change in real time due to the movement of viewers of interactive media installation work, and develops into a spatio-temporal art algorithm so that you can experience the structure of desire to realize VR/AR-based desire space in a virtual space. Therefore, Choi Chul-joo's conceptual abstraction rendering is an art creation engine that combines concept, language, design, psychology, philosophy, and technology as a tool for visualizing his art algorithm, and expands Choi's conceptual abstract realism art into the core structure of digital art.

■ Conceptual Abstract Realist The process of rendering a Realist abstraction in art is as follows

1.Conceptual Abstractionist Abstraction Sketch reproduces a conceptual abstraction image to form an abstract image as a conceptual object in the form of ideological non-formality, which hides its existence and sketches realistic images on a plane as realistic structures. This is the introduction stage of a philosophical design process that automatically visualizes the concept of desire through Choi Chul-joo's 'art algorithm', which combines manual work and AI to create sketches of conceptual abstraction. In other words, in parallel with the scotch of contemporary art, a sketch of conceptual abstraction realism as a pre-stage of AI systemization is done manually. Here, abstraction as a symbolic structure is an image with the existential concept of a realist object with creativity and autonomy in a linguistic sense that reproduces in similar colors and sizes even though the sketch is different from the actual structure. Therefore, the abstract realist abstract sketch of an existential concept with creativity and autonomy in a linguistic sense consists of a sketch of another being as a linguistic meaning of a conceptual abstract realist object through the unconsciousness suppressed by the desire of the other.

2. Conceptual Abstractism Abstract rendering (R) is a phenomenal opportunity to verbally interpret the conditions (i/d) under which images of conceptual abstract realism objects are realized by conceptualizing abstract objects specified in Choi's Desire Formula and grammatically interpreting linguistic meanings beyond the other's desires. This is an abstract design process 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 present the possibility of convergence of realist abstract rendering and AI rendering as object rendering at the same time.

When the conceptual abstraction as the subject of desire is transferred to a realism image, the subject of desire asks itself what the abstract structure wants and renders (r) a specific object to the actual image of the abstract concept, so that the conceptual abstract realism image as a reality reaches abstract rendering <DR(I...I')d=I(DR...D'i)ir>. It renders as an image the meaning of symbolic action that characterizes the design rendering of the object seat as a realism image, which combines pieces of distorted morning glory image repeatedly during the abstraction process. Here, image rendering is not a visual phenomenon of an object, but a method of visualizing the flow of unconsciousness and the realism image of symbols.

3 Realism Abstraction Composition is a form of abstraction of real objects, a structure of the other that represents a synchronic semantic chain, and a vector representing the orientation of the non-realistic existential subject entering the symbolic world, and abstracts the image by defining the concept of an existential image that is alienated from the desire image that lacks a realistic structure. This abstract image creates a realism image of an art algorithm with a desire structure

In order to present the possibility of convergence with AI, Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades are automatically converted into realistic images.

The realist abstraction of conceptual abstraction as an existential subject is revealed through division, which expresses the essence of ex post fact 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 object.

Thus, realism abstraction of desire structures subconsciously selects unpredictable effect image rules as ordered vectors that indicate directions toward solving non-imaginary semantic structures in a comprehensive and immediate way as a whole step in linguistic meaning, such as representation abstraction.

This is a semantic structure that cannot be solved as a being until the abstract structure enters the symbolic world, abstracting desire knots into a synchronous meaning and physically dividing the same essence as the ex post essence that constitutes the abstraction of conceptual realism as an existential subject.

4. Conceptual Abstract Realism Abstraction Design designs objects as a reversible light structure that deviates from the concept of instantaneous desire from abstract images that connect realism images into allegories in linguistic terms as sketches of linguistic meaning structures to desire structures as objects formed from each other's abstract perspectives as reality and virtual beings.

Pre-stage abstraction of linguistic 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 an abstract space that functions as a formative reality beyond the literary nature of early conceptual art.

AI rendering of realism abstraction is an abstraction that implements an AI system that autonomously generates realism abstraction by algorithmizing the desire formula that applies Louis Choi Chul-joo's desire concept as an "art algorithm" through an AI-based conceptual art generation system.

Reversible light is a limited shade form, and it is expanded to digital installation art in which images change in real time through the movement of viewers through interactive media installation work tailored to the perspective objectivity of the real structure. This place is directed according to a spatio-temporal art algorithm so that you can experience the structure of desire to realize VR/AR-based desire space in a virtual space.

On the other hand, perspective objectivity in the spatial structure of abstraction in conceptual abstract reality renders the abstraction of the real image of the object contrasted with the object as the range of space and the size of the perspective, where the realist image is superimposed on the surface as another gaze structure.

5. Conceptual Abstract Realism The design rendering 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, and is revealed in the gaze system of desire.

Aesthetic abstraction is designed as a philosophical device, and the abstract structure and the real image are rendered as an image of an existential realism object that appears in the same meaning. This is an image rendering method that represents abstract design as a tangent line of a flat cross-section and unconscious existence as a non-perspective visual structure.

Therefore, Choi Chul-joo's rendering of conceptual abstract realism is a tool that visualizes his desire formula as an art algorithm, and concept, language, design, psychology, and philosophical realism abstraction are designed. This place expands Choi's conceptual abstract reality art, which is an art creation engine that combines AI technology, into the core structure of digital art.

The realism abstraction structure is interpreted as a mirror image reflecting the desire of the other, and it is connected to the concept that the viewer is being stared at at at the same time, and the image of the linguistic meaning of conceptual abstraction realism abstraction is structured by rendering the optical realism space that varies depending on the viewer's position as the gaze of the object. The rendering matches the perspective of realist space with the abstract linguistic meaning of the object, and from the conceptual point of view of desire, an abstract and invisible object appears as a gaze path according to temporality. Abstraction as a realist image is an abstract real image that is transformed into a realist image as an art algorithm as an abstract with a desire structure. This is because, as modern art, realist abstraction returns to abstraction, in which the abstract structure conceptually symbolized as a linguistic semantic structure is structured in reality by the shadow structure of the past that shines a reversible light in the present.

Thus, through the tension and harmony between aesthetic values, human desires, and linguistic semantic structures through artistic abstraction algorithms, the structure of desire and the aesthetic concept of reality are visualized as realism images, but abstract rendering implemented as a double object shows "the aesthetic trace of time."

Louis Chul-joo Choi, morning glory p14-5, a hand-painted picture on a computer