설치미술가 최철주｜Image Install Artist

설치미술가 최철주｜현대설치미술평론 현대설치미술가평론 이미지설치작품평론7

이미지 설치미술가 최철주｜현대설치미술평론, 현대설치미술가평론, 배면 비춤(backlighting) 효과를 활용한 추상 설치 작품 시리즈 이미지설치작품평론 Contemporary artwork criticism : Contemporary Art Installation Criticism Review of Abstract Installation Works Series Image Installation Works Using Backlighting Effect [7] Contemporary installation artist artwork & contemporary art formation image artwork: Contemporary Artist Louis Choi Chul-joo Installation Art Review & Abstract Artist Louis Choi Chul-joo Design Review of Painting and Sculpture Design: Famous Installation Artist, Contemporary Artist, Abstract Artist, Conceptual Artist Installation Art Painting and Sculpture / 배면 비춤(backlighting) 효과를 활용한 추상 설치 작품 시리즈 이미지설치작품평론: 현대미술가 루이 최철주 설치 추상화 "나팔꽃" 2022년 뉴욕 전시 Installation Art Review: Review of Abstract Installation Works Series Image Installation Works Using Backlighting Effect, Contemporary artist Louis Chul-joo Choi's Installation Art "morning glory" Exhibition with the image of Lacan's object ɑ and Picasso's Anamorphosis, 20220308~20220310 Yeomyeong Hall, New York. & 욕망 구조 자동화 시스템 디자인 프로세스 Desire Structure Automation System Design Process를 통과한 신고전주의적 하이퍼-테크(Neo-Classical Hyper-Tech)' 무대 디자인 Desire Structural Automation System Design Process Neo-Classical Hyper-Tech' Stage Design Through Desire Structural Automation System Design Process

Louis Chul-joo Choi, morning glory 2021-d-1, 136X168cm, acrylic and composite materials on cloth, 2021

<morning glory 2021-d-1>에서의 이미지는 원근법적 시각체계 즉 콰트로첸토(Quattrocento styles)에서 벗어나 있다.

여백과 오브제도 실제가 아닌 그의 상상적 계산에 맞추어 나팔꽃과 배경으로 메우고 있다. 회화의 평면성이 갖고 있는 환영적 이미지를 평면화 시켜서 가역적 시간성의 그림자를 인식에 접근하게 만든다. 이것은 상상계에서 유아의 욕망은 비존재쓰레드한 것임을 확인하는 과정과 일치한다. 그 시간성에 따른 가역적 색조를 모노톤으로 하여서 양감의 단계를 소거함으로서<morning glory 2021-d-1>은 빛의 의한 피사체의 환영적 이미지 즉 콰트로첸토 회화의 이미지는 존재하지 않는다. 나팔꽃(morning glory)은 빛의 설정이 없는 반면에 배경을 콰트로첸토 회화의 방식으로 그려져 있다. 이것은 상상계에서 상징계로 전이되는 과정으로 실재로서 비존재 하는 것과 이미지 즉 상상계에서 거울에 비친 이미지가 공존하는 것이다. 나팔꽃의 실재를 재현하고 있지만 배경 이미지는 나팔꽃과 동일시하고 있지만 일치하지는 않는다.

그것은 언어구조와 같이 은유적이므로 나팔꽃의 형태와는 동일하지 않다. 그렇기 때문에 실재가 무엇인지에 대하여 나팔꽃과 이미지가 다른 가역적 빛으로 생성된 그림자의 의미 구조는 비실재 하는 그림자와는 또 다른 실재로서 오브제이다. 이것은 주체로서 이미지가 아닌 타자의 욕망으로한 존재로서 실재의 오브제이다. 상징계로서 <morning glory 2021-d-1>은 실체가 존재하는 타자의 욕망속의 개념을 보여준다.

회화로서 <morning glory 2021-d-1>은 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 넓힌 그림이다. 이것은 우측 배면과 측면에서 비취는 빛을 받은 부분은 실재와 다르게 밝아지고 나머지 이미지는 가역적 빛이 만들어낸 음영적 형상을 이룬다.

이렇게 타자의 욕망으로 한 <morning glory 2021-d-1>에 대한 실체를 드러냄으로써 일상의 이면과 상징적 표상으로 실재의 공간을 만들어냈다. 이것은 지각적 측면에서 외형적 이미지로서의 실체로서 보이는 나팔꽃을 배경의 여러개 가역적 빛으로 한 그림자와 대조되어 상징적 표상의 기표 체계로 전환하는 회화의 평면성을 보인다. 여기서 <morning glory 2021-d-1>은 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 그래픽의 자리를 넓힌 이미지다. 이것은 우측 배면과 측면에서 비취는 빛을 받은 부분은 실재와 다르다. 이것은 가역된 빛으로 시각적 대상을 이루고 그 대상이 깨어난 이미지로 바뀌도록 밝아지고 나머지 이미지는 여러개의 가역적 빛이 만들어낸 음영적 형상을 이룬다.

이렇게 타자의 욕망으로 한 <morning glory 2021-d-1>에 대한 실체를 드러냄으로써 일상의 이면과 상징적 표상으로 실재의 공간을 만들어냈다.

욕망 구조 자동화 시스템 디자인 프로세스 Desire Structure Automation System Design Process

1단계: 무의식적 언어 구조의 데이터 마이닝 (Linguistic Data Mining)

개념: 라캉의 "무의식은 언어처럼 구조화되어 있다"는 명제를 자동화 프로세스에 이식합니다.

수행: LLM(대규모 언어 모델)을 통해 특정 제품군(예: 자동차, 로봇)에 대한 전 세계적 미학 언어와 사용자의 결여(Lack)된 욕망 데이터를 수집합니다.

결과: 디자인의 ‘기표(Signifier)’들을 추출하여 논리적 알고리즘이 아닌, 무의식적 맥락의 흐름을 파악한다.

서랍장=본체: 서랍장의 하단 두 칸은 물리적 수납공간이지만, 상단부는 고성능 컴퓨터의 연산 장치와 냉각 장치가 차지합니다. 서랍장의 금속 외피 자체가 거대한 히트싱크(Heat Sink) 역할을 하여 팬 소음 없는 정숙한 환경을 제공합니다.

• 욕망 사운드 공식 "Position Error(Delta x, Delta y) → Sound Frequency(Hz) ↑ " 에 따라 배우의 발 위치(Delta x, Delta y)가 시스템의 목표 좌표와 어긋날수록(Delta), 배경의 소리 주파수와 음량이 증폭되도록 설계되었습니다. 이는 '수직적 질서'에서 벗어나려는 배우의 욕망 고통을 청각화하는 핵심 장치입니다.

Step 1: Linguistic Data Mining of unconscious language structure

Concept: implant Lacan's proposition that "inconsciousness is structured like language" into the automation process.

Perform: Large language models (LLMs) collect worldwide aesthetic language and user-lacked desire data for a particular family (e.g., cars, robots).

Results: We extract the 'signifiers' of the design to identify the flow of unconscious context, not logical algorithms.

• Desire According to the sound formula "Position Error(Delta x, Deltay) → Sound Frequency(Hz) ↑", it is designed to amplify the sound frequency and volume of the background as the actor's foot position deviates from the target coordinates of the system (Delta).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《1590년대 장미와 왕관》-상징적 결여를 통한 개념추상 스케치 (Abstract Sketching of the Lack)

2단계: 상징적 결여를 통한 개념추상 스케치 (Abstract Sketching of the Lack)

개념: AI가 수집한 완벽한 데이터 사이에서 발생하는 ‘상징적 결여’를 의도적으로 포착합니다.

수행: AI 자동화 시스템이 완벽한 대칭을 제안할 때, 최철주의 ‘개념추상’ 필터를 적용하여 불필요한 장식을 거세하고 본질적인 비대칭성과 공간적 빈틈을 생성합니다.

결과: 제품의 기능적 핵심만을 남긴 채, 사용자가 자신의 욕망을 투사할 수 있는 ‘유령적 실루엣’을 도출한다.

- 메커니즘 공식 Position Error(Delta x, Delta y) → Sound Frequency(Hz) ↑ 에 따라 배우의 발 위치(Delta x, Delta y)가 시스템의 목표 좌표와 어긋날수록(Delta), 배경의 소리 주파수와 음량이 증폭되도록 설계되었습니다. 이는 '수직적 질서'에서 벗어나려는 배우의 욕망 고통을 청각화다.

- 최철주의 욕망공식 D(I...I')d = I(D...D')i 와 그 확장된 음향 역학 공식 Dsound ∝ √((Δx)² + (Δy)²) · Vdesire 를 기반으로 베토벤의 월광 소나타를 활용한 오페라 "월광의 단두대" 욕망 사운드 디자인 프로세스는 욕망 사운드 시각화 단계로 구성된다.

Step 2: Abstract Sketching of the Rack

Concept: Intentionally captures 'symbolic deficiencies' that occur between perfect data collected by AI.

Perform: When AI automation systems propose perfect symmetry, Choi Chul-joo's 'conceptual abstract' filter is applied to castrate unnecessary decorations and create intrinsic asymmetry and spatial gaps.

The result: It derives a "ghost silhouette" that allows users to project their desires, leaving only the functional core of the product.

- Mechanism Concept: Position Error (Delta x, Deltay) → It is designed to amplify the sound frequency and volume of the background as the actor's foot position (Delta x, Deltay) deviates from the target coordinates of the system according to the Sound Frequency (Hz) ↑. This is an auditoryization of the actor's desire to escape from the 'vertical order'.

- Based on Choi Chul-joo's Desire Formula D(I...I')d = I(D...D')i and its extended acoustic dynamics formula Dsound ∝ √(Δx)² + (Δy)²) and Vdesire, the opera "The Guillotine of Moonlight" Desire sound design process using Beethoven's Moonlight Sonata consists of a desire sound visualization stage.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《1590년대 장미와 왕관》-환각(Hallucination)의 사건 콘티 구성 (Event Continuity Construction)

3단계: 환각(Hallucination)의 사건 콘티 구성 (Event Continuity Construction)

개념: AI의 오류인 환각 현상을 디자인의 창의적 ‘사건’으로 재구성합니다.

수행: AI가 물리 법칙을 무시하고 생성한 환각적 도면을 ‘만화적 이미지’의 콘티로 변환합니다. 이는 실재(The Real)에 도달하기 위한 시각적 가교 역할을 합니다.

결과: 비현실적이지만 강렬한 에너지를 가진 제품의 핵심 조형(Point of Focus)이 확립됩니다.

- 이 공식 "Dsound ∝√(∆x)²+∆y)² · Vdesire" 에 따라서 무대 위 배우의 실시간 발 위치인 (x, y)가 시스템이 사전에 정의한 절대적 목표 좌표인 (x_0, y_0)로부터 이탈하는 물리적 거리, 즉 위치 오차(Position Error)인 Delta x와 Delta y가 발생할 때, 이 오차의 절댓값이 커질수록 배경에서 출력되는 소리 주파수(Sound Frequency, Hz)와 음량(Volume)은 기하급수적으로 증폭됩니다.

여기서 중요하게 작용하는 벡터 구조(V)는 배우가 시스템의 궤적을 벗어나려는 방향과 속도, 즉 '탈피하고자 하는 주체적 욕망'의 강도를 의미하며, 이 벡터값이 시스템의 통제 그리드와 충돌하는 지점에서 발생하는 파열음은 곧 '욕망 사운드'로 변환됩니다.

결과적으로 이 장치는 배우가 무대 위의 '수직적 질서'인 디지털 그리드에 순응하지 않고 자신만의 궤적을 그리려 할 때 발생하는 심리적 고통과 저항의 의지를 청각적인 압박감으로 치환하여 관객에게 전달합니다. 배우가 시스템의 중심에서 멀어질수록 고주파의 날카로운 시계 소리와 금속성 노이즈가 무대를 압도하게 되며, 이는 현대 사회의 보이지 않는 규범 속에서 개인이 느끼는 소외와 통제의 비극을 '오차의 미학'으로 승화시키는 탁월한 연출적 장치로 기능하게 됩니다.

- 서사적 줄거리 (Narrative Synopsis): 완벽한 기하학적 대칭과 한 치의 오차도 허용하지 않는 0.00Hz의 정적만이 지배하는 2030년의 초고속 시스템 '하이퍼-L'의 거대한 거주 구역에서, 모든 시민은 시스템이 규정한 고정 기표($I$)의 질서에 따라 기계적인 알람음조차 배제된 화이트 노이즈 속에서 동시에 눈을 뜨며, 이들의 움직임은 마치 정교하게 설계된 메트로놈의 진동처럼 소수점 단위의 오차 없이 동기화되어 각자의 수면 캡슐에서 일어나 동일한 궤적의 보행을 시작하지만, 그 무색무취한 평온함 아래에는 주체성을 상실한 존재들의 거세된 욕망이 침전되어 있어 마치 거대한 무덤과도 같은 정적 속에서 시스템의 부속품으로 전락한 인간 소외의 비극적 풍경을 적막하게 그려낸다.

Step 3: Hallucination's Event Continuity Construction

Concept: Reorganize hallucinations, an error in AI, as creative 'events' of design.

Perform: Translate hallucinatory drawings generated by AI in defiance of the laws of physics into conti in 'comic images' This serves as a visual bridge to reach The Real.

The result: A point of focus is established for products with unrealistic but intense energy.

- According to this formula "Dsound ∝√ (∆x)²+∆)²·Vdesire", which applies the actor's motion position, when (x, y), the actor's real-time foot position on stage, is a physical distance that deviates from the absolute target coordinates (x_0, y_0) defined by the system, i.e., Delta x and Deltay, position errors, the greater the absolute value of this error, the more exponentially the sound frequency (Hz) and volume output from the background are amplified.

The vector structure (V) that works importantly here refers to the direction and speed in which the actor is trying to escape the trajectory of the system, the intensity of the 'subjective desire to escape', and the rupture sound generated at the point where this vector value collides with the system's control grid is soon converted to the 'desire sound'. As a result, the device delivers to the audience the psychological pain and willingness of resistance that occurs when an actor tries to draw his or her own trajectory without conforming to the digital grid, which is a "vertical order" on stage, by replacing it with audible pressure. As the actor moves away from the center of the system, high-frequency sharp clocks and metallic noise overwhelm the stage, which serves as an excellent directing device to sublimate the tragedy of alienation and control felt by individuals in the invisible norms of modern society into an "aesthetics of error."

- Narrative Synopsis: In the massive residential sector of the ultra-high-speed system 'Hyper-L' of 2030, dominated by perfect geometric symmetry and a silence of 0.00Hz that permits not a single error, all citizens awaken simultaneously within a white noise devoid of even mechanical alarms, following the order of the fixed signifier ($I$) prescribed by the system. Their movements, synchronized without a decimal of error like the vibrations of a precisely designed metronome, begin with rising from their respective sleep capsules and embarking on identical trajectories of walking; yet beneath this colorless and odorless tranquility lies the castrated desires of beings who have lost their subjectivity, somberly depicting a tragic landscape of human alienation where individuals have devolved into mere components of a system within a silence akin to a vast tomb.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《1590년대 장미와 왕관》-응시(Gaze)의 관점에서의 스케치

4단계: 인간공학, 디지털 대타자의 파놉티콘 설계 (Digital Big Other Integration)

개념: 사회적 규범과 감시 체계(대타자)를 제품의 인터페이스에 통합합니다.

수행: 센서 및 디스플레이 레이아웃을 ‘응시(Gaze)’의 관점에서 재설계합니다. 제품이 사용자를 단순히 보조하는 것이 아니라, 상징적 권위를 가진 존재로서 상호작용하도록 자동화합니다.

결과: 디지털 파놉티콘의 시각적 질서가 반영된 인터페이스와 외부 센서 유닛 설계. 즉 의자의 등받이 중앙에 뚫려 있는 '공백(Void)' 부분이 극적으로 부각된다. 비어있는 원형 공간 뒤로 희미하게 인간의 그림자가 비친다. 이 '비어있음'이 역설적으로 강렬한 존재감을 드러낸다.

- 욕망 사운드 작동 공식 (Dsound ∝√(∆x)²+∆y)² · Vdesire)은 시스템이 규정하는 '정적 평형' 상태로부터 에릭이 이탈한 직선거리(변위)와 그 이탈을 밀어붙이는 욕망의 속도(Vdesire)를 결합하여, 무대 공간에 발생하는 음향 에너지의 총량을 정의하는 고차원 역학 공식이다.

1. 공간적 이탈의 절대치: sqrt {(Delta x)^2 + (Delta y)^2} = √(∆x)²+∆y)²

공식의 전반부인 피타고라스 정리 형태의 근호 항은 시스템의 기준점으로부터 에릭이 얼마나 멀어졌는지를 나타내는 '공간적 오차의 절대 거리'를 의미합니다. 이는 단순한 위치 변화를 넘어 시스템이 허용하는 논리적 궤도에 가하는 물리적 인장력을 뜻하며, 이 거리가 멀어질수록 시스템 내부의 데이터 마찰은 기하급수적으로 증가하여 소리의 파동을 형성할 기초 에너지를 축적하게 됩니다.

2. 의지의 가속화: Vdesire

여기에 곱해지는 욕망의 속도(Vdesire)는 에릭이 그 이탈을 얼마나 강력하고 추진력 있게 밀어붙이는지를 나타내는 동역학적 변수입니다. 아무리 거리가 멀어도 속도가 0이라면 소리는 정체되지만, 에릭이 자신의 의지로 발걸음을 재촉하거나 과감하게 움직일수록(속도가 높아질수록) 축적된 공간 오차 에너지는 격렬하게 진동하며 날카롭고 파괴적인 주파수로 변환됩니다.

3. 최종적인 음향적 발산: Dsound

결국 Dsound는 이 두 변수의 상호작용으로 인해 발생하는 '디지털 비명'의 크기이자 밀도입니다. 배우가 시스템의 통제 영역 바깥으로 멀리(Delta), 그리고 빠르게(V) 나아갈수록 무대 전체를 뒤흔드는 고주파 음향 에너지는 증폭되며, 이는 배우에게는 고통스러운 소음으로, 상대 배우에게는 시스템의 장벽을 부수고 나아가는 강력한 추진 에너지(Sound Propulsion)로 치환됩니다.

4. 오페라 <월광의 단두대> 무대장치 컨셉의 핵심은 '상징계의 완벽한 억압(I)'을 시각화하는 것입니다. 최철주 욕망 공식의 초기 상태인 정적 기표를 구현하기 위해, 무대는 차갑고 기계적인 선형 구조와 무한히 반복되는 그리드(Grid) 체계를 가집니다.

Step 4: Digital Big Other Integration

Concept: Integrate social norms and surveillance systems (batters) into the product's interface.

Perform: redesign the sensor and display layout from a 'gaze' perspective. Automate the product to interact with you as an iconic authority, not just as an assistant.

Results: Designing an interface and external sensor unit reflecting the visual order of the digital panopticone.

- Desire Sound Operation Formula (Dsound ∝√ (∆x)² + ∆)² · Vdesire) is a high-dimensional dynamic formula that defines the total amount of acoustic energy generated in the stage space by combining the linear distance (displacement) Eric deviated from the system's defined 'static equilibrium' state and the speed of desire (Vdesire) pushing the departure.

1. Absolute value of spatial deviation: sqrt {(Delta x)^2 + (Delta y)^2} = √(∆ x)² + ∆)²

The near arc term in the form of the Pythagorean theorem, which is the first half of the formula, represents the 'absolute distance of spatial error' indicating how far Eric has moved from the system's reference point. This means the physical tensile force applied to the logical trajectory allowed by the system beyond simple positional changes. As this distance increases, the friction of data inside the system increases exponentially, accumulating the underlying energy that will form sound waves.

2. Accelerate the will: Vdesire

The speed of desire multiplied by this (Vdesire) is a dynamic variable that indicates how strongly and drivefully Eric pushes the breakaway. No matter how far the distance is, if the speed is zero, the sound stagnates, but as Eric speeds up or boldly moves (as he speeds up), the accumulated spatial error energy vibrates violently and converts into sharp and destructive frequencies.

3. Final Acoustic Divergence: Dsound

After all, Dsound is the magnitude and density of "digital screams" caused by the interaction of these two variables. As an actor moves farther (Delta) and faster (V) out of the control area of the system, the high-frequency acoustic energy that shakes the entire stage amplifies, which is a painful noise for an actor and replaced by a powerful sound propulsion that breaks down the barriers of the system for the other actor.

4. The core of the stage equipment concept of the opera The Guillotine in Moonlight is to visualize 'the perfect suppression of punishment (I). To realize the static signifier, which is the initial state of Choi Chul-joo's desire formula, the stage has a cold, mechanical linear structure and an infinitely repetitive grid system.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《1590년대 장미와 왕관》-13-욕망 공명 인터페이스-철학적 클라이맥스 시각화; 상징적 공허의 시각화로서 무대 와 그리드 위에 희미하게 떠오르는 기호와 패턴. 현실의 형상이 언어적 추상으로 변환되는 순간을 표현. Symbols and patterns that faintly rise on the stage and on the grid as a visualization of symbolic emptiness. Expressing the moment when the shape of reality is transformed into linguistic abstraction.

5단계: 거울 단계의 나르시시즘 구현 (Mirror Stage Materialization)

개념: 사용자가 제품에서 자신의 이상적 자아를 발견하도록 유도합니다.

수행: AI가 사용자의 심리적 피드백을 실시간으로 학습하여 제품의 질감, 광택, 라이팅을 미세하게 조정(Automation Tuning)합니다.

결과: 사용자가 AI를 ‘또 다른 나’로 착각하게 만드는 나르시시즘적 결합력을 가진 최종 마감 완성.

- 욕망 움직임 공식의 수학적 정립

1. 배우의 움직임 M은 시스템의 명령 궤적 T와 배우의 주체적 욕망 벡터 V_d 사이의 상관관계로 정의됩니다. 배우의 실제 움직임 벡터, 알고리즘이 지시하는 수직적 질서의 궤적, 시스템이 설정한 좌표와 실제 발 위치 사이의 '오차' 값에 따라 욕망(Desire)은 시스템의 속도와 배우의 속도 차이, 즉 '이탈의 가속도'가 클수록 지표상에서 높게 측정된다.

2. 작동 원리: '오차'가 '예술'이 되는 과정

욕망 움직임 공식은 다음의 3단계 프로세스를 통해 무대 장치와 상호작용합니다.

① 위치 인식 및 벡터 산출 (Detection)

무대 바닥의 인텔리전트 그리드 센서가 배우의 발 위치를 실시간으로 스캔합니다. 배우가 시스템이 지정한 '안전 좌표'를 벗어나 특정 방향으로 몸을 기울이거나 도약할 때, 시스템은 이를 '데이터 오염(Data Contamination)'으로 간주하고 이탈 벡터의 크기를 계산합니다.

② 에너지 치환: 사운드와 조명의 동기화 (Transduction)

산출된 오차 값(Delta)은 즉시 음향 프로세서로 전송됩니다. • 주파수 증폭: 오차가 커질수록 저역대의 진동음에서 고역대의 날카로운 금속성 '시계 소리(Ticking)'로 변환됩니다. • 시각적 노이즈: 배우의 신체 위에 투사되는 홀로그램이 지지직거리며 깨지는 '글리치(Glitch) 효과'가 발생하여, 육체의 고통을 시각화합니다.

③ 수직적 질서의 붕괴 (Mise-en-scène)

배우가 극단적으로 좌표를 무시하고 움직일 때, 무대는 더 이상 '피터팬의 네버랜드'가 아닌 '통제 불능의 무대장치'로 변모합니다. 이때 발생하는 소음과 빛의 파편들은 배우의 내면적 욕망이 외부의 물리적 장벽(디지털 그리드)을 뚫고 나오는 비극적 미장센을 완성합니다.

3. 욕망 공명 인터페이스로 한 무대는 단순한 세트가 아니라, 관객 스스로가 시스템의 감시자(Theo)가 되게 만드는 '시각적 트랩'이다. 오페라 극장의 화려한 외벽 안에 갇힌 차가운 그리드는, 욕망이 거세된 현대인의 내면을 투영하는 거울이며, 여기서 발생하는 글리치(Glitch) 효과는 파괴가 아닌 진정한 실존의 재건을 의미한다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《1590년대 장미와 왕관》-13-욕망 공명 인터페이스-철학적 클라이맥스 시각화

Step 5: Mirror Stage Materialization

Concept: Encourage users to discover their ideal self in the product.

Perform: AI learns the user's psychological feedback in real time to fine-tune the texture, gloss, and lighting of the product.

Result: Final finish with narcissistic bonding that makes users mistake AI for 'another me'.

- Mathematical Establishment of Desire Movement Formula

1. The actor's movement M is defined as the correlation between the command trajectory T of the system and the actor's subjective desire vector V_d. Desire is measured higher on the index as the difference between the speed of the system and the speed of the actor, that is, the acceleration of departure, increases according to the actor's actual movement vector, the trajectory of the vertical order indicated by the algorithm, and the value of 'error' between the coordinates set by the system and the actual foot position.

2. Principle of operation: the process by which 'errors' become 'art'

The Desire Movement Formula interacts with the staging through the following three-step process.

① Location recognition and vector calculation (detection)

Intelligent grid sensors on the stage floor scan the actor's foot position in real time. When an actor leans or leaps in a specific direction outside of the system's specified 'safety coordinates', the system considers it 'data contamination' and calculates the size of the deviation vector.

② Energy Substitution: Sound and Light Synchronization

The calculated error value (Delta) is immediately transmitted to the sound processor. • Frequency amplification: As the error increases, it transforms from a low-band vibration sound to a high-band, sharp metallic 'ticking.' • Visual Noise: A 'glitch effect' occurs, in which the hologram projected onto an actor's body jiggles and breaks, visualizing bodily pain.

③ Mise-en-schène (Mise-en-schène) of vertical order

When an actor moves with extreme disrespect for coordinates, the stage is no longer Peter Pan's Neverland, but rather an "out-of-control stage device." The noise and fragments of light generated at this time complete the tragic mise-en-scène, in which the actor's inner desire breaks through external physical barriers (digital grids).

3. The stage with the desire resonance interface is not just a set, but a 'visual trap' that makes the audience themselves become the watchdog of the system. The cold grid trapped inside the opera house's colorful outer wall is a mirror that projects the inner side of modern people whose desires have become intensified, and the Glitch effect that occurs here means the reconstruction of true existence, not destruction.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《1590년대 장미와 왕관》-14-철학적 클라이맥스 시각화: 신고전주의적 하이퍼-테크(Neo-Classical Hyper-Tech)' 무대 디자인

- 철학적 클라이맥스 시각화 (Eric's positional error suggests): 이 장면은 Desire Movement Formula의 철학적 클라이맥스를 시각화한 것으로, 윌리엄이 시스템이 정의한 중심 궤도를 벗어나 자신의 좌표로 이동하는 순간, 무대 전체가 고주파 톱니파 형태의 소리로 폭발하며 흔들립니다. 이는 단순한 오류가 아니라, 시스템이 감당할 수 없는 과부하된 해방(overburdened liberation)의 임계점에 도달했음을 의미합니다.

수학적 공식 ∆x, ∆y → f(Hz)는 인간의 자유 의지와 시스템 통제 사이의 기계적 충돌을 정의하며, 이 장면은 차가운 디지털 알고리즘 속에 뜨거운 인간의 호흡을 주입하는 역설적 미학을 구현합니다. This scene is a visualization of the philosophical climax of the Desire Movement Formula, in which the entire stage explodes and shakes with a high-frequency sawtooth-wave sound as soon as William moves out of the system-defined central trajectory to his coordinates. This is not just an error, but it means that the system has reached a critical point of overloaded liberation that it cannot handle. The mathematical formulation ∆ x, ∆ → f(Hz) defines the mechanical collision between human free will and system control, and this scene embodies a paradoxical aesthetic that injects hot human breathing into cold digital algorithms.

6단계: 개념추상 리얼리즘의 실재 육화 (Incarnation of the Real)

개념: 추상적 개념을 견고한 물리적 실체로 변환합니다.

수행: 엔지니어링 최적화 단계에서 ‘만화적 선(Comic-book lines)’의 선명도를 유지하며 3D 프린팅 및 정밀 가공 프로세스를 자동화합니다.

결과: 실재 제품으로 탄생한 ‘개념추상 리얼리즘’ 오브제.

- 역학 시스템의 핵심은 자아가 단순히 시스템에 순응하거나 반항하는 단일 차원을 넘어, 충돌과 침잠, 그리고 초월이라는 일련의 에너지 변환 과정을 통해 자신의 존재론적 위치를 끊임없이 재정의한다는 점에 있습니다. 시스템이 설정한 '통제 임계값'은 이 역학이 작동하는 기준점이 되며, 개체의 욕망 에너지가 이 임계값을 어느 방향으로, 어떤 속도로 타격하느냐에 따라 희(喜)·노(怒)·애(哀)·락(樂)이라는 네 가지의 고유한 역학적 상태가 결정됩니다.

1. 충돌의 국면(⊕): 욕망과 통제가 정면으로 부딪힐 때 에너지는 마찰열(분노)로 치환되며 무대의 물리적 법칙을 뒤흔듭니다.

2. 소멸의 국면(→ 0): 욕망이 통제의 중력에 포획될 때 에너지는 내부로 수렴(슬픔)하며 정적인 엔트로피 상태에 도달합니다.

3. 폭발의 국면(≻) : 임계값을 돌파하는 순간 에너지는 규격화된 회로를 파괴(기쁨)하며 시스템 외부로 발산됩니다.

4. 공명의 국면(≡): 최종적으로 통제의 궤적과 욕망의 진동수가 일치할 때 에너지는 안정적인 조화(즐거움)를 이루며 시스템 자체를 유희의 도구로 승화시킵니다.

결국 욕망 움직임의 역학은 단순한 기계적 작동 원리가 아니라, 차가운 디지털 논리 구조(S) 속에 던져진 뜨거운 자아의 데이터(M)가 어떻게 살아있는 생명력으로 변모해가는지를 수학적으로 증명하는 '데이터 생명학'의 정수라고 할 수 있습니다.

5. 무대디자인 렌더링: 오페라 하우스의 화려한 천장 벽화와 금색 조각들이 보이는 가운데, 무대 위에는 차가운 화이트 그리드 복도와 중앙의 마젠타색 빛이 새어 나오는 수직 캡슐이 배치된 환상적인 대비를 최철주의 욕망공식 D(I...I')d = I(D...D')i 이 적용된 추상화 (Louis Chul-joo Choi, morning glory window 2024-4-Memories, 147X143cm, acrylic and composite materials on cloth, 2024) 와 그 확장된 음향 역학 공식 Dsound ∝ √((Δx)² + (Δy)²) · Vdesire 를 기반으로 베토벤의 월광 소나타를 활용한 오페라 "월관의 단두대"가 욕망 사운드 디자인 프로세스를 통과하여서 총합된 구성을 한다.

Step 6: The Incarnation of the Realism of Concept Abstract Realism

Concept: Transforming abstract concepts into solid physical reality.

Perform: Automate 3D printing and precision processing while maintaining 'Comic-book lines' clarity during the engineering optimization phase.

The result: The 'conceptual abstract realism' object created as a real product.

- The core of the mechanical system is that the ego goes beyond a single dimension that simply conforms to or defies the system and constantly redefines its ontological position through a series of energy conversion processes such as collision, subsidence, and transcendence. The control threshold set by the system becomes the reference point for this dynamics to operate, and the four unique mechanical states of joy (喜), anger (怒), love (哀), and rock are determined by the direction and speed in which the individual's desire energy hits this threshold.

1. Phase of conflict (⊕): when desire and control collide head-on, energy is replaced by frictional heat (angry), shaking the physical laws of the stage.

2. Phase of extinction (→ 0): When desire is captured by the gravitational pull of control, energy converges (sad) inward and reaches a static state of entropy.

3. Explosion phase (≻): As soon as the threshold is broken, the energy breaks (pleasantly) the standardized circuit and radiates out of the system.

4. Resonance phase (≡): Finally, when the trajectory of control and the frequency of desire coincide, energy creates a stable harmony (joy) that sublimates the system itself into a tool of play.

After all, the dynamics of desire movement are not just mechanical operating principles, but the essence of 'data biology' that mathematically proves how the hot ego's data (M) thrown into the cold digital logic structure (S) is transformed into a living life force.

5. Stage Design Rendering: With the opera house's colorful ceiling murals and gold sculptures visible, Choi's opera "The Guillotine on the Wall" with an abstract painting (Louis Chul-joo Choi, morning glory 2021-d-2, 136X168cm, acrylic and composite materials on cloth, 2021) and its extended acoustical dynamics formula Dsound ∝ √ (Δx)² + (Δy)²· Based on Vdesire, the opera "Guillotine on the Wall" using Beethoven's moonlit sonata passes through the desire sound design process and is put together.

Louis Chul-joo Choi, morning glory 2021-d-2, 136X168cm, acrylic and composite materials on cloth, 2021: 라캉적 대상의 의미는 무의적 언어가 연쇄하여서 출현한 효과를 결합과 대체하는 의중운동으로 기의를 생성한다. 즉 라캉적 대상 기표 이미지 <thread painting: morning glory 2021-d-2>를 생성한 후 기표 이미지와 기표 이미지의 연결구조에서 연쇄화 후 결핍이 드러나게 되고 그 결핍 즉 의미작용의 저항으로한 의미작용을 안하는 것을 대신하여 의미작용으로 욕망이 등장하게 한다. 그 결핍으로 형성된 이미지는 거울 앞에 선 유아가 본 것으로써 상상계에서 동일시는 외형적으로 오브제의 이미지와 자신을 동일한 주체로써 오브제의 이미지와 동일시되면서 내적으로 주체는 변형된 자신의 이미지를 디자인하여서 형성한다. 이것은 현상적 이미지의 디자인으로써 배면의 오브제와 오브제가가 없는 공간의 그림자가 밝아지거나 소실된다.

그것은 실재의 오브제의 상에서 유아로서 만족하는 이미지로서의 오브제로서 결핍된 이미지다. 오브제의 배면에 빈공간에서 존재하지 않는 현상적 구조를 확인함으로써 오브제의 실제가 거울에 비친 실재의 상이다. 즉 현상적 실제의 이미지는 은유로서의 실재의 이미지는 거울에 비친 실재의 상 일수도 또 다른 이미지로서 허상적 음영으로 보이는 상 일수도 있다.따라서 라캉이 말하는 은유가 오브제를 비유하는 것이 아니라 하나의 기표가 다른 기표로 대치되면서 원래의 기표가 기의가 되는 것처럼 세잔은 모방적 회화가 대상을 형태를 귀정하는 것보다 유사한 형태가 공시적 형태를 드러낸 후 그 형태의 의미를 볼 수 있도록 했다. 그것의 의미가 고정된 자리는 무의식 욕망에서 분열된 주체로 이어지는 기표 이미지가 연쇄하여서 분열된 주체와 교차는 두 개의 고정점이다. 그 고정점의 의미적 기능은 동시성과 공시성이다. 여기서의 동시적 기능은 문장의 의미가 소급적 효과에 의해 완성되고, 공시적 기능은 문장에 숨어 있어서 근원에서 얻을 수 있는 공시적 구조 즉 은유이다.

그리고 그는 실제적 풍경으로 화폭에 맞추려고 어긋난 디자인의 형태를 단순화한 대상의 면들로 구분하여서 명암의 교차로 한 주관적 색을 맞춘다. 그 주관적 색은 순간적으로 응시하는 이미지에서 기표적 이미지가 연쇄화하여서 순간적 이미지를 형상화하며 타자의 욕망을 무의식에서 드러낸다. 이것은 쓰레드 페인팅처럼 욕망적 이미지와의 동일시를 통해 라캉적 의미의 디자인의 결과로써 “오브제ɑ”가 표출된다. 즉 낭만주의처럼 대상의 특징을 묘사하지 않고 그는 풀밭에서 하늘빛과 색조에 맞춘 단순화된 형태로 기의적 풍경을 그린다. 이것은 보는 이에게 사실적으로 대상을 표현하는 방식과는 다르게 색광의 명도차로 한 원근법과 형태를 단순하게 그려서 대상의 형태가 의미하는 것을 찾아가는 형식이다.

따라서 그는 대상의 시선으로 보는 풍경의 인상을 수식하지 않고 실제와 유사한 크기로 한 대상의 의미효과로서 구체적 공간에 묘사하지 않은 의미효과로 한 화면을 이룬다. 그 의미효과는 구체되지 않은 상상과 상징성을 동일한 의식운동으로써 의미를 고정한다. 그리고 이미지들의 연쇄로 결합된 결여된 타자의 욕망을 남긴다. 여기서 상상의 일반적인 구조로 표현된 주체와 상징적 표현의 관계를 나타내며, 주체는 돌이킬 수 없이 기호표현의 영향을 받아서 욕망의 원인을 제공하는 형태를 이룬다. 그러나 세잔의 <잔디 위의 오찬>은 빛의 색으로 형태의 구체성을 외면한다. 그리고 형태에 비친 빛의 색은 전체를 하나의 공간으로 한 회화적 방식으로 형태를 모방하여서 유사한 형태에 근접한 빛의 색으로 원근을 맞춘다. 즉 빛의 색으로 보이는 형태와 실재의 공간을 구별하는 비실재의 모방적 형태다. 따라서 세잔의 그림은 비실재적 모방적 형태와 화면 밖의 형태를 빛의 색으로 맞춘다. 이렇게 그는 형태와 화면의 공간을 동일한 빛으로 대상의 의미적 해석을 하여서 그 빛의 색을 매개로 대상의 형태를 만들고 그 의미를 상상하게 한다. 그 상상은 일관성 있는 형태가 가진 의미를 경험할 수 있도록 선 공간에 사실적 구조의 추상적 개념을 구성하는 디자인 효과를 보인다.

The meaning of the Lacan's object creates significance as a thought movement that combines and replaces the effects of the chain of involuntary languages. In other words, after creating the Lacan object signifier image <thread painting: morning glory 2021-d-2>, the deficiency is revealed after chain reaction in the connection structure between the signifier image and the signifier image, and desire emerges as a semantic function instead of the lack, that is, not acting as a semantic function due to resistance to the semantic function. The image formed by the deficiency is what a child standing in front of a mirror sees, and the image of the object is identified with the image of the object as the same subject in the imagination world, and internally, the subject designs and forms a transformed image of itself. This is the design of a phenomenal image, and the shadow of a space without the rear object and the object is brightened or lost. It is an image that is lacking as an object as an image that is satisfied as an infant in the image of a real object. By identifying a phenomenal structure that does not exist in an empty space on the back of the object, the reality of the object is an image of reality reflected in a mirror. In other words, the phenomenal real image as a metaphor may be an image of reality reflected in a mirror, or another image that appears to be an imaginary shadow. Just as Lacan's metaphor does not compare an object to an object, but when one signifier is replaced by another signifier, Cézanne made it possible to see the meaning of the form after a form similar to the imitative painting revealed a public form rather than a form attributing the object. The place where its meaning is fixed is the two fixed points where the signaled image leading from the unconscious desire to the divided subject is cascaded and the divided subject and the intersection. The semantic function of the fixed point is simultaneity and disclosure. The simultaneous function here is a disclosure structure, that is, a metaphor, that can be obtained from the source because the meaning of the sentence is completed by a retroactive effect, and the disclosure function is hidden in the sentence. He divides the shape of the design that is shifted to fit the canvas as an actual landscape into the simplified surfaces of the object and matches the subjective color that intersects the contrast. The subjective color reveals the desire of the other in the unconscious by serializing the landmark image in the instantaneous gaze image to form the instantaneous image. Like thread painting, "object ɑ" is expressed as a result of design in a Lacan sense through identification with the desire image. In other words, he paints a strange landscape in a simplified form tailored to the sky's light and color tone on the grass without describing the characteristics of the object like Romanticism. This is a form of simply drawing the perspective and shape with the difference in brightness of color light, unlike the way the object is expressed to the viewer realistically. Therefore, he does not modify the impression of the landscape viewed through the gaze of the object, but forms a screen with a semantic effect that is not described in a specific space as an object's semantic effect in a similar size to the real world. The meaning effect fixes the meaning of unconventional imagination and symbolism as the same conscious movement. And it creates the desire of the other lacking in a chain of images. Here, it represents the relationship between the subject expressed as a general structure of imagination and symbolic expression, and the subject is irreversibly influenced by symbolic expression and forms a form that provides the cause of desire. However, Cézanne's "Luncheon on the Lawn" ignores the concreteness of the form with the color of light. The color of light reflected in the form mimics the shape in a pictorial way that makes the whole space into one space and focuses on the color of light close to a similar shape. In other words, it is an imitative form of non-real matter that distinguishes between the visible form of light and the real space. Therefore, Cézanne's painting matches the non-realistic imitative form and the form outside the screen with the color of light. In this way, he makes a semantic interpretation of the object with the same light to create the shape of the object and imagine the meaning. The imagination shows a design effect that constitutes an abstract concept of a realistic structure in line space so that the meaning of a consistent form can be experienced./ Writing. Former curator of the Seoul Museum of Art Louis Choi Chul-joo (Modern art Painter & Doctor of Cultural Design)

연극 <1590년대 장미와 왕관>의 차가운 미래주의적 미학이 결합된 '신고전주의적 하이퍼-테크(Neo-Classical Hyper-Tech)' 무대 디자인-신고전주의적 하이퍼-테크(Neo-Classical Hyper-Tech)-morning glory

6단계: 개념의 현실 추상적 현실주의의 화신

개념: 추상적인 개념을 견고한 물리적 현실로 변환하기.

수행: 엔지니어링 최적화 단계에서 '코믹북 라인'의 선명도를 유지하면서 3D 프린팅 및 정밀 가공을 자동화합니다.

결과: 실제 제품으로 만들어진 '개념 추상적 실재론' 객체.

• 유령 발현 - 색상: 스펙트럴 실버 & 세피아. - 효과: 리어 미러 패널이 서로 각도를 이루며 강렬한 은빛을 산란시킵니다. 이때 조명은 과거 무성 영화의 세피아 톤을 띠며 배우의 그림자가 계단에서 3~4겹으로 겹쳐집니다. • 유서 깊은 오페라 하우스 (Opéra Bastille)의 웅장한 고전적 양식과 조화를 이루는 <월광의 단두대>의 차가운 미래주의적 미학이 결합된 '신고전주의적 하이퍼-테크(Neo-Classical Hyper-Tech)' 무대 디자인 이다. 이 무대디자인은 "나의 시스템은 오류이고 그러므로 살아있다." 무대 바닥의 그리드 한 칸, 벽면의 반사 각도 하나까지도 최철주 공식의 I(고정 기표)를 물리적으로 구현한 것입니다. 관객은 이 완벽한 대칭 속에서 숨이 막히는 듯한 공허함을 느껴야 하며, 이 억압이 '단두대의 파열'과 마젠타색 글리치의 귀환이 더욱 드라마틱한 해방감을 줄 것입니다.

Step 6: The Incarnation of the Real of Concept Abstract Realism

Concept: Transforming abstract concepts into solid physical reality.

Perform: Automate 3D printing and precision processing while maintaining 'Comic-book lines' clarity during the engineering optimization phase.

The result: The 'conceptual abstract realism' object created as a real product.

• Phantom Manifestation - Color: Spectral Silver &Sepia. - Effect: The rear mirror panels are angled together, scattering intense silver light. At this time, the lighting takes on the sepia tone of past silent films, with the actor's shadows overlapping in three to four layers on the stairs. • It is a Neo-Classical Hyper-Tech stage design that combines the cold futuristic aesthetics of "The Guillotine in the Moonlight" in harmony with the magnificent classical style of the historic Opera House (Opéra Bastille). This stage design is a physical embodiment of the I (fixed symbol) of Choi Cheol-joo's formula, "My system is an error and therefore alive." The audience should feel a choking void in this perfect symmetry, and this oppression will give a more dramatic sense of liberation to the rupture of the guillotine" and the return of the magenta-colored glitch.

루이 최철주 설치 미술 회화 “나팔꽃” 개인전: 배면 비춤(backlighting) 효과를 활용한 추상 설치 작품 시리즈 이미지설치작품평론: 현대미술가 루이 최철주 설치 회화 욕망 개념 이미지와 왜상적 아나몰포시스 이미지로 한 루이 <나팔꽃> 뉴욕 개인전/ Contemporary Art Installation Criticism Review of Abstract Installation Works Series Image Installation Works Using Backlighting Effect: NewYork Exhibition: Louis's Installation "morning glory": Exhibition of Louis Chul-joo Choi's "morning glory" with the image of desire's object and Anamorphosis image, 20220308~20220310 Yeomyeong Hall, New York.

Louis Chul-joo Choi, morning glory p4-4-1, a hand-painted picture on a computer, 2022

배면 비춤(backlighting) 효과를 활용한 추상 설치 작품은 리얼리즘 이미지를 증명하는 배면 이미지로서 최철주의 욕망 공식 "D(I...I')d=I(D...D')i"을 통과한 가역적의 빛의 음영으로 생성된 추상화 설치 작품이다.

An abstract installation using the backlit effect is an abstract installation work created by a reversible shade of light that passes Choi Chul-joo's desire formula "D(I...I')d=I(D...D')i" as a rear image that proves a realism image.

■ 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.

Louis Chul-joo Choi, morning glory p15-3, a hand-painted picture on a computer, 2022

■ 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.

Louis Chul-joo Choi, morning glory p26-2-4, a hand-painted picture on a computer, 2022

■ 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.

Louis Chul-joo Choi, morning glory p4-6, a hand-painted picture on a computer, 2022

■ 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.

비실재의 사실적 설치 미술 추상화 평론: NewYork Exhibition, Louis Chul-joo Choi's Insallation Art <morning glory>

뉴욕에서 최철주 2번째 설치미술 개인전은 2022년 Yeomyeong Hall에서 개최되었다.

Louis <morning glory>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 형식의 쓰레드 페인팅이다.

최철주의 쓰레드 페인딩으로 한 전시 작품은 화폭에 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 아나몰포시스 이미지로 넓힌 형상이다 그 형상의 의미는 나팔꽃과 마주했던 풍습적 보편성의 실재를 교직된 천의 공간빛의 색깔로 꾸며진 타자의 욕망을 구조화 한 것이다.

따라서 쓰레드 페인팅의 구조화는 나팔꽃의 정해진 자리에서 발묵적 구조의 존재, 즉 순간적인 시간성의 일치에 의존하는 나팔꽃의 자리다. 그 자리는 나팔꽃의 이미지를 천속에 만들어서 교직된 천의 이미지를 가역적인 빛의 음영으로 확장한다. 그리고 그 자리에 시간성으로 변형된 평면적 나팔꽃과 대기를 묘사한다.

그 자리에 여러개의 방향으로 조명하여서 지난 시간의 존재했던 형상을 무의식적 형상으로 되돌려서 실재의 형상에 가역된 이미지를 하나의 시간성에 따라 중첩하지 못하고 통합된 의미로 중첩한다.

또 다른 그 자리는 농구대가 있는Yeomyeong Hall Gym 이다. 그 자리에 벽면과 출입구 그리고 농구대에 설치되어서 응시자에게 아나몰포시스 이미지(anamorphosis image)로 여러개의 의자들 뒷 벽면에 놓인다. 자리에 관계없이 위치할 수 있는 의자들은 지난 시간의 공간을 말한다.

여기서 가역적 빛의 음영으로 생성된 <나팔꽃>이 아나몰포시스 이미지로 그 공간을 공유한다. 의자들과 중첩된 또 다른 아나몰포시스 이미지가 욕망 개념 오브제다. 그 이미지는 회화적 이미지가 비재현적 이미지라고 가정할 때 실재는 상사적으로 실재를 재현한 전체의 가상적 Yeomyeong Hall Gym 이미지에서 존재한다.

욕망 개념 오브제는 특히 형태적 구조에서 양감과 그림자를 소거함으로써 물리적 구조를 명확하게 드러낸다. 이것은 보이지 않는 ‘응시’로써 오브제를 분석하는 것으로 시각적 재현의 형태를 다른 시점에서 오브제의 것과 그 오브제를 인식적 재현의 형태로 본다.

왜상적 아나몰포시스 이미지(anamorphosis image)로서의 오브제는 욕망 이미지의 오브제와 동일하게 응시로써 보이는 왜상(歪像)적 이미지다. 이것은 그 오브제가 왜상적 이미지로 보이는 회화의 비실재적 시각 이미지의 차원을 넘어선다. 이것은 선에서부터 드러난 형태의 아나몰포시스 이미지는 시간의 순간적 시점에서 구성된 것으로써 시간성과 존재성을 갖는다. 그것은 평면이든 입체든 무관한 응시영역으로한 최철주의 욕망 개념 추상이론체계에서 타자의 욕망으로 생성된 이미지이기 때문이다.

타자의 욕망이 선으로 집적된 아나몰포시스 이미지를 택함으로써 원근법적 밀도와 하나의 광원적 시점에서 형성되는 양감은 존재하지 않는다. 여기서 오브제는 콜라주처럼 부분적인 이미지들이 동일한 시간에 드러난 왜상적 형태로써 공간에 존재한 것임을 말한다.

그러나 형상은 의미로 보이지 않고 순간적으로 가역된 여러개의 음영색으로 이미지 배경의 자리를 맴돈다. 이것은 시간성의 자리 즉 하늘 이미지가 구름과 비 그리고 눈으로 보이는 것처럼 시간의 하나의 순간에 시간의 정한 빛의 자극으로 보이는 형상이 다른 이미지다. 이것은 그 빛이 시간성의 경과로 이루어낸 무한하고 연속되는 존재의 자리다.

그것은 구체가 공존하는 추상적 현상이 현존하는 가역된 시각적 구조다. 화가가 그림을 그릴때 이미지를 의미적 인식을 얻어내는 그 이미지에 대한 시간성의 구조다.

따라서 시각적 가역반응(visual reversible reaction)은 화가가 여러가지의 색으로 중첩하여 검은색이 되거나 빛이 가려진 시간성의 결과 즉 나팔꽃과 항시적인 본체로서의 그 자리가 공존하는 <나팔꽃>은 나팔꽃 자리의 시각적 가역반응에 따른 순간적인 구조의 이미지다.

그 이미지는 일상의 음영적 형상이 지난 시간의 나팔꽃과 교차한 순간에 자리했던 타자의 이미지가 천으로 구조된 풍경이다.

이렇게 꾸며진 형상의 빛과 대비되는 어두운 여백의 공간은 주재(駐在)로 만들어낸 그림자다. 여기서 실제의 대상적 존재로서 색깔은 응시로 보이는 풍교된 풍습의 단상적 이미지다. 이것은 그 의미는 모방한 꽃을 상징하는 기호적 언어로서 설치 미술 <나팔꽃>은 욕망 개념의 결과로써 비실재 공간에 기호화된 타자의 욕망을 존재로서의 은폐된 미적 구조다. 그리고 욕망 개념으로서 평면적 오브제의 조각이다.

Louis Chul-joo Choi, morning glory 2021-j-01-1, 145X183cm, acrylic and composite materials on cloth, 2021

욕망 개념 추상적 이미지는 시각적 문화로서의 설치미술 효과가 발생하는 회화의 영역은 풍경속에서 응시적으로 기능하는 타자의 욕망을 순간적으로 볼 수있는 이미지다. 그 이미지 <morning glory 2021-j>는 최철주의 욕망 공식에서 현실에 없는 것을 인식하여서 적용시킨 생각이다. 그 생각은 무의식과 언어를 동일한 형상을 그려낸 하나의 이미지다.

여기서 응시로 보이는 나팔꽃은 하나의 색깔로 평면화된 왜상적 구조다. 이것은 회화에서 나팔꽃이라는 일관된 의미로 보이게 있는 왜상적 평면성이다. 그 나팔꽃은 거울에 비친 실재(le réel)와 동일하지만 배경의 형상은 동일하지 않다.

Louis Chul-joo Choi, morning glory 2021-k-0, 136X168cm, acrylic and composite materials on cloth, 2021

설치미술 회화의 시도로서의 <morning glory 2021-k-0>은 하나의 나팔꽃 줄기를 빛으로 소거하여서 회화에서 대상의 존재를 의미작용의 특정효과로 한 타자의 욕망을 발생하는 선 존재한 미적 공간을 무의식적 언어처럼 회화의 의미를 억압된 것에서의 회귀하려는 언캐니(uncanny)적 양상을 말한다.

이것은 회화로 한 설치의 영역을 보이는 이미지에 따라 실재와 비실재에 대한 예술론적 의미다. 그 의미의 실재와 비실재가 오브제를 재현하는 가시적 이미지로서 선택할 수 없다 즉 오브제를 실제의 이미지를 표현하는 회화적 이미지는 비실재로서의 이미지로 규명되었다. 따라서 오브제에서 실재를 찾는 방법인 욕망 개념과 유사한 왜상적 이미지로 타자의 욕망을 드러낸다. 즉 말하는 무의식에서 깨어 동시대 타자의 욕망을 그려서 설치미술의 시각적 의미를 보인다.

<morning glory 2021-k-0>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 형식의 쓰레드 페인팅다. 즉 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 아나몰포시스 이미지로 넓힌 형상이다 그 형상의 의미는 나팔꽃과 마주했던 풍습적 보편성의 실재를 교직된 천의 공간빛의 색깔로 꾸민다. 이렇게 꾸며진 형상의 빛과 대비되는 어두운 여백의 공간은 주재(駐在)로 만들어낸 그림자다. 여기서 실제의 대상적 존재로서 색깔은 응시로 보이는 풍교된 풍습의 단상적 이미지다.

이것은 그 의미는 모방한 꽃을 상징하는 기호적 언어다. 여기서 나팔꽃 이미지는 라캉적 의미의 결과로써 비실재 공간에 기호화된 존재로서의 은폐된 미적 구조의 의미로서 욕망 오브제의 조각이다.

따라서 <morning glory 2021-k-0>는 나팔꽃의 아나몰포시스 이미지로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 형식의 쓰레드 페인팅다. 즉 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 왜상적 이미지로 넓힌 형상이다. 그 형태의 의미는 나팔꽃과 마주했던 풍습적 보편성의 실재를 쓰레드 페인팅의 공간빛의 색깔로 꾸민 타자의 욕망이다.

Louis Chul-joo Choi, morning glory-2021-l, 148X175cm, acrylic and composite materials on cloth, 2021

최철주의 추상 욕망미술이론이 적용된 대상은 회화로서 나팔꽃이다. 객체의 실제는 시간에 따라 실제 공간이 아닌 여백에 숨겨진다.

이렇게 욕망적 대상으로서의 나팔꽃의 실재가 그 시간성의 변화에 따르는 비실재 공간의 여백이 된다. 그 자리에 그려진 나팔꽃은 빛이 비추는 공간의 이미지를 대상으로 일치시키고, 거울에 비친 대칭적 비현실 공간의 필연성에 따라 대상을 설정해 대칭적 실공간과 비실재 장소를 동일시 한다, 이것은 대상에 맞춘 이미지의 자리다. 하나의 틈새와 빈칸을 반복적으로 연결하는 천의 공간이며, 하나의 그림 구조가 천에 그려진 색상과 여러 개의 빈칸인 네모난 실에 겹칩니다. 그 이미지는 대상의 자리가 정한 색채와 형상에 따른다.

따라서 쓰레드 페인팅으로 한 <나팔꽃 2021-l>에서 대상으로서의 이미지의 의미는 그 의미의 색깔로서 대상과 마주했던 풍습적 보편성의 실제를 빛의 색깔로 꾸민다.

이렇게 꾸며진 형상의 빛과 대비되는 어두운 여백의 공간은 주재(駐在)로 만들어낸 그림자다. 여기에 존재하는 대상은 응시하는 색깔의 외관과 풍습에 익숙함으로 인해 모양이 바뀐 단면적인 설치 형상이다.

<morning glory-2021-l>의 의미는 일상적 삶의 장소에서 멈춘 깨달은 물체의 형상을 빛의 색깔로써 형식을 갖추고 분간하기 어려운 반사적 여백의 색깔을 천과 같은 재료에 그린 그림을 연쇄하여서 하나의 그림을 그려낸 미적 구조다. 여기서 색칠된 그림은 관습에 의해 깨우치거나 제자리에 있을 때 색의 형상으로 현실의 존재의 가치를 풀어낸다.

그러나 그림 속 대상의 여백에 감춰진 주체는 그 적시성을 재현할 수 없기 때문에 동시대의 대상에 어울리는 색깔로 보인다. 그리고 옷감 같은 실에 색과 대비되는 색선으로 형상의 윤곽을 정하는 '나팔꽃 2021-l'은 과거 공간의 필연성과 함께 풍습의 친숙함을 담아냅니다. 이것은 회화적인 모방 과정에서 왜곡된 나팔꽃 이미지의 조각들을 반복해서 조합한 디자인을 특징짓는 기호 작용으로 한 의미를 지시한다. 그 의미는 모방한 꽃을 상징하는 기호적 언어다. 여기서 나팔꽃 이미지는 라캉적 의미의 결과로써 비실재 공간에 기호화된 의미의 조각이다.

나팔꽃의 의미가 고정된 자리는 무의식 욕망에서 분열된 주체로 이어지는 기표 이미디로서 나팔꽃의 디자인 연쇄하여서 분열된 주체와 교차는 두 개의 고정점에 근접한 이미지를 이룬다. 그 고정점에 근접한 이미지의 의미적 기능은 동시성과 공시성이다. 여기서의 동시적 기능은 문장의 의미로서 디자인 개념을 소급적 효과에 의해 실재적 대상을 디자인하여서 완성된 이미지가 <morning glory-2021-l>이다. 그 이미지의 공시적 기능은 언어적 문장에 숨어 있어서 디자인 개념의 근원에서 얻을 수 있는 공시적 구조 즉 거울에 비친 이미지의 대조적인 은유의 이미지가 된다.

Louis Chul-joo Choi, morning glory 2021-g-2, 135X167cm, acrylic and composite materials on cloth, 2021

<morning glory 2021-g-2>는 그 숨은 의미 그대로 삶의 공간과 나팔꽃을 든 닭과 병아리를 풍경 속에 함께 담아내 가족의 존재를 드러낸다. 가족의 현상적 가치를 보이는 실재로서 <morning glory 2021-g-2>은 즉 환영적 비실재를 없애고 사유를 통한 의미의 실재성를 그려낸다.

상징계에서의 회화는 오브제에 대한 계속된 상징적 존재일 뿐이다. 그 존재를 초월적 기표(Signifiant)라고 한다.

그러나 <morning glory 2021-g-2>은 상징계의 영역에서 분리된 영역인 실재로서 가족의 의미를 은유적으로 표현한다. 그 표현하려는 오브제를 보이지 않고 은폐로서의 가족의 실제적 의미를 닭과 병아리에 비유한다. 즉 보이지 않는 은폐는 상징으로써 의미와 비유하는 상징적 형상은 만든다. 하지만 프로이트의 무의식적 표현은 정신분석학적 해석을 통해 욕망 개념이론 체계에서 상징적 타인의 욕망과 비교될 수 있다. 여기서 상징적 타인의 욕망은 프로이트의 무의식 속에 있는 상징적 세계와 라캉 특유의 이미지의 언어적 의미라는 범주에서 확인됩니다.

따라서 은폐된 실재 이미지의 의미는 무의식적 구조다. 보이지 않는 가족의 실재로서 <morning glory 2021-g-2>에서는 볼 수 없는 가족의 실재를 이해함으로써 라캉의 그림으로서 다양한 대상을 드러내고 타자의 욕망의 존재를 상징하는 이미지의 의미를 찾을 수 있다.

Louis Chul-joo_Choi, morning glory 2021-h, 131X167cm, acrylic and composite materials on cloth, 2021

미국 네오다다의 조셉 보이스(Joseph Beuys)는 인위적인 존재 행위, 즉 대상을 다른 물건으로 변형하고 이를 사람으로 예술화해 그 대상이 전체 예술의 대상으로 인식되도록 했다. 이것은 그의 <죽은 토끼에게 어떻게 그림을 설명할 것인가?, 1965>에서 흙, 재생과 부활 그리고 하나의 토끼를 육화(Incarnation)하여서 시각적으로 오브제 했기 때문이다.

이렇게 시각적 체계에서 보이지 않는 회화적 오브제는 라캉의 오브제ɑ와 초현실적 오브제다. 이것은 초현실적 욕망 오브제는 타자의 욕망이 순간적으로 보이는 왜상적 이미지다. 그것은 인간의 잠재의식에서 파생된 형상으로서 상징적 의미와 원근법적 실제 형상의 의미와는 달리 상징적인 의미를 갖는 초현실적 그림의 이원적 오브제다.

초현실적 이미지의 의미언어는 프로이트의 무의식을 상징적 세계의 범주로서 확인하는 실재의 존재에 바탕으로 한다. 따라서 초현실적 실재의 의미는 무의식적인 구조입니다. 그림의 실체를 이해함으로써 <나팔꽃 2021-h>은 시각예술에서 또 하나의 무의식적인 실체가 타인의 욕망을 상징한다고 해석할 수 있다.

다시 말해 무의식적 형상의 실재는 그 이미지의 의미적 언어의 연쇄에서 형성된 불완전하고 왜상적 이미지가 출현하는 효과다. 이것은 욕망 개념 이미지가 화가의 의중운동을 통해 욕망 공식에 기표(S; signifasnt)에 형상을 대입하여서 생성한 의미(s; signifiè)를 밝혀서 정한다.

그것은 연극의 무대처럼 무의식의 구조를 시나리오로 한 이미지를 장치로 구조화하여서 지난 시간의 가역적 빛으로 조명된 기표이미지의 의중운동을 통해 그 시나리오의 의미를 밝혀서 해석하는 것과 유사하다.

여기서 최철주의 욕망 개념 추상이론에서의 형상의 기표 이미지와 기표 이미지의 구조를 연결하여서 디자인을 반복하여 왜상적 이미지 즉 결핍된 형상에 대한 의미작용의 저항으로한 의미작용을 안하는 것을 대신하여 의미작용으로 타자의 욕망이 등장시킨다.

그 의미를 최철주의 욕망 공식 D(I...I')d=I(D...D'i)i에 적용하여서 <morning glory 2021-h>에 대입하면 기표이미지로서 나팔꽃과 기표이미지로서 고양이를 연결해주는 의미의 효과는 나팔꽃을 하늘에 올려서 풍경을 만든다.

여기서 욕망 공식 D(I...I')d=I(D...D'i)i를 <morning glory 2021-h>에 대입하여서 기표이미지로서 나팔꽃과 기표이미지로서 고양이를 연결해주는 의미의 효과를 낸다. 그 혀과는 나팔꽃을 하늘에 올려서 풍경을 만들고 고양이를 육화(incarnation)하여서 물고기를 타자의 욕망으로 한 오브제가 됨에 따라 그림자속에 왜상적 물고기를 욕망 개념 이미지의 오브제로 음영화한다.

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.

Louis Chul-joo Choi, morning glory(2021-a), 148X175cm, acrylic and composite materials on cloth, 2021

회화에서 오브제를 재현하여 가상적 오브제로써 형성된 이미지(morning glory 2021-a)는 실재를 은폐한 가상적 이미지이다. 가상적 이미지는 평면으로 인지되어짐으로써 가상적 이미지로 보인다. 여기서 라캉 이론체계를 통해 존재로서의 오브제ɑ를 드러냄으로써 가상적 이미지가 실재가 된다.

욕망 오브제는 그 오브제를 재현하는 원근법적 시각체계의 기학적 도식에서는 은폐하고 있으며, 무의식에서 드러난 욕망적 관점의 응시로써 순간적으로 드러낸다. 그 오브제는 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 디자인으로 형성하고 존재로서 오브제를 생성하여 예술성을 드러내는 것이다. 여기서의 예술성은 타자의 욕망적 관점에서 왜상적 이미지로 오브제의 이미지를 변형함으로써 오브제의 또 다른 존재로서의 오브제를 드러낸다. 여기서 존재로서의 은폐된 미적 구조의 의미 욕망 개념 이미지의 오브제가 창조성과 자율성으로 한 예술적 의미를 담고 있다.

Louis Chul-joo Choi, morning glory(2021-b), 132X168cm, acrylic and composite materials on cloth, 2021

<morning glory(2021-b)>는 나팔꽃의 왜상적 이미지로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 형식의 쓰레드 페인팅다. 즉 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 왜상적 이미지로 넓힌 형상이다. 그 형상의 의미는 나팔꽃과 마주했던 풍습적 보편성의 실재를 교직된 천의 공간빛의 색깔로 꾸민다. 이렇게 꾸며진 형상의 빛과 대비되는 어두운 여백의 공간은 주재(駐在)로 만들어낸 그림자다. 여기서 실제의 대상적 존재로서 색깔은 응시로 보이는 풍교된 풍습의 단상적 이미지다. 이것은 그 의미는 모방한 꽃을 상징하는 기호적 언어다. 여기서 나팔꽃 이미지는 욕망적 의미의 결과로써 비실재 공간에 기호화된 존재로서의 은폐된 미적 구조의 의미 오브제의 조각이다.

그 오브제는 욕망 개념의 예술론에서 원근법적 시각에서 욕망적 사유를 통한 관점에서 ‘응시’로써 드러난 오브제이다. 응시로써의 오브제는 대상이 주체로서의 타자의 눈에 빛의 점으로 드러난 것이다. 이것은 원근법적 시각체계와 중첩되지만 억압된 무의식에서 욕망적 관점에서 순간적으로 드러난 기표적 이미지이다. 그 응시는 보이는 것과 보이지 않는 것을 공간에서 화면의 작은 구멍에서 비취는 반사광으로 시선과의 일치나 불일치에 따라 왜상적 이미지를 결정된다.

따라서 욕망 오브제는 원근법적 시각체계에서의 비실재적 이미지가 아닌 욕망적 응시체계에서 드러난 존재로서의 은폐된 미적 구조의 의미다.

Louis Chul-joo Choi, morning glory(2021-a-1), 148X175cm, acrylic and composite materials on cloth, 2021

욕망 개념의 오브제로서 왜상적 이미지는 사진적 이미지를 콜라주로 시각화한 것과 일치한다. 이것은 가역적 빛으로 생성된 왜상적 이미지로서 회화의 비실재적 시각 이미지의 차원을 넘어선다. 그것은 평면이든 입체든 무관한 응시영역으로한 욕망 개념에서 타자의 욕망으로 생성된 이미지이기 때문이다. <morning glory 2021-a-1>에서 오브제로서 세 개의 나팔꽃중에서 중앙 아래에 있는 나팔꽃은 왜상적 이미지로서 오브제가 응시로 보이는 이미지다. 여기서 나팔꽃은 가역적 시간의 연속성에서 순간적 응시로 정지된 존재성을 말한다. <morning glory 2021-a-1>에서의 이미지는 원근법적 시각체계 여백과 오브제도 실제가 아닌 가역적 시간성에 맞추어 나팔꽃을 평면화 시켜서 가역적 시간성의 존재를 보인다.

그러나 나팔꽃의 존재를 재현하고 있지만 배경 이미지는 나팔꽃들은 동일시하고 있지만 일치하지는 않는다. 그것은 존재가 무엇인지에 대하여 나팔꽃과 이미지가 다른 가역적 빛으로 생성된 그림자의 의미 구조다. 비실재 하는 그림자와는 또 다른 가역적 시간성으로 한 존재로서의 오브제이다. 이것은 주체로서 이미지가 아닌 타자의 욕망으로한 존재로서 실재의 오브제이다.

중앙 아래에 있는 나팔꽃은 가역적 빛을 연결하여 존재의 자리를 정하여 방향을 표시하는 시간의 과정과 그것이 존재하는 공간을 형성한다. 하나의 광원적 시점에서 형성되는 나팔꽃은 양감은 존재하지 않는다. 여기서 <morning glory 2021-a-1>는 콜라주처럼 부분적인 왜상적 이미지이다 이것은 각각의 부분적 이미지들이 동일한 시간에 드러난 왜상적 형태로써 공간에 존재한 것임을 말한다.

평면성으로 한 나팔꽃은 관찰자의 응시에서 생성된 피사체의 형태이다. 이것은 양감을 소거한 나팔꽃은 가역적 빛으로 한 색조로 잇닿은 존재를 추출하여 보인다. 이렇게 타자의 존재로 한 <morning glory 2021-a-1>에 대한 지각적 측면에서 외형적 이미지로서의 나팔꽃을 배경의 여러개 가역적 빛으로 한 그림자와 대조되어 왜상적 이미지로 전환된 평면성을 보인다.

욕망적 시선은 보는 관점에 따라 실재와 비실재가 오브제를 재현하는 가시적 이미지로서 선택할 수 없으며 오브제를 실제의 이미지를 표현하는 회화적 이미지는 비실재로서의 이미지로 규명되었다. 따라서 오브제에서 존재는 욕망 개념의 오브제와 유사한 왜상적 이미지다. 그 오브제는 스크린적 이미지로서 빛이 드러나는 점에서 응시로써 보인다. <morning glory 2021-a-1>에서 가역적 시간성으로 보이는 빛은 나팔꽃을 조명하는 것으로 타자의 욕망적 이미지가 존재로서의 나팔꽃의 형상을 드러내는 것을 말한다. 이것은 다차원의 응시로써 드러난 왜상적 이미지를 평면화한 시간성에 따른 욕망 개념의 오브제로서 나팔꽃이다.

Louis, morning glory 2022-c, 135X156cm, acrylic and composite materials on cloth, 2022

형태로서 쓰레드 페인팅의 이미지와 색은 시간의 거리를 주어서 표식하지 않고 퇴색된 본디의 상상적 조형 구조로 형성하여서 보임으로서 숨겨져 있는 형상의 미적 가치를 보인다. 이것은 욕망 개념을 스토리로 한 개념미술의 문학성을 넘어서 회화로서 조형성을 비등(沸騰)하고서 남겨진 색을 그려서 새로운 조형으로서 쓰레드 페인팅의 구조로 그린 것이다. 그 색의 구조를 실에 넣어서 색을 가려 막는 매듭으로서의 조형을 특정한 색에 조응할 수 있도록 선형적 구조의 색이 존재한 조형을 재구성한 그림이다.

따라서 실의 구조가 추가된 ‘쓰레드 페인팅’의 개념미술의 미술성으로 한 선형적 미학을 추구하는 천과 실의 구조에 페인트한 그림이다. 그 쓰레드 페인팅 <morning glory 2022-c>는 타자의 욕망 개념에 등장하여서 유아를 병아리로 전이하고 풍습에 의해 만들어진 대상의 천과 같은 재료에 그려진 설치미술 이미지다.

Louis Chul-joo Choi, morning glory 2022-g, 148X179cm, acrylic and composite materials on cloth, 2022

이렇게 <morning glory 2022-c>는 욕망적 이미지처럼 대상이 보이는 형상을 천과 같은 재료에 구성하여 좌우가 역전된 이미지를 생성하여서 그려진다. 따라서 그의 그림은 앞면과 뒷면을 구분하지 않는 양면의 그림이다. 여기서 뒷면의 이미지를 앞면으로 전환시킬 때에 새로운 그림이 출현하게 된다.

여기서 풍습의 변화 대상으로 닭을 그림으로 그리는 것은 하나의 대상으로 보이는 또 다른 이미지로서 병아리의 유아적 존재를 드러낸다. 이것은 공간에서 보이지 않는 작은 조각으로 그려진 대상으로서 닭이 타자의 욕망을 감추고 배경의 음영속에 사라진다.

육화된 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각은 그 형상의 실제로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 공간을 보인다. 이것은 어떤 형상의 의미를 가리키며, 그 작은 대상은 실제 가역할 수 있는 공간을 정의하고 형상의 실제 변화된 움직임에 의해 가려지는 형상의 욕망 의미를 가리킨다. / 글. 미술평론가 최철주 (현대 화가 & 문화디자인박사)

Louis Chul-joo Choi, morning glory p54-5, a hand-painted picture on a computer, 2022

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

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

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

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

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

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

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

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

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

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

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

Louis Chul-joo Choi, morning glory p21-5, a hand-painted picture on a computer, 2022

■ 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

Louis Chul-joo Choi, morning glory p34-6, a hand-painted picture on a computer, 2022

� 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 Chul-joo Choi, morning glory p48-3, a hand-painted picture on a computer, 2022

■ 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 p21-6, a hand-painted picture on a computer, 2022

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

Accordingly, the conceptual abstractive design process is

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

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

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

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

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

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

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

■ Choi Chul-joo Desire Formula-Based 'Desire Sound Design' Methodology

Choi Chul-joo Desire Desire Formula D(I...I')d=I(D...D)i Linguistic Acoustic Dynamics of Desire Formulation Dsound propo sqrt (Delta x)^2 + (Delta y)^2 cdot Vdesire) Design Methodology

Linguistic Data Biology (Aesthetics of Error) Design Methodology Process

This methodology process is a mathematical and aesthetic declaration of "I am both an error in the system and a living Data that proves alive through that error." The four-step linguistic data design methodology process below quantifies the conflict between system order and self (desire) and replaces it with visual, auditory, and mechanical experiences.

1. Psychoanalytic Correspondence

The variables in the sound design process correspond to the psychoanalytic dynamics of Choi's formula as follows: I (The Fixed Image) → (x_0, y_0) (The Origin): This is the Symbolic Order—the rigid grid of the system. In sound design, this is represented by "Static Silence" or a repetitive, monotonous mechanical hum. Vdesire (Libidinal Velocity) →I...I': This is the flow of libidinal energy that strikes the fixed image (I) to generate new significance (i). High Vdesire translates to a rapid Rise Time and High Frequency (Hz), representing the aggression of desire.

Delta (Spatial Deviation) → D...D': The distance of the "Line of Flight" from the repressed signifier. As this distance increases, the Sound Amplitude and Spatial Reverb expand, mirroring the tension of the wandering soul. Dsound (Acoustic Output) → d, i: The resulting sound is the "Trauma Sound"—the auditory manifestation of the repressed desire returning to shatter the cold digital logic.

2. Step-by-Step Sound Design Process

Step 1: Setting the Texture of the Repressed Signifier (I)

Goal: Establish the auditory baseline of systemic control.

Design: Use low-frequency "Room Tone" or a steady 60Hz hum. This represents the subject's state of being trapped within the Symbolic Order (System S).

Step 2: Libidinal Impact and Frequency Generation (I →I')

Goal: Capture the moment the "Velocity of Will" strikes the fixed system.

Design: When the wearer makes a sudden movement, trigger a sharp Attack in the sound profile. Higher Vdesire correlates to higher pitch shifts. This is the moment of I'—where the fixed image begins to crack under the pressure of D.

Step 3: Spatializing the Deviation (D → D')

Goal: Translate the distance of departure (Delta) into an acoustic environment.

Design: Increase the Wetness (Reverb/Delay) as sqrt (Delta x)^2 + (Delta y)^2 grows. This creates a sense of "Acoustic Dislocation," simulating the subject's departure from the "Safe Zone" and into the "Void of Desire."

Step 4: The Return of the Repressed as Sublimation (Dsound)

Goal: Reach the climax of "Data Vitalism" where the error becomes life.

Design: At the threshold of departure, introduce Glitch Artefacts and Metallic Ticking. The system flags this as "Data Contamination," but it is actually the birth of a new signifier (d, i).

This methodology treats sound as a Linguistic Dynamic. The resulting audio is not just background noise but the "Voice of the Subject" shouting against the oppression of the system. It mathematically proves that the most intense "Errors" are actually the most profound moments of human vitality.

NewYork Exhibition: Chul-joo Choi's "morning glory": Exhibition of Chul-joo Choi's "morning glory" with the image of desire's object and Anamorphosis image, 20220308~20220310 Yeomyeong Hall, New York.