Contemporary Art Design Method

contemporary art design method example 7

Review of Modern Art Design Methods [7/ 29~31] Examples of Modern Art Design Methods through Abstract Art Works by Contemporary Artist and Cartoonist Louis Choi Chul-joo's Abstract Concept, Modern Art News Sketch & Abstraction :Cartoonist Choi Chul-joo cartoon review / 한국 뉴스만화 평론 Review of Korean News Cartoon 카툰니스트 최철주 시사 카툰 만평 [67]천고월음·天高月陰: 달은 음으로 양으로 즉 태양과 마주하는 달에는 음지가 있다 (2019.1.4.) / 최철주 기자(Reporter Choi Chul-joo’s Cartoon Review)

- 만화평론가로서 최철주는 현대미술 팝아트 작품과 웹툰 만화 뉴스에서 한국 만화 뉴스를 그리는 만화가이다. As a cartoon critic, Choi Chul-joo is a cartoonist who draws Korean cartoon news in contemporary art works and webtoons.

- 한국 화가, 개념미술가, 현대미술가, 추상화가, 미디어 아티스트, 팝 아티스트, 만화가 & 만화평론가 최철주 Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.

- 만화디자이너 최철주 현대 만화미술 역사화 & 현대 개념 이미지 설치미술가 작품 Cartoon designer Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work

아트문화뉴스 만평 / 한국 뉴스 만화평론 Review of Korean News Cartoon [67] 천고월음: 태양과 마주하는 달에는 음지가 있다 (2019.1.4.)

최철주 만평 [67] 천고월음·天高月陰: 달은 음으로 양으로 즉 태양과 마주하는 달에는 음지가 있다

. 태양과 마주하는 달에는 음지가 있다.

. The opposite side of the moon facing the sun is a dark side.

. Le côté opposé de la lune face au soleil est un côté sombre

Louis Chul-joo Choi, morning glory p130-1-2, a hand-painted picture on a computer

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[덧붙이는 글]

카툰 만평 아트문화뉴스/ 아트문화뉴스 한국 뉴스 만화평론 Review of Korean News Cartoon [67] 천고월음·天高月陰: 달은 음으로 양으로 즉 태양과 마주하는 달에는 음지가 있다 (2019.1.4.)/ 만화평론가 최철주의 시사만화평론, 팝아트만화뉴스, 만화평론, 개념만화평론 Comics critic Choi Chul-joo, current affairs cartoon review, pop art cartoon news, cartoon review, and conceptual cartoon review. 만화평론가로서 최철주는 현대미술 작품과 웹툰에서 한국 만화 뉴스를 그리는 만화가이다. As a cartoon critic, Choi Chul-joo is a cartoonist who draws Korean cartoon news in contemporary art works and webtoons ▶천(天): 천체_ a heavenly body_ Objet céleste, ▶고(高): 뽐내다_ show off_ frimez-vous, ▶월(月): 달_ The Moon_ La lune, ▶음(陰): 응달_ the dark side_ du côté sombre, ▶중국 '창어 4호', 달 뒷면 착륙._ A Chinese spacecraft called Chang'e 4, landing on the back of the moon._ Un vaisseau spatial chinois appelé Chang'e 4, atterrissant à l'arrière de la lune. ■ Choi Chul-joo's Concept of Desire Formul: In the concept of Choi Chul-joo's desire, mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality. ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. ■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.

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Contemporary Art Design Method

contemporary art design method example 29

Review of Contemporary Art Design Methods [29] Examples of Modern Art Design Methods through Abstract Art Works by Contemporary Artist and Cartoonist Louis Choi Chul-joo's Abstract Concept, Modern Art News Sketch & Abstraction: Modern and Contemporary Artist [16] Contemporary Art Today Choi Chul-joo's Art Criticism, Contemporary Artist & Contemporary artwork review : Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Contemporary Artist & abstract artist Louis Choi Chul-joo's "morning glory" Exhibition with the image of desire's object and Abstract contemporary art that designed modern art abstract painting [11] Abstract Artist Louis Choi Chuljoo Abstract art work: Contemporary art abstract artist Louis Choi Chul-joo portrays realistic pop art abstractions as treacherous conceptual art through the series of "Morning glory" / Contemporary artist Louis Choi Chul-joo's realistic abstraction of treacherous conceptual art and abstraction of modern art based on the concept of the desires of others: Contemporary Art Abstract Artist Louis Choi Chul-joo's Thread Painting 'morning glory' From 2020 to 2022

Chul-joo Choi, Media-art; morning glory, Still-image (morning glory-4, -7, -15, -25, -35, -65, -75, -85, -95, -105)

abstract artist Louis Choi Chuljoo "morning glory", 2020.

In the process of producing the original media art, which is mechanically reproduced here, the picture format is thread painting. This painting embroidery the volume of light in the process of facing objects and ideally depicts the shadow of objects. It is a linear art that emphasizes "one line" in a new painting process combining oriental embroidery and ink painting. In other words, the image of the line, which was stopped during the process of drawing the media art <morning glory> was drawn with thread and paint.

In Kim Hong-seok's <Open and Closed> art review, art critic Louis Chul-joo Choi said the definition of a thread painting is "a trace of paint and yarn equivalent to the time remaining in the fabric, and it is exposed parts and margins."

Also, the structure of the shape was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things.”

and the aesthetic value was called “a form of self-consciousness that embodies what he saw before he realized how to perceive things. The color of the shape reveals a hidden aesthetic value by giving time, not by marking, but by being considered the structure of the discoloured body.” in Thread Painting.

This is different from the aesthetics of M-Duchamp conceptual art that does not decorate materials.

Thread painting is a form of self-consciousness that has been implemented before realizing how things are perceived. The color of the shape does not indicate the distance of time, but shows the hidden aesthetic value as seen by the faded original formative structure. And beyond the literary character of conceptual art, it raises the formalities as a painting, paints the colors left behind, and ties them together with threads in a new formative structure.

Construct a shape in which the color of the linear structure exists so that the shape as a knot that hides the color by inserting the structure of the color into the thread so that it can adapt to a particular color.

Therefore, "Thread Painting" is a painting of yarn and paint on a cloth seeking linear aesthetics that denies the excessive literary nature of conceptual art.

Qí Báishí's Media-art/ morning glory, Still image(39sec)/ Chul-joo Choi, Media-art: morning glory,

Thread Painting; <the morning glory> is an image drawn on a cloth-like material of an object made by custom. <the morning glory> is a method of drawing an image that is reversed from left to right by constructing a shape that looks like an image of the Lacan's objet on a cloth-like material.

Therefore, his painting is a two-sided painting that does not distinguish the front and the back. To represent an image in terms of practical and cursory features to suit the subject. Here, painting as a object of change in customs is another image that appears to be a object. It disappears as a substance of a subject that is hidden and drawn in small pieces invisible from space.

A small object shows a space that can actually be reversed through the shape's thought movement. This refers to the meaning of a shape in which, a small object defines a space that can actually be reversible and refers to the meaning of a feature that is obscured by the actual changed movement of the feature.

Chul-joo Choi, morning glory e-002, a hand-painted picture on a computer, 2020

It is the color of light and the shape of a material such as cloth, and the inevitability of an impressionable space determines the position of a object. And by stopping the light and the object of the place, it forms a structure of conventional painting. This is a space where you can stay with the inevitability of a stopped structure. Thus, the meaning of the actual structure of the picture where the shape has stopped is formed by the reverse idea movement. Its conscious meaning as a structure is just a small piece of space that finds its place properties of matter. This small piece coexists as a properties of matter in numerous spaces when it is a similar object. The position is inserted into several spaces by the meaning of the thought movement, where one phenomenon and other meanings intersect. This is a thread painting, <the morning glory> which was created by repeating another space as an thought movement in the space of positioning.

<morning glory> painted on a cloth composed of thread

thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.

The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.

The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze.

A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place.

However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space.

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

The meaning of a desire object generates meaning as a thought movement that combines and replaces the effects that emerged from the chain of desire languages.

In other words, after creating an image of a desired object <thread painting: morning glory 2022-c-back>, the design is repeated to create a connection structure between the image and the image drawn with another shade of light, revealing the deficiency structure of the desired object, and allowing desire to appear through semantic action instead of not acting as a lack of meaning, that is, resistance to semantic action.

The image formed by the deficiency is the same as what the infant saw in front of the mirror, and the image of the object and the image of the object identified in the imaginary world are identified internally as the same subject, and the subject forms a transformed image of itself. This <morning glory 2022-c-back> is a phenomenal image, and the shadow of the real object and the desire object brightens or disappears in a reversible shade of light in an empty space.

It is an image that is lacking as an object as an image that is satisfied as a child in the image of an object of reality.

By confirming the structure of the phenomenal reality that does not exist in empty space on the back of the object, the reality of the object is an image of reality reflected in the mirror. In other words, the image of the phenomenal reality may be an image of the image of the reality as a metaphor reflected in the mirror or an image that appears as a virtual shade as another image.

Therefore, in the concept of desire that Choi Chul-joo refers to, the metaphor does not compare an object, but as one image is replaced with another, the original image becomes the meaning of reality. Like Cézanne, a similar form can be seen after revealing a public form rather than an imitative painting attributes an object to a form.

The place where its meaning is fixed becomes a fixed point where desire and reality intersect as a divided subject by repeating the image of desire from unconscious desire to the divided subject.

The semantic function of the fixed point is a desire structure, that is, a metaphor, that can be obtained from the source because the linguistic meaning is completed by a retroactive effect as a simultaneous function, and the linguistic image that functions publicly is hidden in the picture.

And by simplifying the opposing forms in the painting into a landscape of desire, the object is divided into planes, and the desire to hide reversible light at the intersection of light and shade is adjusted by color.

There, the space composed of reversible shadow light disappears, and the morning glory in the painting turns the color of light.

However, due to the meaning effect of the picture, the picture is selected with the same material as the color of light or the fabric that disappeared from the past space. Here, the picture distorts the image by converting light into a line within the space connecting the surface of the morning glory and light.

Therefore, since the composition of the invisible preceding space cannot draw flowers, the beginning screen of the Media Art: <Qí Báishí, the morning glory> of Minoo Media Art Museum distinguishes the leading space by sketching stems and leaves and drawing flowers because the intro space is not the actual structure. Thread painting is a thread that depicts the shape of light that distinguishes objects in stationary media art. This is a thread painting limited to fabric in an empty space and the more you limit the habitual object to the shape, the more empty the space becomes, rather than the actual place, so it decorates the inner surface of the hidden cloth to find the meaning of the space as a small piece of artistic shape. As such, <the morning glory> is painted on cloth-like materials, forming an abstract spot with the inevitable spatiality of the object, thus gaining aesthetic value as a real habitual painting art.

Louis Chul-joo Choi’s thread painting: morning glory e-002 still image / *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum

Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2020

Louis Chul-joo Choi’s thread painting: morning glory B-06

In addition, thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.

The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.

The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze.

A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place.

However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space. / Writing. Louis Choi Chul-joo, former head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Doctor of Cultural Design)

contemporary artist Louis Choi Chul-joo

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Contemporary Art Design Method

contemporary art design method example 30

Review of Contemporary Art Design Methods [30] Examples of Modern Art Design Methods through Abstract Art Works by Contemporary Artist and Cartoonist Louis Choi Chul-joo's Abstract Concept, Modern Art News Sketch & Abstraction: Contemporary Art Review with Visual Art of the Story of Contemporary Art Critic [37] A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the t of visual art: Treacherous Contemporary Concepts Art Abstract Design Review [26] Art Critique/ Louis Choi Chuljoo Docent Explained: Abstract Painting Art Theory Presentation of the Concept of Desire & Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory Woman' pop art abstraction design: Contemporary Art Abstract Artist Louis Choi Chul-joo's Thread Painting 'morning glory' From 2020 to 2022

▲ Choi Chul-joo, a thread painting with a modified embroidery structure (embroidery: Jang Hea-sook)

Louis Chul-joo Choi 's Process, Definition & Shape Meaning of Thread Painting

* The thread painting process designs a fixed place of existence where ink spreads from a fixed place of an object, that is, a place of an object that relies on instantaneous coincidence. This is implemented without describing the atmosphere in media art and painting. Here, in the process of producing an abstract image reproduced by the concept of desire, it is a picture in the form of a thread painting drawn from the perspective of another person's desire.

* The definition of a thread painting is a method of manually drawing the image created by the desire art 'morning glory' on the shape of the cloth reflected on the back, and additionally embroidering the shape to repeatedly draw the picture. In other words, it is a picture that broadens the position of a structure of unrealistic desire that appears to be shaded in a thread, and illuminates the desire with reversible light reflected from a small hole in the fabric.

* The figurative meaning of 'morning glory' in thread painting is that the color of its meaning is the desire color of light, and the reality of universality in looking at the object is decorated with the color of light. The space in the light, in contrast to the light in this decorated shape, is a shadow drawn so that the desires of others stay. Here, as a real object being, color is a single-phase image of stylized desire viewed through the gaze. Its meaning is a symbolic language symbolizing an imitated flower. Here, the morning glory image is a piece of desire meaning symbolized in an unrealistic space as a result of the desired meaning.

Thread Painting; <the morning glory> is an image drawn on a cloth-like material of an object made by custom. <the morning glory> is a method of drawing an image that is reversed from left to right by constructing a shape that looks like an image of the Lacan's objet on a cloth-like material.

Therefore, his painting is a two-sided painting that does not distinguish the front and the back. To represent an image in terms of practical and cursory features to suit the subject. Here, painting as a object of change in customs is another image that appears to be a object. It disappears as a substance of a subject that is hidden and drawn in small pieces invisible from space.

A small object shows a space that can actually be reversed through the shape's thought movement. This refers to the meaning of a shape in which, a small object defines a space that can actually be reversible and refers to the meaning of a feature that is obscured by the actual changed movement of the feature.

Choi Chul-joo, morning glory, 135X156cm, acrylic and composite materials on cloth, 2022

It is the color of light and the shape of a material such as cloth, and the inevitability of an impressionable space determines the position of a object. And by stopping the light and the object of the place, it forms a structure of conventional painting. This is a space where you can stay with the inevitability of a stopped structure. Thus, the meaning of the actual structure of the picture where the shape has stopped is formed by the reverse idea movement. Its conscious meaning as a structure is just a small piece of space that finds its place properties of matter. This small piece coexists as a properties of matter in numerous spaces when it is a similar object. The position is inserted into several spaces by the meaning of the thought movement, where one phenomenon and other meanings intersect. This is a thread painting, <morning glory> which was created by repeating another space as an thought movement in the space of positioning.

<morning glory> painted on a cloth composed of thread

thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.

The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.

The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze.

A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place.

However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space.

Louis Chul-joo Choi’s thread painting: morning glory e-002 still image / *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum

In the media art video of the Minoo Media Art Museum, Louis Chul-joo Choi's "The morning glory" not only depicts the process of dismantling and combining the completed works, but also depicts the image and process of media art by drawing thread painting.

The morning glory designed the flower's place and set the place for leaves and stems that depend on its shape. The position aligns the stem with the flower as the composition of the flower.

Unlike Media Art of Qi Baishi's "The morning glory" which shows the process of drawing flowers in the structure of stems and leaves in the entire image, the media art that designed the rest of the structure, starting with the flower of the morning glory, is "The morning glory" by Louis Choi Chul-joo, a doctor of design.

Louis designs a flower's spot that relies on a set being, an ephemeral coincidence.

This is realized without explanation of the atmosphere in media art and painting. It is thread painting in the process of producing the original media art, which is mechanically reproduced here, in response to the desire of the others.

Designing the thread painting is to apply desire's metonymy and metaphors to painting work. As metaphorical images replace one symbolic image with another, the original painting becomes thread painting as a symbol of the desire of the others.

This painting embodies the volume of light in the process of facing an object and ideologically depicts the shadow of an object.

In addition, he said in thread painting, "The structure of the form is a structure of pictorial thread painting in which the formative meaning is retroactive as a series of threads become a formative structure without explaining the object of the thread that formed the shape."

The color of the structure gives a distance of time, so that it is regarded as a formative structure of a faded original structure without marking it, showing the aesthetic value hidden as seen.

And beyond the literary character of conceptual art, painting a thread painting is a new type of structure that describes the shape of the thread, thereby raising the formality and ending it with color.

Construct a shape in which the color of the linear structure exists so that the shape as a knot that hides the color by inserting the structure of the color into the thread so that it can adapt to a particular color.

Louis Chul-joo Choi’s thread painting: morning glory B-06 still image / *Extended exhibition period: 2020.12.11- 2021.1.29, Museum of Minoo media art museum

Louis Chul-joo Choi’s thread painting: morning glory B-06, 55X73cm, acrylic and composite materials on cloth, 2020

Louis Chul-joo Choi’s thread painting: morning glory B-06

In addition, thread painting, in which still images as media art images are drawn according to timeliness by having originality based on image of media art and the shape of process media art, has another originality of the original work. This is because it is a context that is shown on the monitor and is a circle drawn with thread painting each image that has been stopped. It is a formative thread image with the same artistic meaning as painting, showing various exhibition formats.

The timeliness reversible from physicality in the place of exhibition space creates a place as the color of light and is recognized as the color of light in that place.

The space of abstract light can give a glimpse into the structure of a material object, but the place becomes the margin of space in which the subject of the object follows the change of its temporality. The margin is an abstract space, but as the subject of painting is drawn in what it says is the color of reversible light, it creates a place for the object in the margin. This is the object position determined by the inevitability of the symmetrical space so that the painting matches the image of the light of the space against the object. The space of the image tailored to the target is a structure of a painting that creates a separate space that connects the gap in the form of cloth-like material, and draws the color of light by stitching several empty spaces and margins. The image depends on the color and shape determined by the object location. Thus, the color of the image embellishes the reality of conventional universality facing the object with the color of light. The dark space in contrast to the light in this decorated shape is a shadow that was stopped in one place and looked at. Here, as the real object, color is a fragmented figure of the enlightened custom seen as a gaze.

A painting was made by repeating a picture of the image of a enlightened object, which stopped in a customary place of life, as a color of light, and the color of the reflective margin, which is difficult to distinguish, on a cloth-like material. Color-painted paintings here unravel the existence of reality as the shape of the color when enlightened by custom or found in place.

However, the empty space in the margin cannot reproduce the timeliness, so it seems to be a color that suits the subject of the object. In contrast to the color of light, <the morning glory> which depicts the shape of a cloth-like thread, captures the familiarity of the customs as the inevitability of the past space. / Writing. Louis Choi Chul-joo, former head of the Academic and Arts Research Division at the Museum of Minoo media art museum (Doctor of Cultural Design)

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Contemporary Art Design Method

contemporary art design method example 31

Review of Contemporary Art Design Methods [31] Examples of Modern Art Design Methods through Abstract Art Works by Contemporary Artist and Cartoonist Louis Choi Chul-joo's Abstract Concept, Modern Art News Sketch & Abstraction: Art Criticism by Pop Art Abstract Artist Louis Choi Chul-joo [10] Contemporary Art Today Choi Chul-joo's Art Criticism, contemporary Art Review & Modern Art Criticism: Contemporary Artist Louis Choi Chul-joo's Art Review of Contemporary painting Artwork: morning glory window 2024- 6-the gaze & Dr. Chul-joo Choi's editorial cartoon line news Review of Korean News Cartoon [12] freaking ! Academy Award. (2020.2.25.) / Reporter Choi Chul-joo’s Cartoon Review

Louis Chul-joo Choi, morning glory window 2024-7-the gaze, 222X218cm, acrylic and composite materials on cloth, 2024

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

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

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

Morning glory window 2024- 6-the gaze

From an abstract point of view, the perspective of painting looks at the abstract concept of space as a partial representation in the phenomenal image.

Here, the gaze of the "Morning glory window" attempts to induce a real image by juxtaposing a conceptual object as a phenomenal image in an abstract space beyond reality.

Here, the gaze of the 'morning glory window' attempts to induce reality by juxtaposing it as a phenomenal image as a subject in an abstract space beyond reality.

Abstraction integrates reality and abstraction into images of desire, limiting the abstraction of desire as a realistic object to the same range of gaze as reality.

This is a perspective that connects reality and abstraction to the object of the same image.

The gaze identifies the object that is actually immobile as the subject by drawing it as abstract mobility and staring. In other words, the object of reality is transferred to the object of perspective abstraction in the same form as the object as the abstract mobility of the gaze.

The object here refers to the existence of an object representing the subject, but it is not an object of a different concept like Dada's Readymade. This is an image of reality that is abstracted as a concept of desire.

The image is similar to the concept of surrealism that synthesizes from the linguistic unconscious into an image, but it is real as the same image as the object of "morning glory".

In <morning glory window 2024-6-the gaze>, morning glory is an object that acquires the status of desire.

It consists of the concept of reality and desire, and the concept of desire with the viewer as a picture image follows linguistic dependence. In other words, as the relationship between reality and the concept of desire, the image is determined by the dependence of the concept of linguistic desire.

This is a realistic object with a linguistic concept as involuntary abstraction, imaging the desires of others.

The gaze, perceived as an abstract desire perspective, makes us stare at the abstraction of a flat structure that sees light as a desire structure and the abstraction of a desire perspective that uses reality as a partial plane. An image is an abstraction of the concept of desire as an abstracted entity from the concept of verbal desire, and an abstraction that makes the partial image of reality, "morning glory window 2024-6-the gaze," meaning a real image in a flat part. This is the process of abstracting the concept of desire art applied in Choi Chul-joo's desire formula.

The imaginary desire structure creates an abstract space with the gaze of desire and equates the abstraction of non-real with a flat structure, so the reality expands the linear structure and converts the reality into an image.

The idea of staring at the concept of desire that occurs momentarily in reality as a real image is limited to a state of abstraction.

Therefore, <morning glory window 2024-6-the gaze> is a concept of desire and is accepted as the same image without the consent of reality and abstraction.

In this way, the concept of desire is expressed as a real image, and the concept is embodied as an antinomical aesthetic structure that identifies with abstraction. In other words, Choi Chul-joo's abstraction of the concept of desire, which abstracts the concept of desire into a real image, is conceptualized as an antinomical abstraction by identifying a concept in which reality and abstract are incompatible with each other as a real image.

This is seen as an image as a gaze that juxtaposes the concept of linguistic desire with an antinomical concept and reality.

Here, Choi Chul-joo's antinomical concept of desire, which abstracts an object that refers to a concept into a real image of the concept, refers to the abstraction of a real image that is desire.

As a contradictory abstraction, abstraction, which is a linguistic concept of desire with desire as the subject, is a new abstraction <morning glory window 2024-6-the gaze> of contemporary art that develops abstract objects into real images with Choi Chul-joo's concept of desire abstract art movement.

The position fixed by abstraction repeats the morning glory design, juxtaposing the reality from unconscious desire as the subject of divided abstraction.

The morning glory does not compare abstractions because reality is divided, but as one reality is replaced by the concept of desire, the original reality is abstracted and seems to be juxtaposed with the abstract concept to the viewer.

Here, "morning glory", created by a reversible shade of light, shares its space as an image. Another installation image overlapping with chairs is an object. Assuming that the pictorial installation image of desire is a non-reproducive image, reality exists as a real image in the entire virtual Yeomyeong Hall Gym image that abstractly reproduces reality.

The object of desire clearly reveals the physical structure, especially by eliminating volume and shadow from the morphological structure. This is an analysis of an object as an invisible 'gaze', and the form of visual representation is viewed as the form of cognitive representation from different points of view.

The object as an anamorphosis image in Picasso's painting is a crooked image that looks like an object of Choi Chul-joo's concept of desire. This is an object of desire and goes beyond the dimension of the non-realistic visual image of painting.

The image is an image created in the shadow of light on a multi-faceted object in a form revealed from the line. It has temporality and existence as composed at the instantaneous point of time. This is because it is an image created by the desire of others in a system of composition of desires in a gaze area regardless of whether it is flat or stereoscopic.

There is no perspective density and sense formed at a single light source point of view by choosing a shaded image of light in which the desires of the other are integrated by light lines. Here, the object refers to that partial images, such as abstract collage, exist in space in the form of being revealed by gaze at the same time.

However, the shape hovers in the background of the image with several shades that are instantly reversible without being seen as meaningful. This is an image in which the position of temporality, that is, the image of the sky, appears as a fixed stimulus of light at one moment in time, just as clouds, rain, and snow appear. This is the existential position of the object that the light is viewed through an infinite and continuous gaze made up of the passage of temporality.

It is a reversible visual structure in which abstract phenomena in which spheres coexist exist. It is a structure of temporal desire for the image that obtains semantic desire recognition of the image when the artist paints.

The object viewed through the gaze of desire is a reversible visual structure that exists as an abstract real image in which spheres coexist. It is a structure of temporal desire for an image that acquires a semantic desire perception for an image when the artist draws a picture.

Therefore, the visual reversible reaction is an image structure in which the visual reversible reaction of morning glory and the actual structure of the moment according to its place are overlapped with various colors by an artist with the gaze of desire, turning black or obscuring light.

The image of the structure is a landscape of desire created by the image of the desire of others, and it is seen as a gaze when the shadowy shape of everyday life is located at the moment of intersection with the 'morning glory' of the past time.

The dark blank space contrasting with the light of this decorated shape is a shadow created in the landscape where the gaze of desire stays. Here, as a real object being, color is a single-phase image of a refined custom stared at with the gaze.

The visible image of the gaze is a symbolic language that means an imitated flower, and the image installation art ' morning glory' is a hidden aesthetic structure that conceals the gaze of others symbolized in an unrealistic space as a result of the meaning of desire. And it is stared at as a piece of an object as the meaning of the concept of desire.

Desire As a visual culture viewed from the conceptual point of view, the gaze area in which a concrete effect occurs is an image that can momentarily see the desires of others who function to capture the attention in the landscape. As that image, "morning glory" is a visual idea that recognizes and applies what is not in reality in Choi Cheol-joo's formula of desire. The idea is a real image that depicts the unconscious and language in the same form.

The "morning glory" shown here is a structure that sees an object flattened in one color through the gaze of desire. This is the flatness of the sculptural structure transmitted by reversible light, and the image of morning glory seems to be abstractly consistent. And morning glory is the same as the reflected reality, but the shape of the background is not the same as the reality.

As an attempt at desire painting, <morning glory> refers to a bizarre gaze pattern in which the existence of an object in the painting returns the meaning of the painting to one of the repressed aesthetic spaces in which the desire of others is generated as a concrete gaze effect of the meaning of desire by erasing one morning glory stem with light.

This is the artistic meaning of reality and non-realism according to the image of staring at the realm of desire through painting. The visible image that reproduces the object, that is, the pictorial image that expresses the object as a real object, was grasped as an image as a non-realistic. Therefore, the method of staring for finding reality in an object is to reveal the desires of others with a crooked image similar to the object of desire. In other words, it shows the visual meaning of abstraction by waking up from the verbal unconscious and drawing the desires of contemporary others as a gaze image.

The meaning of visual abstraction is a symbolic visible linguistic image symbolizing an imitated flower. Here, the image of the morning glory is symbolized as being in an unrealistic space as a result of the linguistic meaning of desire, and it is a fragment of the abstract language structure as the meaning of the concealed aesthetic structure.

Therefore, "morning glory" is a real painting drawn in linguistic abstraction, and the position of a non-realistic painting extends to an image of desire with light reflected in a small hole in the fabric. The formal meaning of the image abstracts the desire to decorate the reality of traditional universality faced by morning glory into a space of real paintings with reversible light colors.

And in the unconscious desire in which the meaning of the desire is fixed in abstraction, reality divides, and the subject of the desire represents the abstract concept, so abstraction as reality forms a conflict with the realistic image. / Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)

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

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

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

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

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

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

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

Choi Chul-joo, freaking ! Academy Award : US President Trump says American films like 'Gone With the Wind' should win Academy Awards, a hand-painted picture on a computer

News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news

■ Dr. Chul-joo Choi's editorial cartoon line news Review of Korean News Cartoon [12] freaking ! Academy Award. (2020.2.25.) / Reporter Choi Chul-joo’s Cartoon Review

. freaking ! Academy Award : US President Trump says American films like 'Gone With the Wind' should win Academy Awards

. satané ! Oscars Awards: Le président américain Trump estime que des films américains comme 'Gone With the Wind' devraient remporter des Oscars Awards

Choi Chul-joo, freaking ! Academy Award,US President Trump says American films like 'Gone With the Wind' should win Academy Awards-2, a hand-painted picture on a computer

Louis Choi Chuljoo, Marilyn Monroe as an actor, a hand-painted picture on a computer, 2024

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest158-freaking ! Academy Award : US President Trump says American films like 'Gone With the Wind' should win Academy Awards, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest e158-freaking ! Academy Award, US President Trump says American films like 'Gone With the Wind' should win Academy Awards: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p15-3-freaking ! Academy Award, US President Trump says American films like 'Gone With the Wind' should win Academy Awards: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory 2022-h> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <freaking ! Academy Award, US President Trump says American films like 'Gone With the Wind' should win Academy Awards-2> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory p14-4> becomes a non-real abstraction of reality.

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

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.

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 158, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest e158, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p115, a hand-painted picture on a computer

Louis Choi chuljoo, freaking ! Academy Award,US President Trump says American films like 'Gone With the Wind' should win Academy Awards-2 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Dr. Chul-joo Choi's editorial cartoon line news Review of Korean News Cartoon [12] freaking! Academy Award . (2020.2.25.)/ Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's Concept of Desire Formul: 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 Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality. ▶Academy Award _ Oscars Awards.