현대미술 디자이너 최철주｜Designer Louis C

Contemporary Art Designer Choi Chuljoo25

현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [25] 현대미술 디자이너이자 화가인 최철주는 회화, 전시, 조각, 설치, 연극, 오페라 무대 등과 관련된 현대미술을 디자인했다. 그는 미술 디자인, 현대 추상미술 디자인, 현대 설치미술 및 문화 디자인에 대한 비평을 통해 라캉의 미술 이론과 철학적 욕망 개념으로 현대 개념 추상적 사실주의의 구조를 디자인한다. Choi Chul-joo, a contemporary art designer and painter, designed contemporary art related to painting, exhibition sculpture, installation, theater, opera stage, and more. Choi designs the structure of contemporary concept abstract realism with Lacan's art theory and philosophical desire concept through criticism of art design, contemporary abstract art design, and contemporary installation art and cultural design./ Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./ Louis Choi Chul-joo, a woman of the Joseon Dynasty reflected in a pond, 112X122cm, acrylic and composite materials on cloth, 2024 & Conceptual Artwork Criticism: Korean news cartoon review-A line News of Choi Chul-joo’s Manwha Review [8] The fires that continue in Australia are destroying the nature of kangaroo animals. (2020-01-06) / Reporter Choi Chul-joo’s Cartoon Review ■ 최철주의 현대미술 디자인 정의는 언어적 의미와 이미지 자체의 결합된 이미지를 상징으로 간주하며, 그의 시각 예술 이론을 바탕으로 철학적 욕망의 개념과 개념적 추상적 실재론을 중심으로 그 언어적 의미를 통해 욕망의 추상적 개념을 회화 디자인 구조로 식별합니다. 그 디자인은 회화, 설치, 조각, 공연 예술 등 다양한 매체를 통해 인간 욕망의 구조를 시각적으로 해석하고, 시간성에 따라 빛의 구조로 개념적 추상적 사실주의 이미지를 재현하고자 하는 타자의 욕망을 바탕으로 추상적인 형태와 언어적 의미를 이미지화한다. ■ 최철주의 개념추상 리얼리즘 추상화 디자인 프로세스는 예술성에 따라 사실주의를 이끌어낸 대상으로서 시각 체계에서 벗어난 또 다른 시선 구조로서 이미지를 현실로 드러내는 또 다른 추상적인 대상은 사실주의의 이미지입니다. 사실주의 추상화 디자인에서 추상화와 현실의 이중 메시지를 효과적으로 전달하는 방법은 현대 미디어 아트 이미지나 추상화와 같은 현대 개념 추상적 사실주의 추상화를 통해 개념과 추상화를 현실적으로 표현하는 것입니다. 따라서 미디어 아트 추상화 디자인에서 개념추상 리얼리즘 추상화 디자인하는 과정은 다음과 같습니다. 1. 리얼리즘 오브제의 컨셉: 리얼리즘 오브제를 재현하여 가상적 오브제로써 형성된 이미지는 실재를 은폐한 가상적 이미지이다. 그 가상적 이미지는 평면으로 인지되어짐으로써 리얼리즘 이미지로 보인다. 여기서 현실적인 객체를 재현하는 원근감 시각 시스템의 기하학적 평면 이미지에 숨겨져 있다가 무의식이 드러내는 욕망의 관점에서 순간적으로 시선으로 드러납니다. 이는 타인의 욕망에 의해 억압된 무의식을 통해 언어적 의미의 이미지로서 창의성과 자율성을 갖춘 현실주의 객체의 개념을 개념적 추상적 실재 객체의 또 다른 존재로 정의합니다. 2. 리얼리즘 이미지를 알레고리로 연결하는 스케치: 추상 미술과 예술은 물질이 현실로서의 존재와 가상의 존재로서 서로의 추상적인 관점에서 형성된 사물의 존재로 구별되는 것입니다. 예술 작품의 조건은 존재하지 않는 존재와 상상의 형태로 존재를 드러내는 것으로, 사물과 사건을 현실로 이미지화하는 알레고리를 통과하는 스케치다. 최철주의 가역광은 빛의 현실적인 형태와 움직임, 즉 시간성에 따라 현재 '가역광의 그림자에 가려진 실제 이미지'로 음영 처리된 이미지입니다. 이 이미지는 추상으로 보이는 언어적 의미가 식별되는 가역광의 음영 처리된 이미지로 현실을 만들어냅니다. 이것은 스케치를 반복하여 아나모르포시스 이미지를 현실의 이미지와 분리된 또 다른 현실, 즉 시선의 구조로 보이는 실존적 이미지와 연결하여 추상적인 언어 이미지를 스케치로 형성하여 개념적인 추상적 현실주의 개념으로 재구성할 수 있도록 한다. 3. 추상적 리얼리즘 오브제 응시: 추상적 사실주의 오브제로서 타인의 눈에 빛의 한 점으로 드러나는 추상적 객체는 욕망의 시선 체계에서 드러나는 최철주의 미학적 구조로서 왜상적 이미지를 철학적 장치로서 추상적 의미가 다르게 나타나는 추상적 사실주의 오브제 시선처럼 보이게 한다. 관람자의 위치와 시선에 따라 추상적 의미가 달라지는 철학적 장치로서, 이 이미지는 사실주의 공간의 관점과 추상적 언어적 의미를 일치시키며, 욕망의 개념적 관점에서는 추상적이고 보이지 않는 오브제가 시선 경로로 나타납니다. 그 이미지의 개념적 추상적 실재론의 언어적 의미에서 인과관계에 의해 제한된 인간의 허구적 요소로서 타인의 욕망을 내포하는 오브제로서 이미지와 교차하며 무의식적 추상적 실재론의 언어적 의미로 구조화한다. 4. 추상적 리얼리즘의 추상화: 추상적 실재론의 추상화는 최철주의 욕망 공식에 명시된 추상적 대상을 얻고, 욕망 이미지(i) 디자인(d)는 타인의 욕망을 넘어 언어적 의미의 문법적 해석을 통해 추상적 대상의 이미지가 실현되는 조건(i/d)을 구두로 해석되는 계기가 된다. 욕망의 주체로서 추상적 리얼리즘이 무엇을 원하는 지를 욕망의 주체가 스스로에게 질문하는 특정 대상을 추상적 선택하여서 실재로서 개념추상 리얼리즘 추상화에 도달<D(I...I')d=I(D...D'i)i> 한다. 이것은 인간이 삶 속에서 경험할 수 없는 추상의 자리를 언어적 의미 체계애서 균열한 추상 구조를 욕망의 대상으로 추상하여서 실제화한 추상적 욕망 개념에서 멈춰선 리얼리즘 이미지다. 문화성에 따르면 최철주 개념추상현실주의 추상화 단계 1: 현실 속 욕망의 개념을 문자적 인과관계와 분리된 이미지로 증류하여 추상적 사고를 촉진합니다. 2단계: 자연물 모티브의 언어적 의미와 컬러 팔레트와 같은 문화적으로 공명하는 시각적 요소를 중첩하여 시각적으로 조화로우면서도 개념적으로 밀도가 높은 현실주의 추상 이미지를 만듭니다. 그것은 철학적 의미와 언어적 의미를 이미지에 전달하는 장치로서 최철주의 개념적 추상화로 작동하여 인간 존재의 본질과 인식의 한계를 은유로 재현하는 철학적 이미지로서의 개념적 추상적 현실주의 추상화다.

Louis Chul-joo Choi, a woman of the Joseon Dynasty reflected in a pond, 112X122cm, acrylic and composite materials on cloth, 2024

현대미술 디자이너 최철주는 현대미술을 그의 욕망 공식을 통해서 추상화를 디자인한다.

최철주의 욕망 공식은 I/I(이미지)와 D/d(디자인)를 기호로 사용하여 디자인 이미지의 개수와 사건 및 공연 이미지를 연결하여 다항식의 욕망 이미지를 생성하는 곱셈 공식이다. 기호로서의 이미지의 언어적 의미는 욕망의 추상적 개념을 식별하고자 하는 욕망 개념의 이미지(I/i)이다.

추상화가로서 최철주의 현대 개념미술은 타자의 욕망을 주제로 한 비실재로서 실제적 조형성의 흔적과 가역적 빛의 음영으로 개념을 추상하는 미술이다. 이것은 초기 개념미술의 개념으로 한 회화성의 복귀 즉 사실적 실재의 자리를 대리하는 타자의 욕망을 추상하는 추상화다.

연못에 비친 조선시대 여인

관상 연못은 어울리는 식물과 물고기를 키웠다. 조선 여인은 동시대의 기록화에서 결혼과 생신 등에 그림으로 기록되었고 일상의 기록은 소설을 통해서 추상한 욕망을 자신의 일상을 화폭에 담았다.

추상한 욕망은 면과 색으로 한 개념미술에서 벗어나 주체로서 여인이 추상하는 결핍된 욕망 개념을 언어적 의미의 존재로 실재하는 이미지다.

현실이 원하는 이미지의 방향을 피사체로 하는 벡터는 상징 세계의 욕망 개념을 추상화하는 개념 예술의 방법이다. 이는 상징 세계의 모든 단계에서 현실로서 상징 세계에 결여된 주체로서의 존재 이미지와 욕망의 개념을 반복적으로 드러내기 위한 것이다.

욕망의 개념을 현실로 반복적으로 드러내기 위해 실제 이미지가 원하는 이미지의 방향을 욕망의 비자발적 주체로 하는 벡터는 욕망의 개념을 벡터로 구성된 그림처럼 구조화한다. 욕망의 개념을 추상화하는 이전 단계에서 기존 욕망의 주체는 의식적 움직임을 통해 존재의 이미지가 현실로 추상화되는 불충분한 욕망의 개념을 반복적으로 드러냅니다.

따라서 추상적 욕망은 하나의 개념미술이 아니라 선택자의 욕망 개념으로 이중적 자리를 만들고 그 이중적 자리에서 추상적 개념미술을 추월해서 주체로서 선택자가 원하는 추상으로 결핍된 욕망 구조를 의미적 존재로서 실재를 의식적 반복해서 디자인한다.

조선시대 여인은 관상용 연못처럼 유교적 가족제도을 바탕으로 한 사회 활동을 제한 받았고 가사에 집중학고 신분 질서와 정절(貞節)을 모범적 덕목으로 삼았다.

조선 후기 화폐 경제가 발달에 따른 신분제도가 바뀌면서 신분 질서가 무너지고 서얼도 관직에 등용되고 성명을 적지 않은 백지 임명장인 공명첩(空名帖)으로 천민도 양반이 되면서 조선 여인은 연못 구조물로서 누정(樓亭)건축물에서 자유롭게 문화를 향유했다.

그리고 욕망 대상의 주체로서 여인은 연못에 비친 모습의 성찰과 결핍된 욕망을 추상적 개념의 언어적 의미로 실재와 동일시 하여서 자아를 구성한다.

조선시대 연못에는 연못과 주변을 조망하기 위해 사방이 트인 대청마루인 누정건축물과 공작물로서 연못의 유수와 침식을 막아주는 호안(護岸)과 어울리는 식물을 설치했다.

호안된 연못의 실재 이미지를 가역적 빛의 음영으로 시간성에서 멈춘 현재에 존재하는 실재의 자리를 정해서 욕망 개념과의 상관물로서 실재 이미지를 순간적으로 포착하여서 디자인했다.

즉 그 실재 이미지를 음영으로 한 크기를 생략하고 빛으로 보이는 범위에서 실재가 하나의 단상으로서 자리에 조응된 미적 가치를 갖도록 그 자리를 풍습에 어울리는 피사체 실재의 색과 배경을 포지티브 필름에 옮겨진 피사체의 이미지처럼 동일한 연못을 디자인한다.

연못에서 비친 이미지는 유아로서 타자의 시선으로 본 여인을 언어적 이미지로 디자인하고서 여인과 동일한 자아를 의식운동을 통해서 생성한다.

이것은 여인이 연못 가운데 섬에 있는 것처럼 사회와 격리된 구성이다.

연못에 비친 여인은 사회에서 고립된 자신의 모습과 기억을 보고 타자의 욕망을 견주지 못한다. 따라서 사회성에서 분리된 여인은 욕망에 대한 존재를 유아적 거울반응에서 벗어 나고자 결핍된 욕망을 타인의 행위를 거울로 비추어 주체로서 여인은 결핍된 욕망을 지각할 수 있도록 욕망 개념을 실재로 묘사한다.

실재로서 주체는 무의식적 욕망 개념을 언어적 의미를 추상 구조로 한 특정 대상으로 현존하게 한다.

이렇게 특정 대상의 실재는 연못에 비친 타자의 행위와 결핍된 욕망과의 상관물로서의 실재를 보고서 주체로서 욕망 개념을 타자의 욕망에 맞추어 상관물을 실재화하여서 현존할 수밖에 없는 욕망이 원하는 대상을 찾고자 주체로서 욕망이 특정한 실재를 추상한다.

추상으로 실재화된 최철주 욕망 개념의 디자인은 뉴스만평으로 게재된 만평 이미지를 욕망의 배경인 "나팔꽃", "대나무숲"과 "연못"에 중첩하여서 욕망 개념을 실재 의미를 추상화한다.

이것은 의식적 언표행위로 한 주체로서의 인식과 무의식적 욕망 배경의 결핍에 따른 의미가 이중적 욕망 구조다.

이것은 하나의 의미로서 대상 공간과 접하지 않는 하나의 빈 공간에 현재와의 공유하고 있지만 그 공유된 자리에서 또 다른 대상과 접할 때 그 대상의 시간성을 충족합니다,

따라서 하나의 빛이 여러 대상과 접할 때 현존하는 대상과 과거의 대상이 동일한 자리에서 여려개의 시간성에 따른 빛의 자리를 만들고 현재의 공유된 장소에서 무의식과 의식이 교차점을 이룬다,

여기서 무의식과 의식의 교차점에서의 욕망 구조는 사건과 공연 이미지의 순간적 인상으로 그림에 담아서 일상적 욕망 배경의 추상을 조명한 개념을 언어적 의미를 이미지를 명확하게 실재화하고 그 개념을 귀납적으로 가역적 빛의 음영으로 조명한 욕망의 추상 이미지를 보편적 실재로 귀결한다.

기억은 시간의 빛이며, 욕망의 주체로서 욕망의 자아와 이미지가 존재하는 장소를 욕망과 욕망의 주체로 한 이미지를 설정하고, 욕망의 기억은 현재에 욕망의 주체의 자아와 실제 이미지가 현존하는 자리를 꾸민다. ./ 글. 현대 미술평론가 최철주 (문화디자인박사)

Louis Chul-joo Choi, a woman of the Joseon Dynasty reflected in a pond, 112X122cm, acrylic and composite materials on cloth, 2024

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.

One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.

The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.

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

Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.

A Woman in the Joseon Dynasty Reflected in a Pond

Appropriate plants and fish were artificially cultivated in the ornamental pond. According to modern records, a woman in Joseon records her marriage and birthday with painting, and everyday records capture abstract desires in everyday life-like paintings through novels.

Abstract desire is an image in which the concept of insufficient desire that a woman abstracts as a subject away from the concept of flatness and color art exists as a reality of linguistic meaning.

The vector using the direction of the image desired by reality as the subject is a method of conceptual art that abstracts the concept of desire in the symbolic world. This is to repeatedly reveal the concept of existence image as a subject and desire lacking in the symbolic world as reality at all stages of the symbolic world.

In order to repeatedly reveal the concept of desire as a reality, a vector with the direction of the image desired by the real image as the involuntary subject of desire structures the concept of desire like a picture composed of the vector. In the previous stage of abstracting the concept of desire, the subject of existing desire repeatedly reveals the concept of insufficient desire in which the image of existence is abstracted as reality through conscious movement.

Therefore, abstract desire is not a conceptual art, but a double place with the concept of the selector's desire, overtaking abstract conceptual art in that double place and consciously repeatedly designing reality as a semantic entity for the abstractly deficient desire structure desired by the selector as a subject.

Women in the Joseon Dynasty, like the ornamental pond, used social activities based on the Confucian family system as an exemplary virtue of protecting social order and purity (貞節) by focusing on housework.

In the late Joseon Dynasty, as the monetary economy developed, the status system changed, the status order collapsed, Seoryul was appointed to the government office, and Cheonmin became a Yangban with a blank appointment letter, Gong Myung-cheop (帖), so Joseon women enjoyed culture freely inside the pavilion (樓亭) building as a pond building.

In addition, as the subject of desire, the woman constitutes the self by equating the reflection in the pond and the lack of desire with reality in the linguistic meaning of an abstract concept.

During the Joseon Dynasty, ponds were installed as structures to prevent water flow and erosion in the pond to see the pond and its surroundings, such as Jeongja Building (護岸), an open-ended daecheong-maru, and plants matching the lake.

The real image of the pond was designed by instantaneously capturing the real image as a correlation with the concept of desire by determining the current real place that has temporarily stopped in the shade of reversible light.

In other words, the size of the real image is omitted, and the color and background of the real object matching the custom are designed as the same pond as the image of the subject transferred to the positive film so that the real object has an aesthetic value adjusted to the place as a single image within the range of light.

The image reflected in the pond is designed as a linguistic image of a woman seen from the perspective of another as an infant, and the same self as the woman is created through consciousness movements.

It's an isolated composition from society as if a woman were on an island in the middle of a pond.

The woman in the pond cannot compare the desires of others by seeing her appearance and memories isolated from society. Therefore, in order to escape the existence of desire in an infant's mirror response, a woman who is separated from sociality describes the concept of desire in reality and explains the concept of desire in reality so that she can recognize the absence of desire as a subject by using the actions of others as a mirror.

As a reality, the subject makes the concept of unconscious desire exist as a specific object with an abstract structure of linguistic meaning.

In this way, the reality of a specific object is abstracted by looking at reality as a correlation between the actions of the other reflected in the pond and the lack of desire, and realizing the concept of desire as a subject in order to find an object that a desire that is bound to exist wants

The design of Choi Chul-joo's concept of desire, which has been realized as an abstract, abstracts the actual meaning of the concept of desire by superimposing the news cartoon image published as a news desire image with the background of desire, "Morning glory," "Bamboo Forest," and "Pond."

This is a conscious expression act, and the meaning of the recognition as a subject and the lack of unconscious desire background is a dual desire structure.

In a sense, it is shared with the present in one empty space that is not in contact with the object space, but it satisfies the temporality of the object when it comes into contact with another object in a shared place,

Therefore, when light comes into contact with multiple objects, existing and past objects form a place of light according to various timeliness in the same place, and unconsciousness and consciousness intersect in the current shared place,

Here, the structure of desire where unconsciousness and consciousness intersect is captured by the instantaneous impression of events and action images, the concept of abstractly illuminating the background of everyday desire is clearly embodied, and the abstract image of desire that illuminates the concept in inductively reversible shades of light results in universal reality.

Memory is the light of time, and as the subject of desire, an image with the ego of desire and the place where the image exists as the subject of desire and desire is set up, and the memory of desire creates a place where the ego of the subject of desire and the real image exist in the present. Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p126-2, a hand-painted picture on a computer

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

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

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's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.

One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.

The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.

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

Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.

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)

Korean News Cartoon Review-A line News of Choi Chul-joo’s Manwha Review [8] The fires that continue in Australia are destroying the nature of kangaroo animals, Cartoon art work designed by Louis Choi Chul-joo.

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

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

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

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

Conceptual Artwork Criticism: Korean news cartoon review-A line News of Choi Chul-joo’s Manwha Review [8] The fires that continue in Australia are destroying the nature of kangaroo animals. (2020-01-06) / Reporter Choi Chul-joo’s Cartoon Review

. The fires that continue in Australia are destroying the nature of kangaroo animals.

. Les incendies qui se poursuivent en Australie détruisent la nature des animaux kangourous.

Abstraction concept art works of Contemporary Abstract Artist Louis Choi Chul-joo's Artwork with Other's Desire Abstract Concept: Louis Chul-joo Choi, morning glory p126-2-The fires that continue in Australia are destroying the nature of kangaroo animals, a hand-painted picture on a computer, 2024

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 212-The fires that continue in Australia are destroying the nature of kangaroo animals.: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest a212-The fires that continue in Australia are destroying the nature of kangaroo animals: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest a212-The fires that continue in Australia are destroying the nature of kangaroo animals-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Louis Choi chuljoo, morning glory p126-2, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p126-2-2024 U.S. presidential candidate: 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 p126-2> 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 <The fires that continue in Australia are destroying the nature of kangaroo animals> 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 p126-2-The fires that continue in Australia are destroying the nature of kangaroo animals> 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.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p126-2-The fires that continue in Australia are destroying the nature of kangaroo animals" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Bamboo Forest Forest-212-The fires that continue in Australia are destroying the nature of kangaroo animals" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory

■ Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world.

■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire, mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i).

■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.

■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire.

■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.

■ Choi Chul-joo's definition of contemporary art design regards the combined image of linguistic meaning and image itself as a symbol, and identifies the abstract concept of desire as a painting design structure through its linguistic meaning, focusing on the concept of philosophical desire and conceptual abstract realism based on his theory of visual art. The design visually interprets the structure of human desire through various media such as painting, installation, sculpture, and performing arts, and images abstract forms and linguistic meanings based on the desires of others to reproduce conceptual abstract realism images with the structure of light according to temporality.

■ 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.