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by 최철주 Dec 16. 2024

현대미술가 최철주｜Contemporary Artist

현대미술가 최철주｜현대미술평론 현대미술가평론 현대미술추상화가작품평론 15

현대미술가 최철주｜현대미술평론 현대미술가평론 현대미술추상화가작품평론 [15] Contemporary Artist Choi Chul-joo ｜ Contemporary Art Today Choi Chul-joo's Art Criticism, Contemporary Artist Criticism, Contemporary Art Abstract Painter's Works Review / Contemporary artist review: Contemporary Art Critic Louis Choi Chul-joo's Art criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism = Modern art Critic / Contemporary artist review: Contemporary Art Critic Louis Choi Chul-joo's Art criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism:

Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) Criticism: Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024 & Concept Abstract Modern Art Criticism [42] Case of Contemporary Concept Abstract Art: Modern art painter Louis Choi Chul-joo's Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) Criticism: Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024 & Korean news cartoon review-A line News of Choi Chul-joo’s Manwha Review [198] South Korean President Threatens People With Declaration of Emergency Order 6. (2024-12-05)/ K-Pop Song illustratoin [10] BLACKPINK Participates in Lady Gaga's "Sour Candy“. (2020-5-30) / Reporter Choi Chul-joo’s Cartoon Review

현대미술가 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.

최철주의 욕망 개념의 추상적 이미지를 도출하는 것은 빛의 가역적인 음영속에서 욕망 개념의 언어적 의미를 표현하는 이미지를 디자인하여서 이루어진다.

반예술적 형태와 달리, 이것은 욕망 개념의 언어적 의미와 동일한 사건과 공연의 이미지 형태로 그려진 추상적 욕망의 실제 이미지다.

따라서 개념미술로서 허무주의의 반미술적 미니멀 아트가 아닌 추상적 욕망 개념을 실재의 이미지로 적시한다. 즉 욕망 개념과 동일한 언어적 의미로서 사건과 공연 이미지를 지적하여 보인다. 이것은 추상적 욕망을 언어적 의미와 동일한 실재의 이미지를 미학적으로 디자인한 최철주의 현대개념추상화운동이다.

여기서 기존 개념미술에서 미술가의 관점으로 한 미적 가치보다는 타자의 욕망 개념에서 출현한 실재룰 추상화한 조형성을 추구한다.

Louis Choi Chul-joo, the intersection of desire outside the window

창문밖 욕망의 교차점

욕망의 구조를 이루는 가역적 빛이 교차하는 창문은 시간성에 따른 여러개 욕망의 교차점을 마주할 수 있다.

욕망의 교차점은 창문을 통해서 욕망의 선택자가 욕망 개념으로서의 이중적 자리를 만들고 그 이중적 자리에서 욕망의 선택자가 주체로서 원하는 추상적으로 결핍된 욕망 구조의 의미적 실체로서 실제 이미지로 부상하고자 하는 욕망 개념의 언어적 의미를 추월한다.

창문밖 주체로 생성된 욕망은 추상적 욕망 개념의 언어적 의미로 돌출된 결핍된 욕망이 주체의 욕망을 지배하여서 그 욕망의 주체를 상실하게 만들고 분열하여서 감소된 욕망이 욕망을 지배하는 결핍된 욕망과 동일시 된다.

존재로서 실재 이미지는 사후성(Nachtrӓglichkeit)에 따라 결론지어진 욕망에 의해 추상적 욕망의 개념을 현실로 변환함으로써 특정 대상의 내재적 본질을 현존하는 실존적 이미지로 드러냅니다.

이것은 욕망의 대상 공간에 가역적 빛의 음영이 접하지 않고 또 하나의 빈 공간에 현재와 교차점을 이룬다. 그 교차점에서 또 다른 대상과 접할때 그 대상의 공간의 시간성과 접한다.

따라서 결핍된 욕망의 대상물울 욕망의 주체로서 하나의 빛이 여러 대상과 접할때 현존 하는 대상과 과거의 대상이 하나의 자리에서 여러개의 시간성에 따른 빛의 자리를 만들고 무의식과 의식의 교차점을 이룬다.

시간성의 빛으로 보이는 욕망은 거리를 차이로서 실재 이미지의 벙향과 크기가 구분된 현재의 형태와 교차한다.

이것은 연못에 비친 욕망의 대상이 추상적 욕망 개념과 동일시하려는 자아로서 욕망이 연출한 언표적 이미지를 생성하는 의식운동을 한다.

따라서 시간성으로 구분되는 욕망은 서로 다른 형태의 욕망이 서로 교차하여 점진적인 욕망의 변화를 만들어내는 의식적 움직임이며, 욕망은 가역적인 빛의 그림자 속에서 실제 이미지로 나타납니다. 이는 시간성에 따라 달라지는 문화적 배경과 기존 사물을 보고 싶은 타인의 욕망이 교차하는 것입니다.

욕망의 교차점에서 만나는 욕망의 결핍은 물체의 구조에 의해 가역적인 빛의 그림자로 지정된 장소에서 이미지를 교환합니다.

또한 주체로서 욕망은 욕망의 선택자로서 욕망 개념의 필연성으로서 추상적 존재를 유지하고 욕망의 결핍을 특정 장소의 이미지로 교환하며, 그 결과 언어적 의미를 해석하는 현실의 이미지를 욕망의 대상으로 명시한다.

욕망 개념의 선택자는 타자의 욕망에 의해 특정 대상을 실제 이미지로 강제하고, 시간성을 가진 가역적인 빛의 그림자가 이미지의 방향을 형성하며, 욕망 개념과 반대 방향의 벡터가 연결되어 이미지로서 욕망의 결핍을 이미지로 연출한다.

그 욕망을 라캉은 1971년11월4일 강의를 통해서 응시로서 결핍된 욕망을 존재로서 수학적 기호로 수학소(數學素)라고 말했다.

명제로서 수학(mathematical statement) 욕망을 논리적으로 판단하는 언어적 의미를 담고있다. 이것은 결핍된 욕망이 특정한 대상을 정할 수 있도록 언어적 의미를 실재의 대상을 정하여서 욕망 개념을 실재 이미지와 구분하지 않고 동일한 욕망으로 판단하여서 일관된 욕망의 의미를 의식운동으로 경험할 수 있는 특정 자리를 욕망의 교차점에서 구성한다.

타자의 욕망을 욕망의 교차점에서 벡터의 수치 이미지로 전환할 수 없지만 결핍된 욕망 구조에 실재 이미지를 제한하고 소외된 언어적 의미로서 추상적 타자의 욕망을 실제화 한다.

빛의 가역적 그림자 속의 개념을 욕망의 실제 이미지로 유도적으로 조명함으로써 이미지의 언어적 의미와 실제 현상을 수학처럼 명확하게 구현한다.

실재 이미지 속에 무의식적 욕망 개념의 심리적 벡터로 구성된 특정 대상과 주체로서 욕망이 서로의 시선으로 한 지시 벡터가 대립하여서 결핍된 욕망을 연출시킨다.

이렇게 수학은 욕망 개념에 의해서 추상적 과학으로 한 공리로서 추상 디자인을 거쳐 언어적 의미의 외적 구조에 근거하지 않고 구체적인 현상으로서의 실재로 귀결한다./

Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024

창문밖 욕망의 교차점 렌더링

욕망의 구조를 이루는 가역적 빛이 교차하는 창문은 시간성에 따른 여러개 욕망의 교차점을 직면할 수 있다.

욕망의 교차점은 창문을 통해서 욕망의 선택자가 욕망 개념으로서의 이중적 자리를 만들고 그 이중적 자리에서 욕망 개념의 언어적 의미를 추월해서 주체로서 욕멍의 선택자가 원하는 추상으로 결핍된 욕망 구조를 의미적 존재로서 실재 이미지를 출현한다.

욕망의 의미적 존재로서 실재 이미지의 미적 가치는 그 이미지를 실재처럼 렌더링하여서 가상적 형상을 이루어서 욕망 개념에서 형성된 실재의 존재로서 가능하다. 여기서 렌더링은 미적 작품의 조건으로서의 질료성은 가역적 빛의 음영으로 구성된 평먼 구조를 렌더링으로 한 질료성을 표출함으로서 실재 이미지가 되면서 욕망 개념이 가역적 음영으로 이미지를 표출하고 창문밖 욕망의 교차점에서 그 이미지의 존재를 수학적 디자인 프로세스로서 최철주 욕망 공식을 적용하여서 욕망 대상의 렌더링으로 실제화한다.

언어적 의미와 동일한 이미지의 복제가 어려운 타자의 욕망으로한 욕망 대상을 왜상적 이미지으로 렌더링한다.

여기서 왜곡된 이미지는 욕망 대상의 전체 이미지와 분리된 또 다른 현실로서의 욕망의 존재로서의 실제 이미지이다.

실제 이미지는 과거에 경험한 무의식의 지연된 행동 의미에 따라 무의식의 언어적 의미의 구조에 의해 욕망의 추상적 개념을 현실로 변환하여 기존의 실제 이미지로 욕망을 드러낸다.

욕망 구조는 사후적 욕망에 따라 과거 시각적 경험을 통한 무의식 욕망이 언어적 의미로서 동일한 시각적 경험의 대상이 현재의 욕망의 대상으로 출현한다. 이것은 시간성을 추월하여서 지난 시간의 경험한 욕망 구조가 창문에 비친 추상적 욕망의 개념을 지연된 욕망의 의미로 해석함으로써 무의식적 욕망의 개념과 의식적 현실의 이미지가 중첩되는 교차점을 형성한다.

그 교차점에서 가역적인 빛의 그림자는 욕망의 대상 공간과 접촉하지 않고 또 다른 빈 공간에서 현재와 교차하는 실제 이미지를 형성한다. 그 교차점에서 현재 실제 이미지에서 사후 욕망 개념에 의해 숨겨져 있는 욕망의 구조는 가역적인 빛과 만난다.

무의식적 욕망의 개념과 의식적 욕망의 대상은 불충분한 욕망이 사후적 욕망의 대상이 되려는 욕망의 주체로서 여러 대상을 만났을 때 교차한다. 그리고 그 교차점에서 무의식적 욕망의 개념은 의미론적 기능으로 디자인하여서 분할된 주체로서 의식적 욕망의 개념과 동일시되도록 설계된 실제 이미지로 전이된다.

여기서 무의식적 욕망 디자인은 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식을 가역적 빛의 시간성에 어울리는 존재의 이미지로서 드러난 욕망을 표출하여서 렌더링하여 예술성을 드러냄으로써 자율적 창조성으로 예술적 의미를 가진다.

시간성의 빛으로 보이는 욕망은 창문처럼 거리를 차이로서 이미지가 보이고 그 이미지의 벙향과 크기가 구분된 현재의 형태는 창문밖에서 교차한다.

따라서 창밖의 욕망의 교차점을 응시한 것으로 보이는 물체가 상대방인 주체의 눈에 반사된 빛의 교차점으로 드러나게 된다. 이는 무의식의 관점에서 바라본 비현실적인 이미지가 아니라 억압된 무의식의 관점에서 바라본 욕망의 시선 체계에서 바라본 실재 이미지이다.

이것은 거울 이미지와 같은 추상적 욕망의 개념으로 연못에 비친 다른 욕망의 대상을 식별하기 위해 욕망이 주체가 되어 생성하는 표현적 이미지를 생성하는 의식적 이미지를 최철주 욕망 공식으로 디자인할 수 있다.

따라서 시간성으로 구분되는 욕망은 서로 다른 형태의 욕망이 교차하여 점진적인 욕망의 변화를 이루고, 욕망은 가역적인 빛의 그림자 속에서 현실의 이미지로 나타나는 의식적 욕망의 개념이다. 이는 욕망의 대상을 바라보는 타인의 욕망과 시간성에 따라 다른 문화적 공간 사이에서 현실과 만나는 욕망의 교차점이다.

욕망의 교차점에서 만나는 결핍된 욕망은 대상의 구조를 가역적 빛의 음영으로 특정된 자리에서 이미지를 교환한다.

그리고 주체로서 욕망은 언어적 의미를 해석한 실재의 구조를 욕망의 이미지로서 욕망의 계기로서 사건이나 공연 이미지가 타자 욕망의 결과로 욕망의 주체가 무의식이 말하는 언어적 의미를 실재로 구조화한다. 그 구조는 언어적 의미를 이미지로 해석하지만 동일하지 않는 욕망을 언어적 의미를 타자가 원하는 필연적인 특정 대상으로 추상하여서 실재 이미지와 동일시한다. 여기서 창문은 욕망을 추상화하는 주체로서 욕망을 경험적 환상으로서 실재 이미지로 제한하고 타자의 욕망 중 하나를 선택하여 실제 이미지를 드러낸다.

그 욕망 개념에서 분열된 주체로서의 선택자는 타자의 욕망에 의해 특정 대상을 연못에 비쳐진 실재 이미지로 강제하여서 시간성으로 한 가역된 빛의 음영이 상상적 추상의 틀로서의 창문을 만들고, 창 밖의 욕망의 교차점에서 창 너머의 실제 이미지의 방향을 형성하는 벡터는 욕망의 개념을 이미지 벡터와 연결시키며, 욕망의 개념에서 선택자가 결여한 이미지를 생성한다. 그리고 타자의 욕망을 욕망의 교차점에서 벡터의 수치 이미지로 전환할 수 없지만 결핍된 욕망 구조에 실재 이미지를 제한하고 소외된 언어적 의미와 동일시하여서 추상적 타자의 욕망을 실재 이미지로 실제화 한다.

그 욕망을 라캉은 1971년 강의를 통해서 응시로서 결핍된 욕망을 존재로서 수학적 기호로 수학소(數學素)라고 말했다.

욕망 개념으로 추상적 대상을 공리적 명제로서 수학(mathematical statement)는 욕망을 논리적으로 판단하는 언어적 의미를 담고있다. 이것은 결핍된 욕망이 특정한 대상을 정할 수 있도록 언어적 의미를 실재의 대상을 정하여서 욕망 개념을 실재 이미지와 구분하지 않고 동일한 욕망으로 판단한다.

이렇게 욕망 개념에서 수학적 욕망을 논리로서 한 공리로서 추상 디자인을 거쳐 언어적 의미의 외적 구조에 근거하지 않고 구체적인 현상으로서의 실재로 귀결한다.

따라서 창문밖 욕망의 교차점에서 실재와의 추상적 만남으로 드러난 욕망 구조의 렌더링은 수학적 욕망 개념 추상디자인 즉 욕망 개념의 이미지를 최철주 욕망 공식에 적용하여서 2022년3월1일 뉴욕 (Flushing Town Hall, New York)에서 욕망의 배경 구조를 "나팔꽃" 전시에서 가역적 빛의 음영으로 욕망의 주체로서 나팔꽃을 평면적 실재 이미지로 출현한다.

욕망의 개념과 추상적 구조가 교차하여 발생하는 실제 이미지의 렌더링은 욕망의 개념으로 추상화된 의미의 윤곽과 가역적인 빛의 음영이 교차하여 발생하는 것으로, 가역적인 빛의 음영이 실제 이미지와 중첩된 3차원 형상을 욕망의 개념으로 추상화된 의미의 윤곽과 동일한 위치에 그림자를 그려 평면 이미지를 생성한다.

나팔꽃이 만들어내는 창밖 욕망의 교차점에서의 렌더링, 불충분한 욕망의 배경, 무의식적 욕망 개념의 의미를 특정 장소의 실제 이미지로 형성하는 무의식적 욕망 개념의 추상화는 최철주의 욕망 공식에 따라 그려진다.

최철주의 욕망 공식은 I/I(이미지)와 D/d(디자인)를 기호로 사용하여 디자인 이미지의 개수와 이벤트 및 퍼포먼스 이미지를 연결하여 다항식의 욕망 이미지를 생성하는 곱셈 공식이다.

기호로서의 이미지의 언어적 의미는 욕망의 추상적 개념을 식별하고자 하는 욕망 개념의 이미지(I/i)이다. 이 이미지는 실제 구조의 틀로서 창을 만들어 불충분한 욕망의 주체가 가역적인 빛의 그늘에 가려진 욕망의 개념을 실제 이미지로 보이게 하고, 특정 욕망 개념이 추상적인 기호로서 실제 이미지로 응시할 수 있는 존재로서의 선 공간을 구성한다.

욕망 디자인은 욕망 개념을 추상적 기호로 평면화하여서 욕망 대상를 미적를 생성한다. 여기서 추상적 기호는 존재로 한 욕망의 언표적 의미 구조다. 그 구조는 욕망 개념의 무의식적 의미와 추상적 기호로서 실재 의식적 이미지와의 디자인적 균형을 연쇄하는 최철주 욕망 개념 추상디자인 프로세스를 통해서 추상화로 전이한다.

욕망 구조의 수학적 욕망 공식으로 한 디자인 프로세스로서 형이상학적 욕망 개념이 기호적 미학 이미지로 동일시 될때까지 디자인을 연쇄한다.

이렇게 욕망 개념이 미학적 추상화로 해석된다. 형식미학을 정확하게 대응할 수 있는 욕망 개념을 미학적 추상화로 해석하여서 감상적 수용미학으로서 현대미술의 미적 쾌감을 강조하는 흐름에 순응하지않고 욕망의 개념 이미지를 최철주 욕망 공식에 적용하여 추상미술 운동의 역사를 실제 이미지로 형성한 새로운 현대미술이다.

따라서 욕망 개념의 추상화는 실재하는 피사체를 대상으로 재현하는 언어적 욕망 개념의 구상한다. 이것은 추상 구조를 가역적 빛의 음영으로 분할하는 실재를 시각화한 입체주의적 구상 작품이다.

빛의 가역적 그림자와 시간성에 따른 현실의 조형성을 중첩하여 언어적 의미의 실제 이미지를 관찰할 수 있도록 실제 구조를 평면적으로 단순화하는 디자인을 반복하는 욕망의 구조는 무의식적 욕망 개념에 내재된 언어적 의미를 엮어 창조되는 것이 아니라 전체 이미지와 동일시되는 현실을 구성한다. 그리고 실재 구조의 틀로서 창문밖 여러 조각의 욕망 구조가 가역적 빛의 방향을 달리하여 조명된 조각들이 서로 엇갈려서 마주친 자리에서 교차점을 이룬다. 이것은 가역적 빛의 음영에 흡수되지 않고 시간성에 따라 존재로서 별처럼 실재의 자리 밝히는 흰색 교차점으로 포치된다.

실제 시간성의 구조는 존재 당시의 의미 있는 이미지로 해석된다. 따라서 시간성에 따르면 실존적 현실 이미지는 시간의 가역적 비존재로서 추상화된다. 욕망의 구조는 과거와 미래를 현재로 통합하는 언어적 의미로서 기존의 이미지에서 시작하여 일반적인 실제 이미지로 구성된다. 이는 추상적인 과거와 미래의 이미지가 원래의 상태로 돌아가지 않도록 창밖의 욕망의 교차점에서 기존의 상징적 관계에서 전달된 실제 이미지를 소환함으로써 욕망 개념의 인과적 객체로서의 구조를 구성한다./ 글. 현대 미술평론가 최철주 (문화디자인박사)

Louis Choi Chul-joo, the intersection of desire outside the window

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.

By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.

In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.

Louis Choi Chul-joo, the intersection of desire outside the window

the intersection of desire outside the window

A window where reversible light intersects that makes up the structure of desire can face multiple intersections of desires according to temporality.

Through the window at the intersection of desire, the selector of desire creates a double place as a concept of desire and overtakes the linguistic meaning of the concept of desire to emerge a real image as the semantic substance of the abstractly deficient desire structure desired by the selector of desire as the subject.

Desire created as a subject outside the window is identified with the lack of desire in which the deficient desire protrudes into the linguistic meaning of the concept of abstract desire dominates the subject's desire, causing the subject of that desire to be lost, and the reduced desire is identified with the deficient desire that dominates desire.

Existential images reveal the intrinsic nature of a particular object as an existing existential image by transforming the concept of abstract desires into reality by desires concluded according to ex post facto characteristics (Nahtraglichate).

This does not come into contact with the reversible shade of light in the target space of desire, but forms a form that intersects the present in another empty space. When it comes into contact with another object at that intersection, it comes into contact with the temporality of the object's space.

Therefore, when light encounters multiple objects as subjects of a desire to be the object of insufficient desire, existing and past objects create a place of light according to multiple temporality in one place and form a point where desires intersect between unconscious and consciousness.

Desire seen as the light of temporality intersects with the difference in distance from the current form in which the direction and size of the actual image are separated.

It is an ego that tries to grasp the object of desire reflected in the pond as a concept of abstract desire, and performs a conscious movement that creates an expressive image generated by desire.

As a result, desire, divided by temporality, is a conscious movement in which different forms of desire intersect with each other to produce a gradual change in desire, and desire appears as a real image in a shadow of reversible light. This is the intersection of the desire to face reality between the cultural background that varies according to temporality and the desire of others to see existing objects.

The lack of desire that meets at the intersection of desire exchanges images in a place specified by the structure of the object as a reversible shade of light.

In addition, as a subject, desire maintains an abstract existence as the inevitability of the concept of desire as a selector of desire and exchanges the lack of desire into an image of a specific place, the image of reality that interprets linguistic meaning as a result is specified as an object of desire.

The selector of the concept of desire forces a specific object into a real image by the desire of the other, a reversible shadow of light with temporality forms the direction of the image, and a vector in the opposite direction to the concept of desire is connected to create a lack of desire as an image.

In a lecture on November 4, 1971, Lacan said that desire is a mathematical sign and that a lack of desire is a mathematical element.

As a proposition, a mathematical statement has a linguistic meaning that logically judges desire. It determines the linguistic meaning so that the lack of desire can determine a specific object, judges the concept of desire as the same desire without distinguishing it from the actual image, and does not distinguish the concept of desire from the actual image by constructing a specific place where the meaning of consistent desire can be experienced as a conscious movement at the intersection of desire.

Although it is not possible to convert the other's desire to a numerical image of a vector at the intersection of desire, it limits the real image to the deficient desire structure and realizes the abstract other's desire as an alienated linguistic meaning.

By inductively illuminating the concept of the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024

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 rendering of the real image resulting from the intersection of the concept of desire and the abstract structure overlaps the real image in the same position as the outline of the meaning abstracted by the concept of desire with a shade of reversible light, resulting from the intersection of the concept of desire and the abstract structure, creating a flat image by shadowing the three-dimensional shape in which the shade of reversible light overlaps with the real image in the same position as the outline of the meaning abstracted by the concept of desire.

Rendering the intersection of desire outside the window

Reversible light-crossed windows that make up the structure of desire can face multiple intersections of desires depending on their temporality.

Through the window at the intersection of desire, the selector of desire creates a double place as a concept of desire and overtakes the linguistic meaning of the concept of desire, and the actual image emerges as the meaning substance of the abstractly deficient desire structure desired by the selector of desire as the subject.

The aesthetic value of a real image as a semantic being of desire is possible as a real being formed in the concept of desire by rendering the image as if it were a real thing to form a virtual shape. Here, rendering under the condition of an aesthetic work expresses materiality by rendering a flat structure composed of reversible shades of light, the concept of desire becomes a real image to express the image in reversible shades, and applies the Choi Chul-joo Desire Formula as a mathematical design process to realize the existence of an image at the intersection of desire outside the window.

Desire created as a subject outside the window is the linguistic meaning of the concept of abstract desire, and insufficient desire dominates the subject's desire, loses the subject of that desire, and desire reduced by division is identified with the deficient desire that dominates desire.

The object of desire is rendered as a distorted image containing the desire of the other person, which is difficult to replicate the same image as the linguistic meaning.

Here, the distorted image is a real image as the existence of desire as another reality separated from the entire image of the object of desire.

Real images reveal desires as existing real images by transforming abstract concepts of desire into reality by the structure of the linguistic meaning of the unconscious according to the deferred action meaning of the unconscious experienced in the past.

In the structure of desire, unconscious desire through past visual experiences becomes a verbal meaning according to delayed desire, and the object of the same visual experience appears as the object of desire in the present. This forms an intersection where the concept of unconscious desire and the image of conscious reality overlap by grasping the reality of the desire structure experienced in the past time reflected in the window beyond temporality and interpreting the concept of abstract desire reflected in the window as the meaning of delayed desire.

The reversible shadow of light at that intersection forms a real image that intersects the present in another empty space without contacting the object space of desire. At that intersection, the structure of desire hidden by the concept of ex post desire in the current real image meets reversible light.

The concept of unconscious desire and the object of conscious desire intersect when insufficient desire meets several objects as the subject of the desire to be the object of ex post desire. And at that intersection, the concept of unconscious desire is transferred to a real image designed to identify with the concept of conscious desire as a semantic function and a divided subject.

Here, unconscious desire design has an artistic meaning as autonomous creativity by rendering the other's suppressed unconsciousness into an aesthetic image suitable for reversible light timeliness in order to acquire artistry beyond generality.

Desire, which appears to be the light of temporality, shows the image as a difference in distance, like a window, and the current form that distinguishes the direction and size of the image intersects outside the window.

As a result, an object that appears to have stared at the intersection of desire outside the window is revealed as the intersection of light reflected in the eyes of the other, the subject. This is not an unrealistic image viewed from the perspective of desire from the perspective of the unconscious, but a real image viewed from the gaze system of desire from the perspective of the suppressed unconscious.

This is a concept of abstract desire, such as a mirror image, and in order to identify other objects of desire reflected in the pond, a conscious image that generates an expressive image generated by desire as a subject can be designed with the Choi Chul-joo Desire Formula.

As a result, desire, which is distinguished by temporality, is a concept of conscious desire in which different forms of desire intersect to achieve a gradual change in desire, and desire appears as an image of reality in a reversible shadow of light. This is the intersection of desire that meets reality between the desire of others to look at the object of desire and the cultural space that differs according to temporality.

The lack of desire that meets at the intersection of desire exchanges images in a place specified by the structure of the object as a reversible shade of light.

In addition, desire as a subject structures the structure of reality that interprets the linguistic meaning as an image of desire, and the event or performance image as an opportunity for desire as a result of other desires, and the subject of desire structures the linguistic meaning spoken by the unconscious.

The structure interprets linguistic meaning as an image, but abstracts linguistic meaning into the inevitable specific object the other person wants, equating it to a real image.

Here, as the subject of abstracting desire, the window limits desire to a real image as an empirical illusion, and selects one of the other's desires to reveal the real image.

In the concept of desire, the selector as a divided subject forces a specific object into a real image reflected in the pond by the other's desire, a reversible shadow of light with temporality creates a window as an abstract virtual frame, and the vector that forms the direction of the real image beyond the window at the intersection of desire outside the window connects the desire concept to the image vector, and creates an image that the selector lacks in the concept of desire.

In addition, although the other's desire cannot be transformed into a numerical image of a vector at the intersection of desire, it realizes the abstract other's desire as a real image by limiting the real image to a deficient desire structure and equating it with an alienated linguistic meaning.

In a real image, a specific object composed of a psychological vector of the concept of unconscious desire and an instruction vector in which desires are opposed to each other's gaze creates a lack of desire. In a 1971 lecture, Lacan expressed desire as a mathematical sign, explaining the lack of desire seen as a gaze as a mathematical sign.

As an axiomatic proposition, mathematical statements contain linguistic meanings that logically judge desire. This determines it as a real image with the same desire structure as the concept of desire without distinction from the real image by defining a linguistic meaning so that insufficient desire can determine a specific object.

In this way, mathematical statements 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.

In this way, 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 rendering at the intersection of desire outside the window created by the morning glory, the background of insufficient desire, and the abstraction of the concept of unconscious desire, which forms the meaning of the concept of unconscious desire as a real image in a specific place, are drawn according to Choi Chul-joo's desire formula.

Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to produce a desire image of polynomial products by linking 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. This image creates a window as a frame of the real structure so that the subject of insufficient desire makes the concept of desire hidden in the shade of reversible light appear as a real image, and constitutes a line space as a being in which a specific concept of desire can gaze as a real image as an abstract symbol.

Desire design creates an aesthetic for the object of desire by flattening the concept of desire into abstract symbols. Here, the abstract symbol is the expressive semantic structure of desire as being. The structure transitions to abstraction through the Choi Chul-joo concept of desire, which connects the unconscious meaning of the concept of desire and the design balance with the real conscious image as an abstract symbol.

As a design process with a mathematical desire formula of desire structure, the design is repeated until the metaphysical desire concept is identified as a symbolic aesthetic image.

In this way, the concept of desire is interpreted as an aesthetic abstraction.

The concept of desire that can accurately respond to formal aesthetics is interpreted as an aesthetic abstraction, and it is a new modern art that applies the image of the concept of desire to the Choi Chul-joo Desire Formula without conforming to the trend of emphasizing the aesthetic pleasure of contemporary art as sentimental acceptance aesthetics, forming the history of the abstract art movement with real images.

Therefore, the abstraction of the concept of desire envisions the concept of linguistic desire that reproduces the real subject. This is a stereoscopic conceptual work that visualizes reality that divides abstract structures into reversible shades of light.

The structure of desire, which repeats the design that simplifies the actual structure flat so that the actual image in the linguistic sense can be observed by overlapping the reversible shadow of light and the formability of reality according to temporality, constitutes a reality identified with the entire image in the place of being created by weaving the linguistic meaning inherent in the concept of unconscious desire.

Additionally, as a framework for the actual structure, the desire structures of several pieces outside the window differ in the direction of the reversible light, and the illuminated pieces alternate with each other to form an intersection. This is not absorbed by the reversible light shadow, but is captured by a white intersection that illuminates the place of reality as a being like a star according to temporality.

The actual structure of temporality is interpreted as a meaningful image at the time of existence. Therefore, according to temporality, the existential reality image is abstracted as a reversible non-existence of time. The desire structure consists of a general real image, starting with the existing one as a linguistic meaning that unifies the past and the future into the present.

This constitutes a structure as a causal object of the concept of desire by summoning the real image transferred from the existing symbolic relationship at the intersection of desire outside the window so that the abstract past and future images cannot return to their original state,/ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Louis Chul-joo Choi, morning glory p127-2, 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.

Korean news cartoon review-A line News of Chul-joo Choi's Korean Pop Star [3], Yoona of K-pop group Girls' Generation debuted as the main actress of the movie 'Exit’ 5, Cartoon art work designed by Louis Choi Chul-joo.

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

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.

Korean news cartoon review-A line News of Chul-joo Choi's Korean Pop Star [3], Yoona of K-pop group Girls' Generation debuted as the main actress of the movie 'Exit’, (2019-8-3)/ Reporter Choi Chul-joo’s Cartoon Review

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.

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 p127-2-Yoona of K-pop group Girls' Generation debuted as the main actress of the movie 'Exit’, a hand-painted picture on a computer, 2024

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 216-Yoona of K-pop group Girls' Generation debuted as the main actress of the movie 'Exit’.: 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 b216-Yoona of K-pop group Girls' Generation debuted as the main actress of the movie 'Exit’: 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 b216-Yoona of K-pop group Girls' Generation debuted as the main actress of the movie 'Exit’-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 p127-2, a hand-painted picture on a computer

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 p127-2-Yoona of K-pop group Girls' Generation debuted as the main actress of the movie 'Exit’:" 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 216-Yoona of K-pop group Girls' Generation debuted as the main actress of the movie 'Exit’:" 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

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 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.

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.

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)

Louis Choi Chulpjoo, South Korean President Threatens People With Declaration of Emergency Order.5-2, Korean News Cartoon Review-A line News of Choi Chul-joo’s Manwha Review [198] Cartoon art work designed by Louis Choi Chul-joo.: The beneficiary who experienced martial law as a desire for the other is passive, but the powerful person who can actively enforce it from the perspective of the perpetrator puts it into practice with the same desire as the sympathizer. When a powerful person provides the benefit of power or a sympathizer receives it, the sympathizer becomes the same desire and becomes the subject of martial law enforcement. Here, the desire of the other, which is obscured, generalizes martial law practiced by inappropriate powerful and sympathizers as another object of desire and acts like a victor of war. However, when martial law as an act overshadowed by reversible light is not generalized as a public act, inappropriate power and sympathizers are antagonized by the desire of the other as a subject who implements it according to the general desire of the others.

Conceptual Artwork Criticism: Korean news cartoon review-A line News of Choi Chul-joo’s Manwha Review [198] South Korean President Threatens People With Declaration of Emergency Order 6. (2024-12-05) / Reporter Choi Chul-joo’s Cartoon Review

. South Korean President Threatens People With Declaration of Emergency Order.

. Le président sud-coréen menace les gens par une déclaration d'ordre d'urgence.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 223-South Korean President Threatens People With Declaration of Emergency Order: 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 i223-South Korean President Threatens People With Declaration of Emergency Order: 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 i223-South Korean President Threatens People With Declaration of Emergency Order-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 p129-2-South Korean President Threatens People With Declaration of Emergency Order, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p129-2-South Korean President Threatens People With Declaration of Emergency Order: 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 p129-2> 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 <Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory p129-2-South Korean President Threatens People With Declaration of Emergency Order> 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.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p129-2-South Korean President Threatens People With Declaration of Emergency Order" 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 "the bamboo forest i223-South Korean President Threatens People With Declaration of Emergency Order-pond" 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

Background image of "Bamboo Forest Bamboo Forest i223-South Korean President Threatens People with Emergency Order-Phone Declaration": Louis Choi Chul-joo, the bamboo forest 223, a hand-painted picture on a computer

Choi Chul-joo's concept of desire in the process of designing the concept of desire through "rendering the intersection of desire outside the window" is a new abstract art methodology that embodies the modern abstract concept, which began with the modern art movement and transformed from romanticism to abstraction.

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

By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

Choi Chul-joo, <BLACKPINK's "Sour Candy" 9-2-1>, a hand-painted picture on a computer

Manwha Designer Choi Chul-joo’s Cartoon News: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence ■ Review of Korean News Cartoon with Contemporary Art Critic Choi Chul-joo's newsmanwha K-Pop Song illustratoin [10] BLACKPINK Participates in Lady Gaga's "Sour Candy“. (2020-5-30) / Reporter Choi Chul-joo’s Cartoon Review

Choi Chul-joo, <BLACKPINK's "Sour Candy" 6>, a hand-painted picture on a computer

Choi Chul-joo, a contemporary artist, 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.

Choi Chul-joo, <BLACKPINK's "Sour Candy" 7>, a hand-painted picture on a computer: newsbusan.com 기사등록 2020-06-03 22:28:28

The derivation of abstract images of Choi Chul-joo's concept of desire is achieved by designing images that express the linguistic meaning of the concept of desire in the reversible shadow of light.

Unlike the anti-artistic form, this is a real image of abstract desire drawn in the form of the same image of events and performances as the linguistic meaning of the concept of desire.

Therefore, as an existing conceptual art, the concept of abstract desire, not the anti-artistic minimal art of nihilism, is indicated as an image of reality. In other words, the image of events and performances is pointed out as the same linguistic meaning as the concept of desire. This is Choi Chul-joo's modern concept abstraction movement, which aesthetically designs abstract desire and the same image of reality as the linguistic meaning.

Louis Chul-joo Choi, morning glory 9129-4-BLACKPINK's "Sour Candy", a hand-painted picture on a computer

Choi Chul-joo, <BLACKPINK's "Sour Candy" 6-1>, a hand-painted picture on a computer

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 227-BLACKPINK Participates in Lady Gaga's "Sour Candy“, 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: In front of the bamboo forest i227-BLACKPINK Participates in Lady Gaga's "Sour Candy“: 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: In front of the bamboo forest i227-BLACKPINK Participates in Lady Gaga's "Sour Candy“-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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p129-4-BLACK PINK Participates in Lady Gaga's "Sour Candy“: 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 Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> 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 <morning glory p129-4-BLACK PINK Participates in Lady Gaga's "Sour Candy“> 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> becomes a non-real abstraction of reality.

■ Examples of non-realistic abstractions include: objects of desire are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light.

■ 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.

■ 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.

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 227, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest i227, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p129, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p129-4-2-Shading & BLACKPINK's "Sour Candy", a hand-painted picture on a computer

<morning glory p129-4-2-Shading & BLACKPINK's "Sour Candy"> is a work that abstracts the concept of desire in <morning glory> as a linguistic meaning based on the image of a performance in a cartoon news that has emerged a reversible shade of light. This is Choi Chul-joo's modern abstract art movement, which presents a methodology of realistic abstraction as a concept of modern desire.

Louis Choi Chul-joo, a contemporary artist and conceptual abstract artist, produced a poster of 100 contemporary art abstract art works related to the 2022 "morning glory" solo exhibition in New York. This work is a contemporary abstraction called "morning glory p129-4-2-Shading," which symbolizes the reversible shadow structure of light by using the exhibition poster image of abstraction as the semantic structure of desire.

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p129-4-1-bamboo1, a hand-painted picture on a computer, 2024

The object <morning glory p129-4-1-bamboo>, which depicts the meaning of the shape seen in the meaning space created by the reversible light of realistic non-realism, is an abstract painting that reveals the place of the unconscious desire of others in <morning glory> by structuring the meaning of abstract space that can flip an object into a real shape with a reversible shadow of light. The image of desire in the mirror is a hypothetical non-real image of cartoon review, revealing the place of the other's unconscious desire in "morning glory".

Therefore, the factual abstract image defines abstract space as a real reversible shape, and Choi Chul-joo's exhibition poster, whose shape is hidden by actual changed movements in the shade of reversible light, means the meaning of abstraction of conceptual art by creating a place of abstraction as a contemporary art abstract art movement.

Its meaning specifies an abstraction that summarizes as a factual structure that results in an image of the same concept of desire at the boundary of reality.

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