conceptual abstract realism 8

Conceptual Abstract Painter Louis Choi 8

May 18. 2023

Conceptual abstract realism [8/ 11~13] conceptual abstract realism painter's Louis Choi Chul-joo's Contemporary Art Criticism and Contemporary artist Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today, contemporary art critic Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designs abstract paintings of contemporary art: Abstract painter Louis Choi Chul-joo's contemporary conceptual art is an art that abstracts concepts with traces of practical formability and the shadow of reversible light as non-existence on the theme of other people's desires. This is the concept of early conceptual art, an abstract painting that abstracts the desire of others who represent the real seat, the return of a certain pictoriality.

Concept Abstract Realism Painting: Choi Chul-joo's Concept Abstract Realism Painting, which symbolizes an image as a semantic structure of conceptual abstraction, is a conceptual abstract realist art that abstracts concepts with a substantial form and reversible traces of light as existence. This is the concept of early conceptual art, a conceptual abstract realist painting that abstracts the desires of others to represent the real world. His Realism is an attractive realistic image composed of linguistic meanings by exploring visual expressions of desires through abstract design processes and philosophical theories.:

Contemporary Conceptual Abstract Artist Louis Choi Chul-joo Artwork [8] Conceptual Modern Art Abstract Design Works ( https://opensea.io/Louisland ) Contemporary Cartoon Review, News History Cartoon Review, Contemporary Art News History Painting Criticism

: Contemporary Art Critic Louis Choi Chul-joo's Artist criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism [8] Design Review of Realistic Abstract Painting Using Abstract Artist Louis Choi Chul-joo's Treacherous Conceptual Art / Conceptual Cartoon Review & Artist Pop Art Conceptual Art Abstract painting / Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' pop art abstraction

미술평론가 최철주 현대미술 추상화 디자인평론 : 유명한 화가, 한국 화가, 현대 화가, 현대 미술가 & 한국 현대 미술평론가 최철주 현대미술 작품 신작읽기 The artwork posted on Facebook & Instagram 현대미술 개념 추상화 디자인 8 : 미디어 아티스트, 현대미술가, 개념미술가, 현대미술 작가, 이미지 설치미술가, 미디어 아티스트, 팝 아티스트 & 한국 화가 루이 최철주

현대미술 개념만평 팝아트 이미지로 매개하여서 회화를 추상하여서 또 다른 현대미술 추상화 디자인8 = 라캉적 의미작용의 시각적 문화로서의 특정효과가 발생하는 현대미술 회화 디자인: 의미 구조로서 현상 이미지를 기호화한 오브제 디자인

추상 화가 그림 최철주 개인전: 2022 루이 최철주 뉴욕 전시 나팔꽃 추상화 p36 유명한 현대 미술가 작품 현대 화가 추상 화가 루이 최철주/ 현대 개념 미술평론: 한국화 추상화 작품 <morning glory p36-13> 디자인 평론

Shadows that are continuous with light are distinguished by covering the whole or pointing out it in yin and yang like stars. As a result, the object of the concept of desire is identified by a reversible light shade.

To avoid errors by interpreting aesthetic logic to draw specific objects based on art-related philosophical theories, Choi Chul-Joo, a Ph.D. in cultural design, is conducting a contemporary concept abstract art movement with modern art design methodology through abstract paintings created using desire formulas and abstract design processes.

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.

NewYork Exhibition: Louis Chul-joo Choi's "morning glory": Exhibition of Louis's "morning glory" with the image of Lacan's object ɑ and Picasso's Anamorphosis, 20220301~20220308 Flushing Town Hall, New York.

개념 추상화 <morning glory>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 라캉의 오브제ɑ다 즉 루이 최철주 <morning glory>의 개념미술은 라캉의 미술이론에 귀속된 추상적 관념이다.

추상화가 루이 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 실재의 자리를 대리하는 타자의 욕망을 추상하는 추상화다.

따라서 배반적 개념미술가로서 추상 화가 루이 최철주 <morning glory>는현대 회화를 개념 추상화로 한 디자인 컨셉으로 제작하여서 이것을 라캉적 의미 구조의 형상으로 추상 디자인한다 즉 회화의 개념 추상 이미지를 기호화하여서 그 회화를 디자인한 추상화다. (최철주추상화 <morning glory>에 관한 최철주 개념미술이론)

사실적 추상화의 개념미술이란 사실적 구조는 빛의 왜곡을 받아서 형태를 반사한다. 그 형태를 드러내는 것은 빛의 음영으로 확정되는 윤곽과 그림자다. 배반적 개념미술로 한 사실적 추상화는 이것에 주목하여서 사실적 개념을 형상화한다. (사실적 추상화에 관한 최철주 개념미술이론)

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)

따라서 배반적 개념미술로 한 사실적 추상화는 일상의 사건에서 사실적 구조를 왜곡하는 빛의 음영으로 형상을 빛의 음영으로 그 형성을 확정하여서 사실적 개념을 추상화한다.

Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirming the formation of the shape as a shade of light that distorts the realistic structure in everyday events.

현대미술 회화 디자인: 의미 구조로서 형상 이미지를 기호화한 오브제 디자인 = Louis, morning glory p36-13, a hand-painted picture on a computer, 2022

한국화가 추상 디자인 Abstract Design of Korean Painters: 개념미술 한국화 추상 디자인3/ 개념미술 의미 구조의 이미지를 설치한 한국화 추상 디자인한 팝아트 현대미술 작품 <나팔꽃 추상화 p36-13> & 한국화가 루이 최철주 뉴욕 전시 포스터100 이미지로 한 한국화 추상 디자인: 현대 개념미술 한국화 추상화 작품 <morning glory p36-13> 디자인 평론

Design review: the New York Contemporary Art Exhibition of "Morning glory" abstract painting: an exhibition of the desires of others seen by a Morning glory p36-13."a contemporary art work that applies artist Louis Chul-joo Choi's Lacan art theory. 20220301~20220308 Flushing Town Hall, New York.

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.

Louis Chul-joo Choi, morning glory p36-8, a hand-painted picture on a computer, 2022/ 현대미술 회화 디자인: 개념적 의미 구조로서 형상 이미지를 기호화한 오브제 디자인

개념적 의미 구조로서 추상 이미지 디자인: 이미지를 오브제로 디자인한 라캉의 오브제ɑ

<morning glory>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로 디자인한 배면이 비춰지는 교직된 천의 형태에 그리진 라캉의 오브제ɑ다.

그 오브제ɑ의 형상은 뉴욕(Flushing Town Hall & Yeomyeong Hall)에서 루이 2022년 <나팔꽃>개인전 관련 현대미술 추상화 작품으로서 디자인 컨셉으로 한 포스터<morning glory poster>를 제작하여서 이것을 라캉적 의미 구조로서 형상의 디자인 즉 회화의 전시 이미지를 기호화하여서 연쇄한 현대 개념미술을 추상화했다.

배반적 개념미술로서의 추상화는 미술에서 사실적 구조물로서의 추상화를 말한다. 사실적 형상의 자리에 존재하는 개념적 의미들은 만화 리브 이미지로 구분될 수 있으므로, 추상화는 타인의 추상적 욕망을 만화 리브 이미지로 해석하는 가역적인 빛의 음영을 통해 그려진다.

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 rib images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon rib image as an image. (*Cartoon rib image, that is, an image that emphasizes the hidden meaning of the cartoon)

Louis Choi Chul-joo, <Red Velvet Irene & Seulgi 4>, a hand-painted picture on a computer

미술가 개념미술 추상화 작품 : Chul-joo Choi, morning glory 36-Red Velvet Irene & Seulgi 4, a hand-painted picture on a computer / 만화뉴스 만평을 개념 미술가 작품으로 재해석한 현대미술 추상화 개념만평

가역적 빛으로 생성된 의미 공간에서 보이는 형상의 의미를 그려낸 오브제(루이 최철주 2022 뉴욕 전시 포스터-36)는 병아리가 타자의 욕망을 시간성에 감춘 이미지를 가역적 빛의 음영으로 <Red Velvet Irene & Seulgi 4>을 의미를 구조화하여서 그 오브제를 실제 형상으로 가역할 수 있는 추상 공간을 의미화하고 형상의 실제 변화된 움직임에 의해 가려지는 개념적 추상의 의미 즉 거울속의 이미지는 가상적인 비실재의 이미지로서 타자의 무의식적 욕망에서 드러낸 추상적 이미지의 순간적 왜곡된 상 오브제ɑ를 보인다.

현대 미술평론가 & 개념미술가 최철주의 현대 개념 디자인은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 회화 작품으로 생성하는 개념미술 디자인이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 디자인적 가치를 말한다.

미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다.

반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로 한 최철주의 개념미술 추상화 디자인은 시사만평으로 개념의 의미를 라캉적 개념미술 추상화 이미지에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 개념미술 추상화 디자인을 통해서 삶적 가치를 교합시킨다.

여기서 라캉적 개념미술 추상화 디자인은 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 추상성 디자인을 말한다. (ACN ・ 2022. 10. 7. 2:33 최철주 개념미술 추상화 디자인 해석)

Louis Chul-joo Choi a morning glory window 2023-2_ 151X178cm_ 151X179cm_ acrylic and composite materials on cloth

라캉적 디자인방법론(Lacan's design methodology)으로 한 회화 디자인에 대한 라캉적 도슨트: 라캉적 디자이너, 디자인평론가 & 현대미술가 최철주 라캉적 디자인방법론: 현대미술 추상 한국화 작품으로서 <morning glory 2022 p-36>에 라캉의 환유공식 f(S...S')S=˜ S (-)s 적용하여서 가역적 빛으로 생성한 페인팅 <Red Velvet Irene & Seulgi 4>를 중첩한다. 그리고 언어적 은유 이미지를 연쇄하여서 라캉의 환유공식을 재적용하여서 가역적 빛의 음영으로 한 공간의 또 다른 자리에 <Red Velvet Irene & Seulgi 4>의 현상적 자리를 정하여 <morning glory 포스터36>으로 보인다. 이것은 루이 최철주 뉴욕 전시에서의 라캉적 개념미술로 디자인한 포스터가 라캉적 오브제를 실제화한 추상화임을 말한다.

루이 최철주 2022 뉴욕 전시 포스터-36-14

라캉의 오브제ɑ<루이 최철주 2022 뉴욕 전시 포스터-36-14>로서 추상적 오브제를 재현하는 원근법적 시각체계의 기학적 도식에서는 시각체계는 은폐하고 있으나, 무의식에서 드러난 욕망적 관점의 순간적인 응시로서의 오브제ɑ다.

회화로서 오브제ɑ<Red Velvet Irene & Seulgi 4>는 일반성을 벗어나 예술성을 획득하고자 타자의 억압된 무의식에서 드러난 욕망을 통해 표출된 왜상적 이미지를 디자인으로 형성하고 존재로서 오브제ɑ를 생성하여서 타자의 무의식적 욕망에서 드러낸 추상적 이미지의 순간적 왜곡된 이미지를 의미적 구조으로 한 개념성을 드러내는 것이다.

여기서의 오브제ɑ에서 출현한 개념적 예술성은 타자의 욕망적 관점에서 왜상적 이미지<Red Velvet Irene & Seulgi 4>로 오브제의 이미지를 의미의 구조로 변형<나팔꽃 포스터-36-14> 함으로써 오브제의 또 다른 존재로서의 오브제ɑ를 드러내어서 오브제ɑ가 창조성과 타자의 욕망의 자율성으로 한 예술적 의미를 담고 있다.

그리고 회화적으로 육화된 닭의 배경에 감추어진 타자의 욕망으로서의 작은 조각<Red Velvet Irene & Seulgi 4>는 그 형상의 실제로 바꾸는 기표적 의중 운동을 통해서 가역된 실제 추상적 공간<나팔꽃 포스터-36-14> 를 보인다. 이것은 추상적 오브제의 의미를 가리키며, 그 오브제는 실제 가역할 수 있는 추상 공간을 말하며 형상의 실제가 추상된 타자의 욕망에 가려지는 추상적 풍경 형상의 의미를 비실재의 사실적 형상을 추상한다.

추상화 디자인: 드러나지 않는 은폐의 존재로서의 실재로서 개념 미술의 추상적 의미

"병아리가 거울에 비친 기표적 이미지를 동일시하는 상상계에서부터 시작된다. 주체로써 기표적 이미지가 닭이 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 상징계로 전이한다. 여기서 상징적 이미지와 실재가 분열을 통해 실재와의 만남이 이루어진다. 실재로서 기표적 이미지는 왜상적 이미지로 드러나지만 가역적 빛으로 생성된 이미지는 비실재로서 의미와의 만남이다.( 유아로서 병아리가 닭이 되려는 욕망: ACN 2022.06.06)"

현대 미술평론가 & 개념미술가 최철주의 현대 개념미술은 초기 개념미술의 개념으로 한 회화성의 복귀다.

즉 회화 작품으로 생성하는 개념미술이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 회화성으로 의미적 가치를 말한다.

미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다. 반면에 라캉 미술이론에서의 유아적 상상계의 허상을 개념으로서 최철주의 개념미술은 시사만평으로 개념의 의미를 라캉적 회화속에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장 사진을 만평으로 비판적 시각과 라캉적 회화의 삶적 가치를 교합시킨다. 여기서 라캉적 회화는 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 회화성 즉 추상화를 말한다.

현대미술 팝아트 한국화 추상화 작품: 루이 최철주 뉴욕 전시 나팔꽃 p36-14

라캉적 디자인방법론(Lacan's design methodology)으로 한 회화 디자인에 대한 라캉적 도슨트: 라캉적 디자이너, 디자인평론가 & 현대미술가 최철주 라캉적 디자인방법론: 현대미술 추상 한국화 작품으로서 <morning glory p-36>에 라캉의 환유공식 f(S...S')S=˜ S (-)s 적용하여서 가역적 빛으로 생성한 페인팅 <Red Velvet Irene & Seulgi 4>를 중첩한다. 그리고 언어적 은유 이미지를 연쇄하여서 라캉의 환유공식을 재적용하여서 가역적 빛의 음영으로 한 공간의 또 다른 자리에 <Red Velvet Irene & Seulgi 4>>의 현상적 자리를 정하여 <morning glory 포스터36-14>로 보인다.

Louis Choi Chul-joo, <morning glory p36-14, a hand-painted picture on a computer

라캉적 실재는 사건의 실재와 은폐된 존재의 실재와는 다르다. 상징계로서 <Red Velvet Irene & Seulgi 4>에서 전이된 존재에서 분리된 드러나지 않는 진실을 은폐한 실재다. 마네가 <풀밭위의 점심식사>에서 누드의 여인을 통해 드러나지 않는 은폐를 도출한 것처럼 <Red Velvet Irene & Seulgi 4>는 사회성을 실체화한 실재다. 이러한 공시적 영역의 실재는 사건에 은폐된 곳에서 사건의 주체가 출현한다.

마네가 사유에 의한 실재로서 <풀밭위에 점심식사>에서 주체의 존재를 드러내는 행위로서 누드의 여인과 정장한 남자를 동시에 보임으로써 환영적 비실재를 없애고 사유를 통한 실재를 그려낸다.

상징계에서의 실재로서 <Red Velvet Irene & Seulgi 4>은 음악적 행위로 한 상징적 존재의 이미지다. 여기서의 존재는 라캉의 초월적 기표(Signifiant)다.

마네는 동시대에서는 수용될 수 없는 상징계의 영역에서 분리된 영역인 실재를 <풀밭위의 점심식사>에 그렸지만 그 실재의 누드를 <풀밭위의 점심식사>에 그려서 신화의 여신으로써 누드화의 절대적 의미를 부정하고 어색하고 낯선 실재 여인의 누드화라는 의미가 실재다.

반면에 <Red Velvet Irene & Seulgi 4>은 타자의 욕망을 대신하는 은유적인 상징성의 존재를 보여줌으로서 그림을 보는 이에게 라캉적 상상계에서의 허상에 만족하지 않고 자신의 욕망을 음악적 행위를 통해서 타자를 통해 보여줌으로써 상징계에서 탈출을 시도한 실재다.

이렇게 <Red Velvet Irene & Seulgi 4>는 동시대의 실존적 이미지를 보임으로써 상징계에서 오브제의 은유적 주체를 보이는 이미지로 주채의 실체적 의미와 형상이 출현한다. 즉 보이는 은폐는 상징으로써 의미와 허상의 형상은 소거한다.

실재로서 <Red Velvet Irene & Seulgi 4>은 회화에서 또 다른 실재로서의 문화적 욕망을 상징하는 상징성을 드러낸다. 비실재 사실적 추상화로서 <Red Velvet Irene & Seulgi 4>에서 문자로 한 언어적 표현도 은유성을 띠지만 그것이 비재현적 이미지라고 가정할 때 실재는 상사적으로 실재를 재현한 가상적 이미지에서 존재한다.

라캉의 거울이론을 통해 실재를 드러내는 것은 유아가 거울에 비친 기표적 이미지를 동일시하는 상상계에서부터 시작된다. <Red Velvet Irene & Seulgi 4>에서 주체로서 타자의 욕망이 실재가 아닌 것을 인지하면서 기표의 상징적 이미지와 실재와의 분리를 통해 상징계로 전이한다. 여기서 분노한 병아리가 상징적 실재가 분열을 통해 실재와의 만남이 <morning glory p36-13>에서 이루어진다.

보는 관점에 따라 회화적 실재와 포스터와 같은 비실재에 대한 예술론적 담론이 이어지고 있다. 실재와 비실재가 오브제를 재현하는 가시적 이미지로서 선택할 수 없으며 오브제를 실제의 이미지를 표현하는 회화적 이미지는 비실재로서의 이미지로 규명되었다. 따라서 오브제에서 회화적 실재를 찾는 방법은 라캉의 오브제ɑ와 유사한 왜상적 이미지를 드러낸다.

그 실재로서 문화성의 음악적 행위 이미지<Red Velvet Irene & Seulgi 4>는 가역적 빛의 왜상적 음영으로 드러난 비실재로서 현대미술의 실재와의 어긋난 만남을 디자인하고 추상한다.

글. 현대미술 디자인평론가 최철주 (추상화가 & 문화디자인박사)

------------------------------------------------------------

Conceptual abstract realism 11

conceptual abstract realism artist & art

Conceptual abstract realism [11] conceptual abstract realism painter's Louis Choi Chul-joo's Contemporary Art Criticism and Contemporary artist Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today, contemporary art critic Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designs abstract paintings of contemporary art: Abstract painter Louis Choi Chul-joo's contemporary conceptual art is an art that abstracts concepts with traces of practical formability and the shadow of reversible light as non-existence on the theme of other people's desires. This is the concept of early conceptual art, an abstract painting that abstracts the desire of others who represent the real seat, the return of a certain pictoriality.

Louis Chul-joo Choi, morning glory 2025-2-Desire structure of objects in a pond reflected by reversible white light, 113X165cm, acrylic and composite materials on cloth, 2025

Choi Chul-joo's concept of desire, or modern art, appears, and a painting that conflicts with the concept of linguistic meaning emphasized by metaphysical and philosophical light creates a dramatic event image with artificial lighting.

Linguistic representation images as objects represent abstract meanings that represent words unrelated to grammatical sentence interpretation as event images. However, grammar gives logical meaning to abstract nonverbal behavior.

Thus, interpreting the concept of desire as a grammatical linguistic structure requires the design of abstract symbols in linguistic meaning repeatedly.

Images identical to the concept of desire produce images as the presence of objects when clearly defined through consciousness and conceptual design.

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.

Desire structure of objects in a pond reflected by reversible white light,

As an object of the concept of desire, the light discoloration as a reversible light overlapping the surface color contrast effect of the event image reflects the event image hiding the desire hidden in the reversible light projected into the pond, representing the shadow color of the desire structure like a spectrum.

The concept of abstract desire through the desire of the other constitutes the subject of desire lacking as a symbolic structure.

This is the result of being divided from symbolic existence by repeating the design according to Choi Chul-joo's desire formula to create the image that the subject aims for, and the real image appears as the subject with the concept of desire lacking the event image.

In Choi Chul-joo's desire structure, the shadow of reality in the shadow of reversible light results in a phenomenal image as a sign of the unconscious desire of the other in the line space in the direction of the gaze of the event image.

This is the shade created after the object because the circular object of the concept of the other's desire is hidden by light.

In the object's desire structure in the pond reflected by reversible white light, the subject of deficient desire imaginatively equates the event image reflected in the pond with the concept of abstract desire to constitute the subject of deficient desire.

The event image reflected in the pond creates a real image with the same meaning by stating the concept of insufficient desire as a conscious movement.

Here, in the desire structure, the shadow is a composition lacking in the other's desire structure, and the event image is carved and obscured.

This is a shadow created by being blocked by actions induced by the opaque cause of desire in the image of reality as a structure of unconscious desire.

In the concept of Choi Chul-joo's desire, reversible light, whose altitude and direction are not specified, shows reality as a being according to temporality.

It refers to the real image as the existence of reversible light that identifies the traumatic image of the event image as the structure of the desire of the object in the pond reflected by the reversible white light.

This is a desire object that realizes abstract desire by representing reality that represents the linguistic meaning of the concept of desire as a shaded image of reversible light.

The object repeatedly expresses the linguistic meaning of the concept of desire as a real image by repeating the design through conscious movement that identifies the image of the event and the reality that symbolizes the lack of desire.

And while determining the relationship between the real image and the subject of desire, the subject transitions to the real image so that the subject cannot imagine the concept of desire. It provides the cause of causing the phenomenon of desire as an event image, from the real image that the subject cannot return to the concept of desire as an object of desire.

Here, the object that causes the phenomenon of desire is Choi Chul-joo's desire formula, repeating the design to create a real image as a linguistic meaning of the concept of abstract desire, and abstracting the meaning of desire lacking the image.

In the shaded image, the object turns red as the white light as a being that has stopped in time is absorbed into the background, and the blue, green, and yellow colors that are absorbed into the morning glory background are the same shaded structural colors as the desire background of the 'morning glory'. Here, the contrast effect visible from the visual system is the color of the absorption spectrum in which the color reflected from the object changing light is projected onto the pond.

This means that abstract desire changes from the natural real color of a real object to the concept of desire as a linguistic meaning, and like the chemical reaction of reversible white light, the shadow of the morning glory defines desire by designating white light as the color of desire, and is parallel without distorting the size of the shadow like the sun light.

Therefore, it is expressed in flat red regardless of the direction of the light. A bright shadow diffracted by light consists of an overall reversible shade of light, which is not distorted into the shape of an object. This painting is actually painted using the light of the sun as a light, just like an ink-and-wash painting.

Abstracting the meaning of desire that lacks an event image as an object of the desire structure of an object in a pond reflected by reversible white light, the reality in the shadow of reversible sunlight supports abstract desire. Additionally, the concept of lack of desire is linguistic consciousness, creating a reality that exists in the line space that specifies the place of desire./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Thus, interpreting the concept of desire as a grammatical linguistic structure requires the design of abstract symbols in linguistic meaning repeatedly.

Images identical to the concept of desire produce images as the presence of objects when clearly defined through consciousness and conceptual design.

Background image of an artist's artwork: Louis Chul-joo Choi, Trump did not touch the Bible, nor the kiss 9 , 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.

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.

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

Louis Chul-joo Choi, morning glory p134-1-Trump did not touch the Bible, nor the kiss, a hand-painted picture on a computer

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

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

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

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

Louis Choi Chul-joo, Bamboo Forest i241-Trump did not touch the Bible, nor the kiss

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

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.

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

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

Louis Choi Chul-joo, Trump did not touch the Bible, nor the kiss / 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.

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.

■ 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 241-Trump did not touch the Bible, nor the kiss: 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 i241-Trump did not touch the Bible, nor the kiss: 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 i241-Trump did not touch the Bible, nor the kiss-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, In front of the bamboo forest i241-Trump did not touch the Bible, nor the kiss-pond-mirror: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence

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 p130-3> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Choi chuljoo, morning glory p130-3-Tyson totally gave in to the boxing match, but I'm happy> 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 p130-3-Tyson totally gave in to the boxing match, but I'm happy> 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.

Louis Chul-joo Choi, morning glory p100-14-3-Trump did not touch the Bible, nor the kiss, a hand-painted picture on a computer

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 p100-14-3-Tyson totally gave in to the boxing match, but I'm happy" 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 f231-Tyson totally gave in to the boxing match, but I'm happy-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

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.

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.

■ 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).

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 241, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p134-1, a hand-painted picture on a computer

Louis Chul-joo Choi, morning glory p134-3, a hand-painted picture on a computer

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

And by expressing the absence of the concept of desire in reversible temporality as a phenomenal image, "morning glory" expresses the mirror image reflected in the "pond" to abstract the structure of reality from the desire hidden in the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract color and planar structure.

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

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

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 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.

Louis Chul-joo Choi, morning glory p134-2-1-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer

- 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 242-Desire structure of objects in a pond reflected-Mona Lisa: 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 Chul-joo Choi, Bamboo Forest h242-Desire structure of objects in a pond reflected-Mona Lisa: 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 h242-Desire structure of objects in a pond reflected-Mona Lisa-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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest h242-Desire structure of objects in a pond reflected-Mona Lisa-pond-mirror: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Louis Chul-joo Choi, morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa, : By repeatedly applying the concpept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa> 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, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa,> becomes a non-real abstraction of reality.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa," 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 "h242-Desire structure of objects in a pond reflected-Mona Lisa-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

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.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 242, a hand-painted picture on a computer

Louis Chul-joo Choi, morning glory p134-3-1, a hand-painted picture on a computer

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

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

Louis Chul-joo Choi, morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer

Louis Chul-joo Choi, morning glory p134-4-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, morning glory p134-Desire structure of objects in a pond reflected-Mona Lisa," 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 h242-Desire structure of objects in a pond reflected-Mona Lisa-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 242, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p134-2-1-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer / 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. ■ 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.

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p134, a hand-painted picture on a computer

----------------------------------------------

Conceptual abstract realism 12

conceptual abstract realism artist & art

Conceptual abstract realism [12] conceptual abstract realism painter's Louis Choi Chul-joo's Contemporary Art Criticism and Contemporary artist Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today, contemporary art critic Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designs abstract paintings of contemporary art: Abstract painter Louis Choi Chul-joo's contemporary conceptual art is an art that abstracts concepts with traces of practical formability and the shadow of reversible light as non-existence on the theme of other people's desires. This is the concept of early conceptual art, an abstract painting that abstracts the desire of others who represent the real seat, the return of a certain pictoriality.

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

Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning

As a linguistic semantic element realized as a unit of abstraction morning glory-dancer desire concept, the Mona Lisa is divided into a transformation form composed of light of a particular shade and the concept of existence of desire.

This is a semantic element obtained from the desires of others in response to the composition of the painting and linguistic semantic structure in which the Mona Lisa takes the morning glory-dancer as an object, inducing several abstract meanings and constructing images as linguistic meanings in the sense of simultaneity of the desire structure.

Here, the abstract meaning is divided into the common points of temporal and phenomenal meanings formed by the difference in the time difference (視差) between the gaze and the visible gaze according to the characteristics of the object. The concept of desire to implement this as an abstract structure repeatedly designs the linguistic meaning as a real image and specifically abstracts it as a virtual reality image.

In other words, as a linguistic semantic element realized as a unit of the concept of abstraction morning glory desire, the Mona Lisa divides into a transformation form composed of light in a specific shade and the concept of desire as being.

This means that the event image embodied as the principle of the simultaneity of Choi Chul-joo's concept of desire is obtained from the desire of the other who, as the subject of desire, induces various abstract meanings and identifies the desire structure as a single semantic image in the same meaning.

The abstraction that emerges here is an abstract meaning, and it is an image that identifies the temporal meaning and phenomenal image formed according to the temporality of realizing the object as a subject of linguistic meaning, and repeatedly designs the linguistic meaning in the actual image to realize the concept of a desire to implement it as an aesthetic structure.

Choi Chul-joo's concept of desire realizes an abstract virtual image at the intersection of form and reality as a semantic element by representing a symbolic object with a metaphorical meaning as the same real image as the concept of desire.

Here, the Mona Lisa is abstracted as a real image as a linguistic meaning of the morning glory-dancer with a desire structure drawn in a linguistic sense through the Choi Chul-joo desire formula to establish the meaning of the phenomenal language as a meaning.

Here, Mona Lisa abstracts the linguistic meaning of the morning glory-dancer with a desire structure drawn in a linguistic sense through the Choi Chul-joo desire formula into a real image, and establishes the meaning of phenomenal language to have the same synchronism with the real image.

The subject of another's desire is an image with the same linguistic meaning between the concept of abstract desire, the image of an event as a phenomenal object, and the actual image opposite to the abstract, that is, the image of the concept of desire morning glory. Through semantic action, behavioral meaning is transmitted as an event image as a background image of a subject object, and an image with the same linguistic meaning acts as a semantic structure at the point where the concept of unconscious desire and the divided real image intersect.

The difference between art and non-art as a semantic structure is distinguished by the existence of a real image formed from the point of view of the other's desire from the virtual form as a substance as a reality and as a non-existence. Therefore, the aesthetic condition as a semantic structure is that the material as a reality has an image installed in the place, and the virtual form as a non-existence is a realistic image and reveals an abstract image by realizing the desire of the other as a being in linguistic meaning.

This completes the meaning of the linguistic meaning as an image as an abstraction of morning glory retroactively to the concept of desire. It also shows that the symbolic meaning obscured in the concept of desire is an abstraction of a real image.

As the subject of abstraction, the semantic element distinguishes the background of the subject and the smile with the object as the subject as the Mona Lisa as a fantastic imagination and Freudian sexual behavior. This represents the desire of the other as a real structure by returning to the image of abstract desire that identifies with the enjoyment object and linguistic meaning in the mirror.

Here, the actual structure depicts a dancer who creates abstract artificial lighting with reversible shades of light and equates the desire structure with a real structure with a morning glory background and a Mona Lisa with a reversible shade of light, unlike the phenomenal description of the subject's background as a color adjustment like Leonardo.

Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-sketch 2, 113X165cm, acrylic and composite materials on cloth, 2025

Desire according to abstraction The design is the same form that cannot be distinguished between the original and the reproduction. This means that the original is absent. This is because the completed design object can form a virtual image through linguistic meaning or can be re-formed into a cultural form with the desire of the same other. Therefore, the desire of the abstract other, which is difficult to replicate, is designed as an anamorphosis image. Here, the anamorphosis image is non-existent as the whole image, but the Mona Lisa is abstracted as another anamorphosis image as separated from the real image.

In this way, the concept of desire is symbolically identified as the actual structure of the Mona Lisa and the dancer, and as a subject of linguistic meaning, the Mona Lisa identifies the event image with the phenomenal reality image of the concept of desire as an object.

Since the desire structure does not set a reversible lighting setting, it combines several objects into a desire background like a photo collage by contrasting them with shades and shades between objects relative to the subject. Without distinguishing the entire background of the desire structure and the boundary line between the objects, the 'morning glory background' and the object line are clearly removed to create a space that fits the specific linguistic meaning of the desire concept.

The Mona Lisa's gaze is divided into reversible light shadows and gaps that allow the right eye to stare at the front and the rest of the face.

Mona Lisa, a picture of an object composed of reversible light, is an abstraction. An image formed from a virtual object that reproduces a pictorial object is a virtual image that hides reality. A virtual image is recognized in a plane and appears as a virtual image. Here, as a virtual image, Mona Lisa is abstracted into a real image by revealing an object as existence through Choi Chul-joo's Desire Formula.

Abstraction created as a real image creates a real image with objects and backgrounds as subjects and shades of reality and desire objects as light, and transitions to abstraction of existence as a linguistic semantic element of the concept of desire.

The abstract collages the depiction representing the characteristics of the Mona Lisa on the "morning glory Background" and spaces it with reversible light shadows to form a fragmented space according to the temporality.

The space separated from temporality is hidden by the geometric diagram of the perspective visual system that reproduces objects, and is instantly revealed as a gaze from the perspective of desire revealed in the unconscious. As an abstraction, an object acquires an aesthetic structure by creating an object as an being by repeating the design of an anamorphosis image expressed through the desire of the other to acquire artistry beyond generality.

This hides the left and right landscape with different shades of Leonardo's Mona Lisa light, realistically reveals the right eye area to fit the Mona Lisa image as a linguistic meaning, and determines the idealized abstract desire concept as an image set as a specific attribute of Mona Lisa so that it can be recognized as a conceptual object of abstract desire as a real image, and separates the head and back of the hand into shades of light as a character composition.

Here, the intermediate sexual face distinguishes between good and evil forms according to the visible direction.

The gaze from the front distinguishes the shape and size of the Mona Lisa, but the gaze from left to right expresses the abstract space of the Mona Lisa in a segmental way, embodying an image of desire in a linguistic sense to immobilize the Mona Lisa as a being.

And by identifying the image of the desire structure created by moving the fixed Mona Lisa and the gaze virtually, the gaze shifts to the image of the structure of good and evil as another representation.

Here, the aesthetic Mona Lisa transforms the inner structure of good and evil into a dancer image from the other's desire perspective, revealing its formative existence and representing the autonomy of the concept of desire.

This is a representation of the Mona Lisa in real space, but the image of the desire structure creates a desire space as a superimposed being with the Mona Lisa by moving a virtual gaze made of the same artificial lighting as reversible light.

In this way, the gaze of the dancer as the subject of desire forms a place of desire that cannot be viewed as the real structure of the other's desire as a gaze on the object of desire. Therefore, the real structure of desire is an abstract desire concept, and the real structure designed so that an object can see a dancer as the subject of desire is viewed as a real image in which the concept of desire is abstracted.

Abstraction, which appears to be a gaze, erases the concept of desire according to the timeliness of the actual structure in which reversible light overlaps, and illuminates the representational existence of the past time by artificially reflecting reality as a reversible structure of light.

The gaze made from the light of artificial lighting is specified as a flow of small particles of light that do not look like the light of Newton, and forms a hue as the frequency of light by Einstein, who saw light as a light quantum as a grain.

As a result, the actual image of the concept of abstract desire is abstract. This is because when the morpheme as a language structure was transferred to the Mona Lisa image as a language structure according to symbolic culture, the actual meaning of the past representative concept of desire was transferred to the Mona Lisa image as an abstract structure. In other words, when the morpheme as a linguistic meaning is transferred to the Mona Lisa image, the abstract real meaning is removed from the concept of abstract desire and forms a real image.

As a semantic element, the image of the Mona Lisa whose outline is unclear with the existing spumato technique is a shade of scientific artificial illumination, which is a syntagmatic confrontation with religious language meaning, conceals reality as a real image in one language meaning.

The image follows a cultural interpretation according to the timeliness of the reversible light of artificial lighting to express it as an image different from Leonardo's Mona Lisa in a linguistic sense or to distinguish reality only within a linguistic sense.

These images, separated by cultural temporality, are abstractions in which one linguistic meaning does not change into another linguistic meaning in philosophical perception, distinguishing the reality of the Mona Lisa image from the reality of linguistic meaning.

Therefore, Choi Chul-joo's definition of "morning glory" is an image that divides the concept of abstract desire into secondary temporality, and is an abstraction projected as a real image with the same linguistic meaning as the image lacking by the concept of desire without changing from philosophical perception to another linguistic meaning.

The subject image of linguistic meaning has a holistic culturality that is identified with the concept of desire specified as a subjective scene of linguistic meaning of the event image according to sociality.

The desire of others has cultural connection through the image of events as an object that is specified as a real image that expresses the linguistic meaning as one in sociality.

Cultural connection as a linguistic meaning refers to a phenomenal reality image that does not specify an object as an image and has a cultural connection with that object.

Mona Lisa cannot verbally specify an image with the linguistic meaning of the concept of desire morning glory, we repeatedly design specific images with aesthetic structures as Choi Chul-joo's desire formula.

The object as reality is a planar structure that has stopped at the limit of impressionistic reality, and is an abstraction of a realistic structure with the concept of abstract language meaning. Here, the realistic structure refers to a scene in which the image of an event and a performance is stopped with a photo.

This is a realistic image that makes the front and sides illuminated in various directions of a stationary subject look like planes, unlike abstract conceptual art in which images are matched to lines and colors.

Transforming the other's desire into an image as a linguistic meaning creates a position of shape with a reversible shadow of light hidden in the sky.

And the abstract structure formed by light disappears when it makes the existence of the abstract desire concept that existed in the past be recognized as a reversible shadow of light, and the abstract structure disappears when the morning glory is placed on the shadow of the desire structure.

Mona Lisa's desire is identified as an image of expressive desire that lacks unconscious pleasure in the language of consciousness, and between unconscious desire and culturally deficient desire, it forms an image of the same meaning, identifying linguistic meaning as an image and aesthetic structure. In other words, the concept of desire is abstracted from the concept of abstract desire to meet reality as an installation of visual images to a real image so that it can be seen from a gaze that meets reality.

Therefore, Choi Chul-joo's principle of simultaneity of desire analyzes the object of desire with an invisible gaze, designs the form of desire as a mirror image, reveals the concept of desire in the language structure as an image, and creates a background of desire to reveal the concept of desire as a spatial image in the language structure. And as an abstract linguistic concept representing the concept of desire, it removes the abstract structure of the concept of desire according to the timeliness of reversible light, acquires the aesthetic value of the target image through the shadow of light, and identifies it as a real image of the same concept as the abstract desire image as being.

The object superimposed on the Mona Lisa exists as a realistic desire image as an abstract existence that represents the concept of desire that erases the abstract structure of the concept of desire and expands aesthetic value into the shade of light according to the temporality of light.

In other words, as the principle of simultaneity of Choi Chul-joo's desire structure, abstract beings representing the concept of desire are identified with realistic desire images in order to eliminate the abstract structure of the concept of desire according to the temporality of reversible light and acquire aesthetic value in the shade of light.

Therefore, the principle of simultaneity of the desire structure abstractly designs the concept of desire and implements the object of the image of desire lacking from unconscious desire into the existing structure of reality.

Desire images are another woman whose Mona Lisa is unknown, creating mirror images to form a face similar to that of mirror images, and openly decorating the background of desire with linguistic structures to realize a deficient desire structure in which the meaning of the real image seems identical.

In addition, Choi Chul-joo's abstract design desire theory creates an abstract image of desire in reality, and interprets the concept of abstract desire as a real image by separating the object seen as the gaze and gaze of desire from the image of desire into the abstract existence of unconscious desire.

In this way, when the Mona Lisa expresses the structure of desire as a subject of gaze, it forms the structure of desire by designing the meaning of conscious language as a real image that looks at the meaning of conscious language with a gaze. The Mona Lisa, the subject of unconscious structure, recognizes it as the object of gaze as the subject of desire and creates abstract desire as an image. / Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi,morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 Chul-joo Choi, Bamboo Forest 264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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, In front of the bamboo forest Bamboo Forest Bamboo Forest j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

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

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

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Chul-joo Choi, morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, > becomes a non-real abstraction of reality.

Louis Chul-joo Choi, morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, a hand-painted picture on a computer

Therefore, conceptual abstract painter Louis Choi Chul-joo's " Louis Chul-joo Choi, morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Bamboo Forest j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning" 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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 264, a hand-painted picture on a computer

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

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

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 262-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

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

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 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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths: 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: Louis Choi chuljoo, ba-pondmboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond: 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 "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: <bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths> 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 <2024 U.S. presidential candidate> 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 <bamboo forest d204-pond-2024 U.S. presidential candidate> becomes a non-real abstraction of reality.

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

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

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 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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond-mirror: 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 "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: < > As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting < Louis Choi Chul-joo, morning glory p137-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer> created by reversible light.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths" 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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p138-4-Like the movie Ophelia, false love and war between countries end their deaths: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's 3formula <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 p138-4-Like the movie Ophelia, false love and war between countries end their deaths" 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.

Conceptual Abstract Painter Louis Choi Chul-joo's work "bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond-mirror" rather than campaign broadcasts through YouTube-pond-mirror" is an abstract reality image that reconstructs the structure of desire created through an aesthetic grammatical structure into a linguistic sense.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 265-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 j265-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 j265-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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, In front of the bamboo forest Bamboo Forest Bamboo Forest j265-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-pond-mirror: 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 p138-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Louis Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025

Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths> 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, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory p138-6-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer> becomes a non-real abstraction of reality.

Louis Choi chuljoo, morning glory p138-6-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths" 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 "morning glory p138-6-Like the movie Ophelia, false love and war between countries end their deaths" 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 an artist's artwork: Louis Choi Chul-joo, the bamboo forest 265, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond-mirror: [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's concept of desire, "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.

-----------------------------------------------------

Conceptual abstract realism 13

conceptual abstract realism artist & art

Conceptual abstract realism [13] conceptual abstract realism painter's Louis Choi Chul-joo's Contemporary Art Criticism and Contemporary artist Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today, contemporary art critic Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designs abstract paintings of contemporary art: Abstract painter Louis Choi Chul-joo's contemporary conceptual art is an art that abstracts concepts with traces of practical formability and the shadow of reversible light as non-existence on the theme of other people's desires. This is the concept of early conceptual art, an abstract painting that abstracts the desire of others who represent the real seat, the return of a certain pictoriality.

Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire, 113X165cm, acrylic and composite materials on cloth, 2025

the literary probability of successfully conveying desire

The linguistic meaning of the concept of desire forms spatial relationships that mediate visual grammar.

It is a cultural observation that participates in the desires of others and builds a real image as a perspective structure based on the place of desire. This is a literary probability that can successfully mediate the cultural desire to participate in the desires of others and build a real image as a perspective structure based on the place of desire.

As an object arranged in the place of desire in the image, the concept of subjective desire in the event image is created as a difference from reality.

Here, abstraction is composed by giving a real image consisting of the continuity of the shaded form of abstract and reversible light presented as a lack of desire, and a reversible light and shaded form.

Abstraction is a vector that targets the subject of desire, and it deviates from the essence of Freud's afterlife so that the concept of desire cannot be transferred to a real image by dividing the existence of desire that is alienated from the symbolic world into a real image. Choi Chul-joo's concept of desire is a reversible shadow of light, and retroactively creates a real image as a result.

This is to face Lacan's dwarf reality as a planar reality image. The desire structure in which reversible shades of light are expressed as a desire medium closes to the abstract world of deficient desire that divides reality and the concept of desire with possessive attributes. In other words, the abstract image is integrated into reality as a linguistic meaning by setting a space for desire that is lacking in the abstract world.

The concept of desire is designed as a real image, and the concept of desire is structurally expressed in a linguistic sense in several existing frames. This is a picture image of a lack of desire as a linguistic meaning caused by a common lack of desire.

During the election, Trump avoids a political crisis beyond deficient desires through connections to becoming a presidential candidate through photographic images that connect deficient desires.

This becomes the image of a political leader that is the top priority in the visual political image, influencing the presidential election, leading to a follow-up relationship with the voters

Like directing popular BTS music, he formed a symbolic winning structure as a political image manipulating voters by meaning it as a symbol of the U.S. president as an image set in the American flag.

Here, the concept of abstract desire becomes an abstract reality image that has developed into a universal aesthetic concept of the same reality as a linguistic meaning separate from the American flag as a symbolic object rather than based on political reality.

He broke away from the traditional sociality as an possessive attribute of crisis needs in the universal value system, triggering economic and political disputes with excessive administrative intervention and political power as a personal desire. In addition, actual welfare is undermined as a distorted politics that asserts a welfare state with the visual grammar of insufficient needs, and the market economy is monopolized to justify it.

The medium of successful desire is the property of possession of crisis desire, the visual grammar of deficient desire, combined with the culturally transformed field of painting

Desire system In linguistic function, the advanced visual grammatical image has an abstract meaning.

Therefore, the actual image as a linguistic meaning of the concept of abstract desire according to Choi Chul-joo's desire formula is abstract painting.

The abstraction that created the real image is a pictorial image that constitutes the same concept of abstract desire as the real image reflected in a divided mirror. Images reproduce real images by constructing images that can predict the concept of desire on behalf of reality, like mirrors that state them in a linguistic sense.

In addition, the ego that emerged from the same concept of desire as the real image equates the linguistic meaning of the image to the desire of the other as a reversible light shadow structure.

The reversible shaded structure of light makes the desire of the new deficient other an ideal issue and represents reality in a linguistic sense as a visual composition.

This segregated structure creates a visual grammar of linguistic meaning that contrasts deficient desires with abstract forms to reproduce real event images.

As an object, the representation of the event image proceeds as an abstract desire concept as a structure of insufficient desire, and the image shares the actual structure and event image that directed the desire of others.

The production of the event image embodies an effective place of reality in which unconscious desire is a real structure of linguistic meaning and a shadow of reversible light that returns the desire lacking at the time of the abstract desire concept, and determines an image in which the other's desire interprets the same linguistic meaning as a specific object.

Because the meaning of grammatical language cannot be identical to the abstract desire it lacks as a medium of successful desire, it creates a dual semantic structure, choosing to deviate from the actual fantasy structure desired by abstract desire and have a real image on demand. The selected real image is a correlated object that conveys the illusion in reality that is the same as the property of possession that desire inevitably possesses, and a real image with connection is selected as a correlated object that conveys the real illusion to the same reality as the property of possession that desire inevitably possesses.

This creates a specific image of desire by narrowing the distance from the cultural desire background that is correlated with the concept of desire. Additionally, it is possible to induce the desire of others to perspective by choosing the linguistic meaning of desire in an object decorated with mathematics of geometric concepts, such as the Choi Chul-joo Desire Formula, which multiplies image design, when constructing a real image that deviates from the frame of the abstract desire concept's perspective as a vector as a size of a reversible light direction and shade in the desire structure.

Therefore, rather than a perspective description of an object, it is a three-dimensional structure that determines the position of an object as reality, a picture that depicts an abstract desire concept in accordance with a mathematical theory of geometric reality on a plane, that is, an image of desire that focuses on the instantaneous gaze that creates the structure of desire in the structure in three dimensions through aesthetic abstraction.

Euclidean vector of desire, which shares a mathematical size and direction, creates a geometric object that designs the structure of reality as a medium of successful desire in Euclidean space. It reproduces the real image as an event image and embodies the nature of desire lacking an image in the linguistic sense that mediates the concept of desire as a being of lack.

And it is composed by superimposing morphemes as a linguistic reality in which the structure of insufficient desire is transferred to language and abstract enjoyment in the conscious structure is eliminated.

According to the grammaticality that constitutes the morpheme, the image of the concept of desire is the same as finding a structural order in the linguistic sense, like the structuralist linguistics that speak meaning.

Linguistic abstraction as an image is the process of constructing morphemes as real images according to grammatical rules.

This means a metaphorical symbol that distinguishes words from real images as linguistic meanings as the meaning of sentences in the process of constructing sentences.

Therefore, abstraction is a picture that composes symbolic morphemes into arbitrary real images as the linguistic meaning of events and performance images in the concept of Choi Chul-joo's desire. An attempt to grammatically dismantle abstraction has a dual structure that consists of flat meaning and empirical and objective reality, like Kant, as a visual and aesthetic expression. This is to transfer the linguistic meaning of abstraction to an image of reality by constructing the linguistic meaning of desire induced by the concept of desire inherent in reality as an image and sacrificing lack of desire, unlike the grammatically dismantling of the linguistic meaning of desire induced by the concept of desire inherent in reality.

In this way, images of events and performances are expressed in linguistic meaning, and images of the structure of consciousness are made meaningful

By grammatically dismantling the linguistic meaning of abstraction derived from unconsciousness into the dimension of linguistic behavior while shifting from enjoyment of desire to castration, Choi Chul-joo's abstract painting has an aesthetic desire concept, that is, an abstract beauty like Kant, as a principle of subjective purpose.

The attribute structure of desire as a medium of desire is completed into a real image in a reversible shadow of light. In other words, the other's desire to express deficiency as a medium of successful desire is revealed by the actual structure of the linguistic meaning that exists at the same time as abstract desire. This is the actual structure of abstract desire that leads the concept of desire that fits the meta-lingual function to the linguistic meaning of the actual image.

Therefore, to reproduce the actual structure into the linguistic meaning of the image, the attribute as the subject of the grammatical object's deficient desire defines the aesthetic meaning as the same symbolic painting image as abstract reality according to the linguistic desire background, the place of desire, and the possession attribute of the event image as an object.

This is not an abstraction as an abstract reality, but creates a desire double place in an image and repeatedly designs an abstractly deficient desire image as an existing real image, erasing the size of abstraction as a linguistic concept with a reversible shade of light and limiting the position to the scope of reality.

Therefore, abstract symbolism as a linguistic concept of desire plays a cultural and structural role as a symbolic image with a phenomenon of insufficient desire.

In other words, the artistic structure of the symbolic form is transferred to a pictorial reality image so that the meaning of linguistic symbols can be stared at by the other in line with the symbolic criminal code of the other's desire.

In this way, the desire structure that the other person can look at is an image that reproduces the existence attribute of desire that is lacking in the event image as an object in its real form.

Images are represented by the concept of abstract desires, and insufficient desires based on culturality are transformed from images of instantaneous events into symbolic abstractions tailored to the cultures consumed.

The abstraction is a narrative existing vector image of culturality and is divided into a literary narrative image and a conceptual lack of desire.

Here, as a linguistic meaning of the concept of desire, the event image is a grammatical vector as a verb that displays an action. In other words, a vector is a verb that acts on the concept of desire, but it cannot visually express its linguistic meaning, so it abstracts the concept of desire and visualizes it as a real image identical to the linguistic meaning.

In this way, the linguistic meaning of the concept of desire is repeated to fit the image in a symbolic way so that it can be visually expressed, and the abstract concept of desire is determined as a narrative image in a reversible shadow of light in the range of cultural sociality.

Additionally, the object's concept of desire as a medium of successful desire—a rhetorical image in a linguistic sense that rejects abstract answers as a metaphorical reality—is reflected in the pond in the dark side where reversible light shines in the shadow of light, hiding the lack of desire on the back and reflecting the object's appearance as a gaze on the object possessed by the lack of desire.

Literary probability that can successfully mediate desire is logos (argument) that infers as a logical reality image away from the manipulation of abstract desire, and rhetorically establishes a linguistic meaning that persuades abstraction as an object and judges the image of reality through argument that proves the desire of others.

Therefore, even if the event image is given literary probability as a logical reality image, it follows the universal argument of desire to explain the outcome of the event as a probable reason because the probability of the event and the performance image proved by desire are real facts. In this way, the process of argument for telling the outcome of the event is tailored to the abstract design process that actually constitutes a shadow of reversible light as a consistent setting for desire.

To construct the existence of an object realistically as a linguistic meaning, abstract design that constructs a real image consistently maintains the concept of desire of a particular object. It also draws out the aesthetic characteristics of a particular object of desire and abstracts the concept of desire into a real image so that abstract desire is not triggered by an image.

The actual image as a result of the possibility of the possessive object of the lack of desire due to this rhetorical judgment follows literary universality, so when expressed as a picture, it is abstracted according to literary probability.

In other words, a pictorial image is acquired from the image of desire lacking in abstraction that embodies linguistic meaning as a real image with the possibility that the possessing object of desire with rhetorical judgment has a causal composition with abstract probability.

This newly defines the abstraction of real images by having a method of process constituting abstraction. Through the abstract design process using the Choi Chul-joo desire formula determined in this way, the concept of desire forms a material object called abstraction. In addition, the object that possesses insufficient desire determines the relationship with reality with abstract probability, and from the perspective of others, the concept of abstract desire becomes abstract as a subject that constitutes the linguistic meaning as a real image.

Painting probability as the subject of the concept of desire results in the other's desire keeping the promise of meeting abstraction and reality in a single linguistic sense.

Because the image is virtual, it recognizes the linguistic meaning of the concept of desire, which is different from the real image, the same as the real image.

At this time, the virtual image is a virtual image that reproduces abstraction as a pictorial image, and another reality separated from reality is abstracted through the introduction of a new concept of desire formula that deviates from reality.

Therefore, it is difficult for an object to construct probability as a realistic structure as a medium of desire. However, the notion that abstractly deficient desires apply event and performance images to desire formulas as real images has the potential to be subject to probability abstraction./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Louis Choi Chul-joo, morning glory p100-16-2-1-Inauguration of the 47th President of the United States, a hand-painted picture on a computer

The performance image is an object that depicts the meaning of the shape seen in the semantic space created by reversible light. The performance image shows an abstract reality with a symbolic grammatical structure by structuring the meaning of "BLACKPINK creations a new image in the mirror like the picture "Las Meninas·The Maids 18" into an abstract space that can be reversible to the actual shape by structuring the meaning of the object into an abstract space that can be reversed into the actual shape. The image in the mirror is a virtual non-real image that Velázquez revealed in the unconscious desire of the other, a fantastic image that Velázquez revealed in the unconscious desire of the other, a momentarily distorted image of Velázquez's Las Meninas (From a black of desire to a change of form, young voters want to watch Blackpink's The Show ladder tan campadcasts on YouTube), showing an abstract reality with a symbolic grammatical structure.

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 258-the literary probability of successfully conveying desire, a hand-painted picture on a computer: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j258-the literary probability of successfully conveying desire: 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: <bamboo forest j258-the literary probability of successfully conveying desire> 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 <2024 U.S. presidential candidate> 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 <bamboo forest j256-the literary probability of successfully conveying desire-pond> becomes a non-real abstraction of reality.

The visualization of the concept of desire: Louis Choi chuljoo, bamboo forest j258-the literary probability of successfully conveying desire-pond: 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 "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture. / 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 progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.

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

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 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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p100-16-2-1-Inauguration of the 47th President of the United State: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p137-2-the literary probability of successfully conveying desire> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire, 113X165cm, acrylic and composite materials on cloth, 2025> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory p100-16-2-1-Inauguration of the 47th President of the United State> becomes a non-real abstraction of reality.

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 256-the literary probability of successfully conveying desire, a hand-painted picture on a computer: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j256-the literary probability of successfully conveying desire: 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: Louis Choi chuljoo, bamboo forest j256-the literary probability of successfully conveying desire-pond: 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 "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: <bamboo forest j256-the literary probability of successfully conveying desire> 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 <2024 U.S. presidential candidate> 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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j256-the literary probability of successfully conveying desire-pond-mirror: 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 "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "j256-the literary probability of successfully conveying desire" 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

Louis Choi Chul-joo, morning glory p133-1-30-the literary probability of successfully conveying desire, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p133-1-30-the literary probability of successfully conveying desire: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's 3formula <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 "p133-1-30-the literary probability of successfully conveying desire" 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.

Conceptual Abstract Painter Louis Choi Chul-joo's work "bamboo forest j255-the literary probability of successfully conveying desire-pond-mirror" rather than campaign broadcasts through YouTube-pond-mirror" is an abstract reality image that reconstructs the structure of desire created through an aesthetic grammatical structure into a linguistic sense.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j255-the literary probability of successfully conveying desire-pond-mirror: 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 "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: <bamboo forest j255-the literary probability of successfully conveying desire-pond-mirror> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting < Louis Choi Chul-joo, morning glory p137-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer> created by reversible light.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "j255-the literary probability of successfully conveying desire" 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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p137-1--the literary probability of successfully conveying desire: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's 3formula <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 p137-1-the literary probability of successfully conveying desire" 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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p133-1-28-the literary probability of successfully conveying desire: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <p133-1-28-the literary probability of successfully conveying desire> 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 p113-7-1-South Korean President Threatens People With Declaration of Emergency Order> becomes a non-real abstraction of reality.

Louis Choi Chul-joo, morning glory p133-1-30-the literary probability of successfully conveying desire, a hand-painted picture on a computer

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p133-1-28-the literary probability of successfully conveying desire" 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 "morning glory p133-1-30-the literary probability of successfully conveying desire" 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 an artist's artwork: Louis Choi Chul-joo, the bamboo forest 256, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j256-the literary probability of successfully conveying desire-pond-mirror: [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's concept of desire, "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. ■ the abstract design process of conceptual abstract realism: 1. Conceptual Abstract Realism The current object is illuminated with reversible light so that the illuminated form can be repeatedly visually recognized according to the past temporality to actualize the subject's structure as a shaded structure of reversible light. And the design concept that constitutes conceptual abstract realism abstraction is determined as a philosophical result that can be expected with abstract causality so that the object is repeated as a design with the present gaze so that it appears to be a realistic image according to temporality. 2. The object of conceptual abstract realism is that the absence of desire as a non-verbal meaning is alienated from the symbolic world and loses its essence as the subject of desire. In the previous stage of linguistic meaning, according to grammar revealed as a symbolic image of existence, it was separated into a realist image recognized as an abstract desire concept and divided into a realist image, and the realist image as the subject of the desire structure is linguistically and diachronically meaningful. 3. The design of a realism image is an image that lacks the linguistic meaning of conceptual abstract realism, and the image in a linguistic sense is repeatedly designed as a post-effect of the desire structure being re-embodied, and a new conceptual abstract realism image is repeatedly designed. The direction and viewpoint of reversible light that make up the image along the chain of design are all stages of the perspective visual system according to temporality, and the line space of the visual structure, in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image produce a realism image at the intersection of the existential place with continuity. 4. Realistic abstraction creates a multi-loyal structural image of the linguistic meaning of unconscious structure composed of shadows at multiple points of reversible light separated from perspective, and girls are abstracted as divided subjects as talents that can be stared at momentarily while dismantled at a stereoscopic single point. 5. Conceptual Abstract Realism Abstractism Rendering is a conceptual abstract realism of wanting and linguistic desires that cannot be perceived at the level of expression consciousness, visualizing philosophical psychological structures and rendering them with linguistic meaning at the intersection of conceptual abstraction and unrealistic realism. As this becomes conceptual abstract realism abstraction, unconscious desires that represent the color tone and shape of desires invisible in the shade of reversible light become maps as conceptual abstract realism abstraction.

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

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

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

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

Accordingly, the conceptual abstractive design process is

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

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

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

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

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

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

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

Choi Chul-joo, a conceptual abstract realism painter

keyword

Brunch Book

최철주

최철주의 브런치입니다.

팔로워 14

이전 07화conceptual abstract realism 7conceptual abstract realism 9다음 09화