Artiste contemporain et Design : Critique de l'art contemporain et du design de l'art conceptuel Résumé Art par l'artiste contemporain Louis Choi Chul-joo, Art contemporain et abstraction des concepts de design contemporain [4] Critique artistique et desi

Artiste contemporain et Design : Critique de l'art contemporain et du design de l'art conceptuel Résumé Art par l'artiste contemporain Louis Choi Chul-joo, Art contemporain et abstraction des concepts de design contemporain [4] Critique artistique et design d'artistes contemporains et de concepts contemporains / Critique artistique abstraite contemporaine et design de l'artiste contemporain Louis Choi Chul-joo est une critique et un dessin artistique abstrait basé sur le concept du désir, dans lequel les traces des désirs et de la réalité des autres sont des nuances réversibles de lumière. C'est un dessin qui résume le retour à la peinture comme art conceptuel précoce, c'est-à-dire la critique de l'art abstrait conceptuel et le désir des autres de représenter la réalité réaliste. / critique d'art: Critiques d'art et œuvres de design d'artistes contemporains et de peintres abstraits de concepts modernes: 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

 

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

 

Grammaire de représentation symbolique générée par des nuances réversibles de lumière

L'absence d'expression esthétique dans le concept de désir comporte de nombreux objets et expressions réels, contrairement à l'expression dans le concept inconscient de désir des autres.

Ainsi, contrairement à l'expression simultanée du désir inconscient de l'autre dans les abstractions d'expression grammaticale créées par des ombres réversibles de lumière, les expressions abstraites poursuivant des structures esthétiques comme des expressions linguistiques se révèlent en images réelles. Il s'agit d'une représentation intentionnelle selon des objets grammaticaux symboliques et représentée comme une expérience abstraite qui permet à d'autres de participer.

Une image d'expression symbolisant le concept de désir, ou représentation picturale, est une expression abstraite transformée en structure esthétique symbolique par l'ombre réversible de la lumière lorsque le concept de désir manque dans l'image réelle qui représente le mouvement d'expression entre le sens linguistique inconscient et la réalité abstraite.

 

Dans la structure du désir de Choi Chul-joo, la grammaire symbolique dans une nuance réversible de lumière est une image verbale qui répète la cause de l'image phénoménale en signe de désir inconscient de l'autre dans l'espace de ligne en direction de l'image.

Il s'agit d'une image de désir sombre créée après que l'objet soit caché par la lumière par l'objet circulaire du concept de désir de l'autre.

 

L'image est divisée en une fonction mathématique qui analyse le sens linguistique et la logique abstraite comme expressions grammaticales dans le monde de l'imagination. Il s'agit d'une relation binaire, et le concept de désir est le même que l'image réelle en appliquant la valeur expressive du désir à un objet symbolique correspondant à l'image réelle. Ainsi, en tant que fonction mathématique qui analyse le sens linguistique et la logique abstraite comme expressions grammaticales dans l'imagination, les valeurs de désir expressives sont appliquées aux objets symboliques correspondant à des images réelles, et les valeurs du désir en tant que variables symboliques deviennent des significations expressives conçues comme une chaîne d'images réelles des symboles du désir dans les systèmes abstraits du désir.

 

 

En un sens expressif, la pornographie d'une femme aliénée de la dynastie Joseon est une image érotique dans le style d'un livre appelé Gyeon-Gon-Il-Hoe de Shin Yoon-bok (乾坤一會帖) sur fond de quatre saisons comme les saules, et a une grande valeur en peinture de genre. Il s'agit d'une double relation avec l'abstraction expressive qui imagine le comportement sexuel, et qui montre l'expression sexuelle, c'est-à-dire le manque de désir, comme une image essentielle qui combine le désir imitatif divisé en un autre symbole au-delà de la peinture de genre éthique.

L'image expressive est donc une ombre créée par le comportement du désir causé par la cause opaque du désir en construisant l'image de la réalité comme structure du désir inconsciente parce que le désir sculpté de l'image de l'événement est obscurci de la structure du désir de l'autre.

Lorsqu'une image symbolique dans laquelle la partie superposée de la jupe est omise représente l'image réelle comme une image expressive, elle forme une abstraction comme une structure réaliste. C'est parce que l'image expressive utilisait la même structure sémantique grammaticale que l'image qui résumait le concept de désir.

 

Le concept de design de Chul-joo Choi crée des images temporelles et grammaticales sans spécifier la lumière, la réfraction, l'altitude et la direction. Une image choc des événements qui objectivent la réalité grammaticale de l'expression sur la notion de lumière récupérable et de désir de remplacer l'être réel. Formule des désir du Dr Choi<D(I,,,I'I)d=I(D...D'I)i> l'objectif est de séparer ce qui est souhaité dans l'image de l'événement par des concepts abstraits. 

Il s'agit d'un objet de désir qui réalise le désir abstrait en représentant la réalité qui représente le sens linguistique du concept de désir en tant qu'image.

Par conséquent, le concept de désir de Choi Chul-joo est un dispositif dans lequel l'image expressive, dans lequel le sens verbal représente le désir comme une combinaison d'images à effet symbolique et la métaphore verbale représente l'ensemble comme une fonction publique, et l'image expressive créée par le croquis, qui constitue la structure du désir en tant que fonction grammaticale symbolique, forme le résultat du désir.

Les images de représentation montrent des significations abstraites qui représentent des mots qui ne sont pas liés à l'interprétation grammaticale des phrases comme des images d'événements; cependant, la grammaire donne un sens logique au comportement non verbal abstrait.

Ainsi, pour interpréter le concept de désir comme une structure linguistique grammaticale, nous concevons à plusieurs reprises des schémas symboliques abstraits de signification linguistique et identiques au concept de désir comme des images linguistiques et symboliques qui les divisent en conscience et en design conceptuel.

De plus, lorsque le sens linguistique du concept de désir et l'image symbolique sont clairement définis comme des objets de désir dans la grammaire identifiée, l'image de l'existence est étonnamment révélée par la lumière. 

En tant que lumière réversible du point de lumière dans la temporalité, le matériau est produit en tant qu'image réelle comme objet.

Dans un étang qui reflète l'image d'un événement, le concept de désir abstrait s'exprime par le reflet des désirs des autres dans le monde réel comme un miroir.

 

Le concept de désir de Choi Chul-joo, l'art moderne, émerge, dans lequel un tableau qui rejoint le concept du sens linguistique souligné dans la lumière philosophique métaphysique crée une image d'événement dramatique avec l'éclairage artificiel.

Dans un étang qui reflète l'image d'un événement, le concept de désir abstrait s'exprime par le reflet des désirs des autres dans le monde réel comme un miroir.

Les peintures qui vont à l'encontre du concept abstrait du désir de Choi Chul-joo, c'est-à-dire le concept linguistique du sens dans lequel l'art moderne émerge et est mis en avant d'un point de vue philosophique métaphysique, produisent des images d'événements dramatiques à l'éclairage artificiel.

Dans l'espace sombre conventionnel, il éclaire plusieurs images d'événements comme le montage comme des objets qui partagent des nuances réversibles de lumière et de lumière blanche qui se chevauchent avec la temporalité. 

Contrairement au matérialisme de la peinture du XVIIIe siècle, cela interprète le désir de l'autre comme un objet au-delà du soi comme un désir abstrait plutôt que comme une perception physique.

En tant qu'expression symbolique imaginaire d'un objet dualiste, l'écart entre le concept de désir expressif et l'image d'un événement en tant qu'acte d'expression équivaut au sujet et à la réalité de l'objet en tant que sens linguistique. Ici, le sujet renvoie à ce qu'est l'absence de désir en dirigeant une image abstraite comme une réalité conformément au principe de la composition spatiale comme objet de la notion de désir sous l'influence de l'expression symbolique.

Pour résumer une image en réalité, la couleur d'un objet n'est pas reconnue comme le reflet de la lumière, et la couleur symbolique de l'objet est obscurcie par l'illumination de la lumière, de sorte qu'elle est interprétée dans la même structure que l'image qui n'a pas le sens linguistique qui symbolise l'objet. Le processus de conception abstrait du concept de désir de Choi Chul-joo est de produire le concept de désir parlé par l'image d'un objet comme image d'événement.

C'est la structure du concept de désir, car l'information visuelle a subi inconsciemment la couleur symbolique d'un objet perçu comme une ombre réversible de la lumière plutôt que comme une manière abstraite. Par conséquent, afin d'identifier la couleur symbolique de l'objet comme la couleur de l'image dans le sens linguistique de l'objet dans un mode d'expérience, la formule du désir Choi Chul-joo est conçue à plusieurs reprises.

 

 

Les couleurs symboliques des objets jouent un rôle esthétique dans la construction de la réalité en reconnaissant la structure des objets au sens linguistique. L'expression de la réalité en tant que structure esthétique est une méthode de peinture abstraite dans laquelle le concept abstrait de gestion d'un système de désir est exprimé en couleur comme étant défini au sens linguistique,

Ici, l'objet en tant qu'être spécifique est une image au sens linguistique qui symbolise la réalité dans le processus de recherche du désir abstrait, et c'est une image de la réalité du plaisir qui satisfait le désir en satisfaisant le concept qui manque à la structure du désir de l'objet qui conçoit la couleur et la valeur existentielle.

La structure de la réalité du plaisir représente la relation sémantique linguistique entre le sujet de l'objet et le concept du désir, et le sujet est influencé par l'image réelle, comme l'ombre d'une lumière réversible.

Ainsi, certains objets exprimant des désirs dans des couleurs reconnues se transforment en abstractions généralisées comme des images réelles de désirs rationnels abstraits en nuances réversibles de lumière, et les désirs de l'autre créent la réalité du désir d'espace linéaire qui éprouve du plaisir dans un sens cohérent. / L'auteur. Choi Chul-joo, ancien conservateur du musée d'art de Busan (artiste d'art moderne et docteur en design culturel)

 

 

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.

 

Louis Choi Chul-joo, Like the book "「玉菊燈籠」, a lover's love is hell, a hand-painted picture on a computer 

 

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning gnlory 2021-e-1" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.

  

Choi Chul-joo's concept of desire 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.

 

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

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

 

 Louis Choi Chul-joo, Like the book "「玉菊燈籠」, a lover's love is hell, a hand-painted picture on a computer

 

News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [203] Like the book "「玉菊燈籠」, a lover's love is hell., (2024-7-14)  / Reporter Choi Chul-joo’s Cartoon Review  

.  Like the book "「玉菊燈籠」, a lover's love is hell.

.  Comme le livre "玉菊燈籠", l'amour d'un amant, c'est l'enfer. 

 

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Like the book "「玉菊燈籠」, a lover's love is hell: 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 251-Like the book "「玉菊燈籠」, a lover's love is hell: 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 Forest i251-Like the book "「玉菊燈籠」, a lover's love is hell: 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 Forest  i251-Like the book "「玉菊燈籠」, a lover's love is hell-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 Forest  i251-Like the book "「玉菊燈籠」, a lover's love is hell-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.

 

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Like the book "「玉菊燈籠」, a lover's love is hell: 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.

   

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 249-Like the book "「玉菊燈籠」, a lover's love is hell: 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 Forest j249-Like the book "「玉菊燈籠」, a lover's love is hell: 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 Forest  j249-Like the book "「玉菊燈籠」, a lover's love is hell-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 Forest  j249-Like the book "「玉菊燈籠」, a lover's love is hell-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.

 

"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.

 

Louis Choi chuljoo, morning glory p135-3, a hand-painted picture on a computer

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p135-3-Like the book "「玉菊燈籠」, a lover's love is hell-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 "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 p135-3> 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 <Trump gets attacked during the campaign> 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 p p135-3-Like the book "「玉菊燈籠> becomes a non-real abstraction of reality.

 

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

 

By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

 

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p p135-3-Like the book "「玉菊燈籠 " is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Bamboo Forest Forest j249-Like the book "「玉菊燈籠」, a lover's love is hell-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

 

Louis Choi chuljoo, morning glory p133-1-19-Like the book "「玉菊燈籠」, a lover's love is hell-pond-mirror 2, a hand-painted picture on a computer

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p133-1-19-Like the book "「玉菊燈籠」, a lover's love is hell-pond-mirror 2: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

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

 

Louis Choi chuljoo, morning glory p133-1-20, a hand-painted picture on a computer

 

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p133-1-29> 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 <Trump gets attacked during the campaign> 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 p133-1-20> 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 Choi chuljoo, morning glory p133-1-20, 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" 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 p133-1-20" 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 Chul-joo Choi, morning glory 133-1, a hand-painted picture on a computer

 

Final image superimposed on the artist's work: Louis Chul-joo Choi, missing pond, 112X249cm, acrylic and composite materials on cloth, 2024

 

Louis Choi chuljoo, morning glory p133-1-19-Like the book "「玉菊燈籠」, a lover's love is hell-pond-mirror 2 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korean News Cartoon Culture Column in Cartoon Review [188] Trump gets attacked during the campaign, (2024-7-14)  / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ▶during the campaign_ pendant la campagne  ■ 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.