Abstraction des concepts Art et En tant qu'artiste contemporain, un peintre abstrait conceptuel Louis Choi Chuljoo critique d'art [6] Critique de l'artiste conceptuel abstrait: Critique de l'art contemporain et du design de l'art conceptuel Résumé Art pa

Abstraction des concepts Art et En tant qu'artiste contemporain, un peintre abstrait conceptuel Louis Choi Chuljoo critique d'art [6] Critique de l'artiste conceptuel abstrait:  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 [5] 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. / abstraction des concepts contemporains: Critique artistique et abstrait Critique artistique du peintre conceptuel abstrait: Critiques d'art et œuvres de design d'artistes contemporains et de peintres abstraits de concepts modernes: Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024

 

Louis Chul-joo Choi, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, acrylic and composite materials on cloth, 2024

 

Un poussin Abstraction du désir des dinosaures dans la réalité 

Le concept de désir abstrait selon la temporalité crée de l'espace pour les dinosaures créés par la lumière réversible, arrête l'existence du désir dans la réalité phénoménale dans la connexion des engrenages d'horloge, et l'identification à l'espace du concept de désir que les poussins personnifiaient en réduisant le changement d'ombre de la lumière ont été confondus avec les poulets.

Le désir humain va au-delà de la survie en tant que sujet qui a commencé le désir de survie à partir de fossiles de dinosaures après la création de la croûte terrestre et la fin de l'ère géologique. 

Un poussin, tel qu'un bébé, se trompe de poulet et affronte le désir car le manque de désir existe.

Les dinosaures sont des traces d'espaces vides où le désir n'existe pas en fonction de la temporalité, c'est-à-dire d'espaces vides où les déficiences ne se présentent pas.

Fond du désir, la « morning glory » forme une abstraction conceptuelle qui remplace le concept du désir abstrait par une image réelle en chevauchant l'image des événements et des spectacles comme sujet du désir, la « forêt de Bamboo » forme une ombre comme temporalité de la lumière, et la « mare » comme miroir de la réalité.

Le sujet et l'arrière-plan du désir enchaînent le concept de désir extérieur, le design symbolique et le sujet devient réel sous forme d'action sémantique verbale, et le fond transfère l'image inconsciente par l'action sémantique verbale du sujet à la réalité.

Le sujet du symbole, qui symbolise le concept de désir abstrait, montre un état dissimulé par l'existence d'un désir inconscient symbolisé par le sens du symbole.

Le désir inconscient est une corrélation du désir caché dans la temporalité, et conçoit à plusieurs reprises des objets de désir que les dinosaures et les poulets peuvent abstraire.

L'inconscient tente d'exprimer consciemment un objet sans sujet d'existence, ce qui est un motif instinctif adapté à la structure réelle, et tente consciemment de représenter un objet sans sujet d'existence qui a remplacé l'objet sans conscience de soi par conscience de soi.

Pour que la conscience de soi exprime consciemment l'objet de l'inconscience, l'objet dépourvu de désir abstrait est reconnu comme un sens linguistique par le mouvement conscient, et le concept de désir de reconnaître l'existence essentielle de l'objet du désir instinctif est défini comme une abstraction.

Il crée une image avec un design qui détermine le sens linguistique du concept de désir et cache le concept abstrait du désir dans la structure de la réalité dans laquelle les symboles symboliques sont conçus. En tant qu'objet abstrait du désir comme sujet de design, les poussins apparaissent dans un miroir comme des objets abstraits pour créer une structure cachée de la réalité par le sens linguistique, et créer un espace où l'image miroir de la réalité et le sujet de la réalité sont identifiés.

Une image se crée en concevant le sens linguistique du concept de désir, et le concept abstrait du désir est dissimulé par la structure de la réalité, de sorte que la structure de la réalité et le concept du désir par le sens linguistique forment une image de la réalité qui provoque le sens.

En conséquence, le sujet du désir crée un objet avec la couleur de l'image réelle dans une structure linguistique abstraite qui correspond à la coutume de sorte qu'une autre réalité de la structure abstraite représentée par le concept de structure sémantique linguistique ait une valeur esthétique en fonction de la position en tant qu'image unique.

Ainsi, le concept de désir ne présuppose pas la causalité avec l'image réelle, mais incarne l'objet du désir d'échapper au malentendu qui est passé du concept abstrait à la structure de la réalité, et intervient sur le lieu de l'existence avec la "gloire matinale" comme fond de désir, donnant lieu à une image abstraite réelle du concept de désir comme une corrélation entre les images réelles. En d'autres termes, l'existence du désir se traduit par une image réelle extraite de l'objet du concept de désir sans opposition au concept de désir comme corrélation de l'image réelle.

 

 

Le désir donnant lieu à une image réelle peut acquérir le résultat d'une nouvelle réalité qui n'existe pas dans l'espace du système visuel en perspective, c'est-à-dire une image réelle abstraite, en passant à plusieurs reprises par le processus de conception abstraite comme un concept de désir.

Toutefois, l'absence d'un processus de conception abstraite aboutit donc à une fin abstraite et s'arrête avec un manque de désir. Il s'agit d'une petite pièce contenant une structure abstraite picturale de la formabilité des lignes, des plans et des couleurs comme une étape d'interruption du désir difficile à interpréter. Ici, les peintres romantiques ont détruit la forme dans une situation où les peintures manquaient par rapport aux images photographiques. Ils ont reconstruit la forme de l'objet avec des principes optiques et des configurations mécaniques pour exprimer la réalité comme une structure abstraite.

Comme les pixels du moniteur, la toile montre un motif volumineux de petits points carrés sur un tissu noir symétrique à gauche et à droite et symétrique en haut et en bas.

Pour augmenter la taille des pixels de la toile aux éléments d'image, augmenter la taille de l'image pour la rendre claire, séparer la couleur et l'ombre de la lumière réversible pour se concentrer sur une certaine distance de la toile, éclairer plusieurs parties, et superposer de multiples représentations intuitives comme une action consciente du concept de désir.

 

Une image qui représente le désir comme une corrélation du concept de désir est une abstraction qui exprime un concept en le spécifiant comme une image qui est inconsciemment et intuitivement omise de la forme entière comme un désir à l'ombre d'une lumière réversible avec le même sens linguistique.

Desire Concept Abstraction Design de Choi Chul-joo est un mouvement artistique moderne en tant que nouvelle méthodologie artistique abstraite qui réalise le concept d'abstraction moderne, transformé de la peinture romantique en abstraction, comme une image réelle.

 

 Un art conceptuel crée une double place avec le concept du désir du sélectionneur, non abstrait, et dépasse l'art conceptuel abstrait dans ce double lieu, et conçoit à plusieurs reprises l'image de réalité comme une entité sémantique avec la structure abstraite du désir du sélectionneur comme sujet.

L'esthétique conceptuelle des formes qui ont conçu la réalité du désir sont des expériences esthétiques en tant que valeurs de la vie.

L'absence de désir empirique acquiert de la valeur en satisfaisant le manque de désir résultant de la forme de conception de la réalité objective.

C'est le concept du désir de l'autre d'établir une corrélation sémantique par des mouvements empiriques de conscience dus à l'absence d'objets de désir.

Par conséquent, en raison du concept de désir, le sujet de l'événement et de l'image d'action contient le concept d'occlusion avec la structure du désir.

Et comme l'image du sujet qui a déplacé l'éclairage et l'arrière-plan pour le tournage, la forme de l'image réelle est une nuance de fond noir, donc l'image réelle est ajustée pour avoir une valeur esthétique avec le concept de désir compatible avec le sujet.

Par conséquent, l'image réelle est omise sous forme d'ombre et placée dans la plage de lumière, de sorte que l'image réelle a une valeur esthétique conforme à la coutume, et la structure et l'arrière-plan du sujet sont placés en noir comme l'image du sujet transféré au film.

 

 

Le concept de désir, qui éclaire l'abstraction du concept de désir en le mettant sur une photo comme impression momentanée d'événements et d'images de performance, réalise clairement le sens linguistique de l'image, et l'éclaire inductivement dans une nuance réversible de lumière, donnant lieu à une réalité universelle.

Cela s'installe dans l'essence de la réalité, où la structure réversible ombragée de la lumière qui existait à la place de la réalité est adaptée au concept du désir afin que le phénomène réel puisse incarner le concept abstrait.

Ici, la notion de désir abstrait englobe momentanément la réalité, comme si l'impression d'une image d'un sujet ombragé de lumière réversible sur un film de diapositives sur fond noir.

À l'étape intermédiaire de la représentation de la réalité du concept de désir en tant qu'image, le désir est perçu avec précision parmi les divers concepts du désir abstrait, et il se distingue comme une image, le remplaçant par un manque de désir.

Reconnaître les images sensibilisées est parce que l'image qui reconnaît immédiatement l'image désirée sous une forme déformée et l'image du film captant le moment sont les mêmes.

Les objets issus de l'absence de désir permettent aux images réelles de la même dimension que le sens linguistique d'exister dans des expériences imparfaites dans des objets de désirs insatisfaisants, abstraits de l'inconscient.

 

Le désir est un être qui ne possède pas un endroit où subsistent des lacunes inexistantes.

Par conséquent, en tant que sujet manquant des dinosaures aux poussins anthropomorphisés, les êtres qui symbolisent le sens linguistique du désir sont abstraits comme substance du concept de désir. En d'autres termes, en tant que passé ou mort et existence symbolisées par les dinosaures, les poussins représentent l'existence sémantique de symboles abstraits par manque de désir en tant que concept de désir en tant que réalité existante. 

L'ombre de la lumière qui la réalise est recouverte de noir et classifiée comme une structure empirique du désir, et le concept du désir est converti en une structure empirique du désir et un système de conception abstraite.

Et dans un système de conception abstraite, le concept du désir est catégorisé dans la structure empirique du désir et divisé par la lumière réfléchissante colorée qui le transforme en une forme de réalité existante.

C'est une méthode pour concevoir le concept abstrait du désir en réalité comme une image réelle comme un mouvement conscient entre les pixels de l'image et la structure du désir avec des événements et des performances comme sujet.

 

L'abstraction des poussins, qui personnifiait la réalité chez les dinosaures comme la réalité du concept de désir, identifie l'image réelle de l'existence comme le résultat d'un désir motivé par un être qui a fait la réalité abstraite d'un être caché à la réalité d'un désir.

Ici, l'effet de conception du concept de désir dissimulant la cause de l'événement comme étant un être réaliste séparé de la réalité est l'abstraction de l'image réelle.

L'image du désir réel est un désir abstrait dans lequel le sujet a disparu au lieu d'un être dans lequel le sujet est divisé. Le désir et le sujet de la réalité abstraite se combinent pour fixer la réalité de l'inconscience refoulée et révéler la réalité de l'inadéquation du sujet à la satisfaction de la réalité.

Et pour révéler la réalité à partir de l'insuffisance du sujet, le désir et la réalité abstraite se combinent. / L'auteur. Choi Chul-joo, ancien conservateur du musée d'art de Seoul (artiste d'art moderne et docteur en design culturel) 

 

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p125-1, a hand-painted picture on a computer

 

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

 

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

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

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

 

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

 

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

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

 

Louis Choi Chul-joo, 2024 U.S. presidential candidate, a hand-painted picture on a compute

 

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 [195] 2024 U.S. presidential candidate (2024-9-8) / Reporter Choi Chul-joo’s Cartoon Review

. 2024 U.S. presidential candidate

. 2024 Candidat à la présidentielle américaine

 

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 209-2024 U.S. presidential candidate: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

■ 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.

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest d209-2024 U.S. presidential candidate-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.

 

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 d209-2024 U.S. presidential candidate-pond> 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 d209-2024 U.S. presidential candidate> 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.

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest d209-2024 U.S. presidential candidate-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.

 

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 "bamboo forest 209-2024 U.S. presidential candidate-pond" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. 

Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest d209-2024 U.S. presidential candidate". Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest d209-2024 U.S. presidential candidate-pond" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory 

   

Louis Choi chuljoo, 2024 U.S. presidential candidate 7 [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 [195] 2024 U.S. presidential candidate (2024-9-8)/ Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons.  

 

 

Choi Chul-joo's "Marilyn Monroe as an actor" is not a philosophical ideal, but a cross-sectional shape of pop art.

Therefore, portrait images are valuable in expressing the aesthetic structure and series of semantic shapes of people who view people as ideological ideals stopped at the same time in their everyday place. 

The image reveals the value of the portrait image in the form of meaning that the object is revealed beyond philosophy by the status of the contemporary object.

Portrait images representing philosophical ideals enjoy semantic phenomena and are formed as existential abstractions. This creates a semantic gap between the portrait and the same image, and projects the gap into phenomenal light. And it realizes the shape of existence perceived at the same time with the shade of reversible light.

Therefore, the portrait image formed as a pop art image appears to be a universal image that conveys a semantic entity to a specific shape in the shadow of existence and reversible light, and from a conceptual point of view, the image shows traces of contemporary aesthetic conditions and existential meaning. 

 

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 253-2024 U.S. presidential candidate: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. 

 

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest  d253-2024 U.S. presidential candidate: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. 

 

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest d253-2024 U.S. presidential candidate-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: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest d253-2024 U.S. presidential candidate-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 Chul-joo Choi, morning glory p125-2-1-2024 U.S. presidential candidate,  a hand-painted picture on a computer

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory Louis Chul-joo Choi, morning glory p125-2-1-2024 U.S. presidential candidate,: 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.

 

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 p125-2-1-2024 U.S. presidential candidate> 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, A chick Abstracting Desire from Dinosaurs into Reality, 176X232cm, 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 Louis Chul-joo Choi, morning glory p125-2-1-2024 U.S. presidential candidate,,> 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 " Louis Choi chuljoo, morning glory Louis Chul-joo Choi, morning glory p125-2-1-2024 U.S. presidential candidate,  a hand-painted picture on a computer" 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 d253-2024 U.S. presidential candidate-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. 

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.

 

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 253, a hand-painted picture on a computer

 

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.

 

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.

 

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p125, a hand-painted picture on a computer

 

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.

 

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

 

Abstract Design Process of Desire Concepts: The Missing Pond

The border of the pond, where water is collected on the surface of the earth, inside the tangent line of the earth's surface to the water surface, is the same as the geometric tangent line in the shape of the water surface.

The missing pond is a structure of light that deviates from the concept of instantaneous desire as a shade of reversible light, and perspective objectivity distorts the range of the sky and the size of the perspective with reversible light on the object superimposed on the water surface.

It opens its eyes in the pond and emerges an aesthetic structure of desire that casts leaves and flowers on fish and water hovering in the direction of desire.

 

The concept of desire that emerged in this way abstracts to fit a pond in a realistic hue with a reversible shade of light.

Choi Chul-joo's concept of desire in the disappeared pond 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 into a design, 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 obscured by images designed by the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as images 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 of the past and is recognized as an abstract image. And the subject who depicts existence as an actor implements reality that symbolizes the concept of desire and transforms abstract desire into a mental phenomenon of an image. 

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

 

Desire Process As an abstract picture image, the Desire concept design process 3 is an unconscious act that is thoughtful but unconscious, and is to repeatedly design a desire that combines lines and colors and transfer it to a real image.

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 to design the space composition of desire in which the image of the idea is a flat monochromatic painting carved from reality by combining it into a reversible structure of light through conscious movement.

Therefore, the temporality of a linguistic image according to reversible light presents the image of reality as a being through existential-theoretic interpretation, like Aristotle's time.

Here, Choi Chul-joo's Desire Concept Abstraction Design Process 5 represents the linguistic meaning to present the concept of desire. This is a correlation structure of elapsed time, which is abstracted by simplifying a specific surface of the image while converting to an actual image.

 

Thus, by simplifying the actual image that embodies the abstract structure, the contrast of the cross section is eliminated with reversible shades of light, and the essence of abstraction is flattened into the cross section. This is an image that revives the essence of abstraction in the linguistic and temporal sense of concealing the same object that exists in the present.

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

The expression of water as a structure of the object of desire contrasts with the sense of reality and the flat abstract gaze of the lotus, which gave a sense of motion to the flow of water by the movement of the fish,

 

The perspective simplifies the real image of recognizing the object of a reversible perspective in a linguistic sense from abstract thinking to a phenomenal structure. In other words, it brings the error of abstract perception to a reversible perspective and designs it as a real image that avoids the unconscious surreal formative structure.

Reality creates boundaries of realistic structures and specifies the meaning of images in terms of time as empty spaces abstracted by the concept of desire.

Like Jugendstil, an abstraction of morning glory in linguistic abstraction that specifies the concept of involuntary desire, this abstracts the rhythm of the object and transforms it into a flat design form, but interprets it as reversible light. Therefore, it is not an impressionistic image that captures the moment of 'the disappearing pond' as an impression, but a symbolic image of existence that verbally interprets the abstract meaning of 'the disappearing pond' in an explicit temporality as a shade of reversible light.

Therefore, determining the object of abstract desire as a correlation in reality is the starting point for abstracting the concept of involuntary desire as a being. This is in accordance with Choi Cheol-joo's process 1 of the concept of desire, which abstracts the structure by presenting the present image, that is, the image of temporality verbally, in the shade of reversible light that embodies the concept of desire in the present place. 

By simplifying the real image that embodies the abstract structure of desire and eliminating the light and shade of the cross section into reversible light and shade, the essence of abstraction is flattened into a cross section. This is an image that returns the essence of abstraction to temporality in a linguistic sense.

The abstraction of the concept of desire creates an image of a pond that existed in a linguistic sense as a shade of reversible light tailored to the linguistic logic in which the shadow of the existing light returned to temporality.

 

The pond captures the lotus and the fish whose temporality is superimposed on the waves as the subject of desire. This is a linguistic demand separated by abstraction, and the aesthetic value in the pond is recognized in an abstract sense as a structure of desire and as a symbolic structure of the concept of desire.

Therefore, we follow the Desire Concept Design Process 2 to harmonize the concept of desire and abstraction, where symbolic meanings are fantasized to conform to the concept of esthetic values and desires, in which reality represented by the abstraction of linguistic meaning is distinguished.

 

 

In linguistic abstraction, as the philosophical logic approaches, images formed in the structure of letters are tailored to art to form a formative structure.

Choi Chul-joo's abstraction of the concept of desire is the same as abstracting the concept of biblical desire as a real image by personifying a divine character in the Bible, like the the theological formative structure of a Renaissance church that attributed philosophical logic to religion.

Although the artistic inspiration of early Dadaist conceptual art cannot be ignored, Choi Chul-joo's concept of desire in contemporary art, whose conceptual abstraction deviates from the Bible, is a concept of installing flat images in conceptual art with literal concepts and linguistic meanings as sketches through images reflected in a pond.

The unconscious abstraction, in which abstract words are drawn in a linguistic sense, is difficult to interpret as an image of an idea as the content of the mind, and the concept of abstract desire is an annular structure. 

Therefore, according to Desire Concept Design Process 3, it is to repeatedly design images generated by abstraction as reality that symbolizes desire and express actual images of desire with arbitrary unconscious actions desired by desire.

 

On the other hand, it is conceptual art in a linguistic sense that expresses abstract concepts as real images. Therefore, Choi Chul-joo's conceptual art of desire transfers the structure of Idea to the structure of reality. And abstract works show real images as images of the subject's events and performances.

The image is a conceptual abstraction that goes beyond the limits of the real image of impressionist painting. It illuminates the impressive abstraction of the concept of desire in photographs with instantaneous impressions of images of events and performances. And it clearly realizes the concept of unconscious desire as an image in a linguistic sense.

In this way, the realization of the concept of desire is abstracted into an effect specified as unconscious action, a universal reversible being created by the imagination desired by the subject of desire illuminated in the reversible shadow of light.

Therefore, it is according to Desire Concept Design Process 4 to select thoughts that cannot be subconsciously recognized in universal reality as fragmented planar structures to form meaningful spaces "morning glory, bamboo forests, and ponds" as frames of desire.

Desire that existed in the "disappeared pond" is abstracted into a real image tailored to the conditions of correlation with past experiences of the unconscious as an essential image of linguistic meaning.

Here, a superimposed image of meaningful desire hidden in temporality appears in the pond as an image of reality, but the entire image is an abstract composition that deviates from the perspective visual system. Its planar shape simplifies the image of the past concept of desire and abstracts the existence of unconscious desire into an objective image of reality.

 

Choi Chul-joo divides desire into background and actor as the subject of the abstraction. He structures the image of morning glory, bamboo forest, and pond in the desire background and expresses the actor of desire as an objective correlation of the concept of desire. The desire realistically abstracts the landscape in the linguistic sense as a correlation in which a reversible shade of light structurally directs desire.

It shows the impression of desire perceived as a real meaning of desire that is abstracted as a realistic structure. In other words, the background of Choi Chul-joo's concept of desire is the morning glory, which is the structure of desire. The shadow is the linguistic meaning, which is a phenomenon of life through events and performance images, and the mirror image is hidden in a bamboo forest. And the image reflecting the shadowy structure in the pond represents the cause of desire in reality as the existential meaning of timeliness according to reversible light as the background of desire.

Therefore, it follows the desire concept abstract design process 5 to represent the existing linguistic meaning in temporality to the hidden real structure of unconscious desire.

This reveals the impression of the concept of desire in a reversible light that is passively set in the imagination, and as a cause, an abstract deviating from the impression that the actor, the subject of desire, represents desire.

 

The stray abstraction of the impression faced by the phenomenon representing desire is the reality of desire that is invisible to the imagination. This has a linguistic meaning along with the form of an abstract desire image reflected in the pond.

The concept of desire, which represents linguistic meaning in a painting as a metaphor, does not fall outside the scope of an imitation painting. However, when the concept and image of desire representing invisible reality in the imagination are the same, they turn into conceptual abstractions.

This is a symbolic system that constitutes a structure with social rules, and it is an image of a desire structure that equates the symbolic meaning invisible to the image of abstract reality.

Therefore, the subject of the image of desire is the object as the subject of desire. The object enters reality from the symbolic world of abstract desire by accepting the symbolic meaning invisible to reality as the subject.

 

In the category of imitability in painting, the real image, which appears to be a symbol with the object of desire as a conceptual subject, has been accepted in religious customs until modern times. In addition, by obscuring the concept of desire as a social constraint, it hides the figurative reality of nude in painting and is symbolized as an illusion based on a mythical story. In the imagination of painting until modern times, the symbolic meaning, which is socially taboo, has no difference from the image of morphological reality.

Choi Chul-joo's abstraction of the concept of desire is an image of a substantive shape, and the formative meaning in which social desire is embodied is transformed into a symbolic shape. In other words, paintings up to modern times are modern paintings that break away from the category of realistic formativeness and conventional abstraction that revealed the stage of contrast and destroy the symbolism of the other's desires as invisible reality, making it an abstract desire concept.

This abstracts the reality of fish by expressing the flatness of painting in monotone with the outline of fish as an image of desire as an abstract structure revealed by the desire of the other in <Disappeared Pond>.

The pond shows contemporary social reality and reveals the image of reality hidden in conventional reason, reflecting the pictorial meaning of desire through communication with its reality.

The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality. 

In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.

Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".

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. 

In addition, as a design process of the concept of desire, the object of desire is symbolized as a conceptual subject, forming the reality expressed through desire revealed in the suppressed unconscious through design and revealing abstraction as being./ Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, 2024 U.S. presidential candidate 7 [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 [195] 2024 U.S. presidential candidate (2024-9-8)/ Reporter Choi Chul-joo / 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.

 

l'artiste contemporain Choi Chul-joo.