現代美術家 現代ポップアートの抽象画家 現代アートアーティスト美術評論 [12] 現代美術家として概念抽象画家 Louis チェ·チョルジュの現代概念抽象美術評論は、他者の欲望をテーマにした非実在で、現代アート実際的な造形性の痕跡と可逆的な光の陰影で欲望概念を抽象する美術評論です。 これは初期の概念美術としての絵画性を復帰、つまり事実的実在の座を代理する他者の欲望を抽象する概念抽象美術評論です [15] 現代美術家として概念抽象画家 Louis チェ·チョルジュの現代アート概念抽象美術と概念抽象画家評論作

現代美術家 現代ポップアートの抽象画家 現代アートアーティスト美術評論 [12] 現代美術家として概念抽象画家 Louis チェ·チョルジュの現代概念抽象美術評論は、他者の欲望をテーマにした非実在で、現代アート実際的な造形性の痕跡と可逆的な光の陰影で欲望概念を抽象する美術評論です。 これは初期の概念美術としての絵画性を復帰、つまり事実的実在の座を代理する他者の欲望を抽象する概念抽象美術評論です [15] 現代美術家として概念抽象画家 Louis チェ·チョルジュの現代アート概念抽象美術と概念抽象画家評論作品及びデザイン:  Louis Choi Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024

 

Louis Chul-joo Choi, a missing pond, 112X249cm, acrylic and composite materials on cloth, 2024

 

欲望概念の抽象デザインプロセス: 消えた池

地球表面で水面と接する地表面の接線内側の地表に水がたまっている池の枠は、水面の形にした幾何学的接線と同じだ

消えた池は可逆的光の陰影で瞬間的な欲望概念の外れた光の構造で、遠近法的客観性は水面に重畳された対象を可逆的光で空の範囲と遠近の大きさを歪曲させる。

池で目を覚まし、欲望の方向を回る魚と水の上に葉と花を垂らす欲望の美的構造を出現させる。

このように出現した欲望の概念は、可逆的な光の陰影で、その概念を写実的な色合いにした池に合うように抽象する。

消えた池でチェ·チョルジュの欲望概念は実在イメージとの因果を前提にせず、無意識に疎外された欲望が分裂した抽象的概念で欲望の対象を概念的主体としたデザインで象徴化し、実在イメージの相関関係としての欲望概念として抽象した実在イメージに帰結する。

言語的抽象から実在イメージとして抽象の意味を帰納的に推論して象徴的存在の意味を取る。 

そして、その存在のイメージを眺める視線は、実在の外面で欲望概念を抽象化し、その欲望概念で実在の相関物として実在のイメージが抽象の対象になる。 これはチェ·チョルジュ欲望概念デザインプロセス1だ。

 

抽象的欲望の対象を概念的主体としたデザインで象徴化された実在イメージを陰影にした大きさを省略し、光に見える範囲で席にイメージを平面化する。 そして、そのイメージが言語的意味として語る欲望概念の象徴構造として表象する。

このように表象された象徴構造の実在が一つの壇上として席に照応された美的価値を持つように、その席を風習にふさわしい普遍的実在の色で対象を飾るのがチェ·チョルジュの欲望概念デザインプロセス2だ

 

欲望概念でデザインしたイメージに隠蔽された美的構造は、雲で区分されて隠された陰影で欲望概念とイメージで対立した方向にいくつかの方向で欲望概念をイメージで視覚化し、そのイメージを抽象化と認知するように社会的環境で生成された欲望構造の被写体を過去に存在物として代理する。 そして、その存在物を描いた主体が欲望概念を記号化した実在を代理者として執行し、抽象的欲望をイメージの精神的現象として無意識のイメージを実際化する。 

そして無意識から抽象的欲望対象のイメージの選択は欲望の主体が望む想像によって生成されたのがチェ·チョルジュの欲望概念抽象化だ。 

その抽象化イメージとして無意識構造として線と色が組み合わさったイメージが考えの中にあるが、意識されないものを無意識的行為とした欲望を繰り返しデザインし、実在のイメージとして生成するのが欲望概念デザインプロセス3である。

 

無意識的に抽象する欲望概念は、実在の対象が可逆的な光の陰影で見えない実在の彫刻イメージで、実在を影で隠してからまた別の実在イメージを見せる。

そのイメージは実在イメージと欲望の主体が望む想像によって維持する無意識であり、そのイメージで自覚できない考え方である。

その考えのイメージは、実在から彫刻された平面的な単色化が意識運動を通じて可逆的光の構造に組み合わせて位置した欲望の空間構成をデザインするのが欲望概念デザインプロセス4だ。

したがって、可逆的光による言語的イメージの時間性は、アリストテレスの時間のように実存論的-存在論的解釈で一つの存在としての実在イメージを現伝する。

ここで欲望概念を具現しようと言語的意味を表象するのがチェ·チョルジュ欲望概念抽象デザインプロセス5だ。 これは経過した時間の相関的構造として実在イメージを回帰しながらイメージの特定される面を単純化して抽象する

したがって、抽象構造を特定する実在イメージを単純化して断面の明暗を可逆的光の陰影に消去して抽象の本質を断面に平面化する。 これは実存する現在と同じ対象を時間性として隠蔽された言語的意味の抽象の本質を回帰したイメージである。

このようにチェ·チョルジュの欲望概念デザインは、彼の欲望概念デザインプロセスを通じて言語的意味が遠近法的視覚体系でまた別の抽象的実在として欲望オブジェを出現する

 

 

欲望オブジェの構造として、水の表現は魚の動きで水面の流れに運動感を与えた臨場感と蓮の平面的抽象時点が対照的だ、

その時点は時間性による可逆的時点の対象を言語的意味で認知する実在イメージを抽象的思考から現象的構造に単純化する。 すなわち可逆的視点にもたらした抽象的認識の誤りとして、無意識的な超現実造形構造を回避した実在イメージでデザインする

その実在は、事実的構造の境界を作り、欲望の概念で抽象された余白として、時間性に合わせたイメージをいくつかの断面を平面で意味を特定する。

これは、無義的欲望の概念を特定する言語的抽象からアサガオを抽象化したユーゲントシュティル(Jugendstil)のように、対象の律動感を抽象化して平面的にデザインして様式化するが、可逆光で対象を解釈する。 したがって「消えた池」の瞬間を印象で捉える印象主義的イメージではなく、可逆的光の陰影で言語的に「消えた池」の抽象意味を明示的時間性で解釈した象徴的存在イメージだ。

したがって、存在としての無義的欲望概念を抽象化する出発点は、実在の相関物として抽象の欲望対象を決める。 これは、現実化するイメージをすなわち言語的に時間性のイメージを現在の位置に欲望概念を現実化した可逆的光の陰影で構造を示現して抽象化するもので、チェ·チョルジュ欲望概念プロセス1に従う。

 

欲望の抽象構造を特定する実在イメージを単純化して断面の明暗を可逆的光の陰影に消去して抽象の本質を断面に平面化する。 これは実存する現在と同じ対象を時間性として隠蔽された言語的意味の抽象の本質を回帰したイメージである。

欲望概念で抽象性は言語的意味で現存する光による影が時間性に回帰した哲学的論理に合わせた可逆的光の陰影で存在した池のイメージを生成する。

その池は、波に映った時間性が重なった蓮の花と魚を欲望の代理者としてポチする。 これは欲望の構造であり、その場で分裂した言語的要求を池に美的価値を抽象的意味で感応する抽象化を欲望概念の象徴構造として表象する。

したがって、抽象化として表象された実在が言語的意味で分裂した美的価値を象徴的意味が歓迎された抽象性に欲望概念を似合うように構成するためには、欲望概念デザインプロセス2に従う。

 

言語的抽象性は哲学的論理に近づくほど文字の構造で形成したイメージが美術に合わせて造形的構造を成す。

チェ·チョルジュの欲望概念の抽象化は、哲学的論理を宗教に帰属させたルネサンス時代の教会の神学的造形構造のように、聖書に神的人物を擬人化して聖書的欲望概念を実在イメージで抽象したものと同じだ。

ダダイズムの初期概念美術の美術的感興を無視することはできないが、概念的抽象が聖書から外れた現代美術で、チェ·チョルジュの欲望概念抽象美術は池に映ったイメージを通じて文字的概念と言語的意味をスケッチにした概念美術に合わせてイメージを平面的に設置するのが概念だ。

抽象的な単語が言語的意味で描かれた無意識的抽象化は、心の内容としたイデアのイメージで解釈しにくいのが幻想の構造として抽象的欲望概念だ。 

したがって、欲望を象徴する実在として抽象化で生成するイメージは、欲望が望む無義的行為で表現した欲望の実在イメージを繰り返しデザインすることは、欲望概念デザインプロセス3に従う

 

反面、抽象的概念を実在イメージで表現したのも言語的意味として概念美術だ。 したがって、チェ·チョルジュの欲望概念美術はイデアの構造を実在の構造に転移する。 そして抽象作品を主体の事件と公演イメージとして実在イメージを見せる。

そのイメージは印象主義絵画の実在イメージの限界を越えた概念的抽象画だ。 これは事件と公演イメージの瞬間的な印象で、写真に収めて印象的な欲望概念の抽象を照明する。 そして無意識的欲望概念を言語的意味のイメージで明確に実在化する。

このように欲望概念の実際化は、可逆的光の陰影で照明した欲望の主体が望む想像によって生成した普遍的な可逆的存在イメージを無意識的行為として特定された効果として抽象化される。

したがって無意識で自覚できない考えを普遍的実在で隠蔽された彫刻難平面構造で選択し欲望の枠組みとして意味ある空間として「'morning glory'と竹林そして池」を構成することは欲望概念デザインプロセス4に従う

 

「消えた池」に存在した欲望が言語的意味の本質的イメージとして無意識の過去的経験との相関条件に合わせた実在イメージとして抽象される。

ここで池に時間性に隠蔽された有意義な欲望の重複したイメージが実在のイメージとして出現するが、全体のイメージは遠近法的視覚体系から外れた抽象的構成だ。 これの形が平面的なのは、過去の欲望概念のイメージを単純化し、欲望概念の実在と抽象との不一致を無意識的欲望の存在を客観的実在イメージとして抽象画する、

その抽象画の主体として、欲望をチェ·チョルジュは背景と行為者に区分する。 彼は欲望の背景を朝顔、竹林と池のイメージを構造化し、欲望の行為者を事件と公演の写真イメージを欲望概念の客観的相関物として表現する。 その欲望は言語的意味の風景を可逆的光の陰影が状況を構造的に欲望を直喩する相関物として事実的に抽象画する。

写実的構造として抽象する欲望の実在意味として知覚する欲望の印象を見せる。 すなわち、チェ·チョルジュの欲望概念の背景は欲望の構造である朝顔だ。 事件と公演イメージで一つの人生の現象である言語的意味とその鏡のイメージを竹林に隠したのが影だ。 そして、その影の陰影的構造を池に映ったイメージが欲望の背景とした可逆的光にともなう時間性の存在的意味として欲望の原因を実在で表象する。

したがって、無意識的欲望の隠蔽された実在構造を時間性で現存する言語的意味を表象することは、欲望概念抽象デザインプロセス5に従う。

これは想像界で受動的に設定された可逆光にした欲望概念の印象を現わし、原因として欲望の主体である行為者が欲望を表象した印象とずれた抽象を出現する、

 

 

欲望を表象した現象と向き合った印象の食い違った抽象は、想像界では見えない欲望の実在だ。 これは池に映った抽象的欲望イメージの形と持つ言語的意味を持つ。 

言葉の意味を絵画に示す欲望の概念は、隠喩として模倣的絵画の範疇を越えることができない。 しかし、想像界で見えない実在を象徴する欲望の概念とイメージが同一である時、概念的抽象化に変貌する。

これは社会的規則を持った構造を成す象徴系として事件と公演イメージの主体が実在から見えない象徴的意味を抽象的な実在のイメージと同一視した欲望構造のイメージだ。

したがって、欲望イメージの主体を欲望の行為者としての対象だ。 その対象が実在から見えない象徴的意味を主体として受け入れ、抽象的欲望の象徴界から実在に進入する。

 

欲望の対象を概念的主体としたデザインで象徴物として見える実在イメージは、絵画から模倣性の範疇から実在イメージを近代まで宗教的慣習から受け入れた。 そして社会的制約として欲望概念を陰弊し、絵画からヌードの形象的実体を隠し、神話の話に基づいた虚像として象徴化される。 近代まで絵画の想像界で社会的にタブーとなった象徴的意味は、形態的実在のイメージとの差を持たない。

したがって、チェ·チョルジュは欲望概念のイメージと同じ意味構造を実在イメージで抽象する。

チェ·チョルジュの欲望概念の抽象化は実体的な形象のイメージとして社会的な欲望が実体化された形象的な意味を象徴的な形象に席替えをする。 すなわち、近代までの絵画は明暗の段階を表わした事実的な造形性と通念的な抽象画の範疇から抜け出し、他者の欲望を見せない実在としての象徴性を破壊して抽象的欲望概念にした現代絵画だ。

これは<Disappeared pond>で絵画の平面性を他者の欲望としてあらわれた抽象構造として欲望のイメージとして魚を輪郭線にしたモノトーンで表現することで魚の実在を抽象する。

 

池は同時代の社会的実在を見せながら、その実体との交感を欲望の絵画的意味を池に映した慣習的理性に隠された実在イメージを表わす。

その実在イメージは、池に沈殿した欲望構造の実体の象徴性を遠近的な色合いを帯びている。 同時に同時代の言語的意味を特徴づける比喩的イメージとして、他者の欲望を池の境界線に枠を作り、抽象的欲望構造を実在対象のイメージで抽象を演出して線と色にした概念的抽象の現象的象徴系を破壊し、実在としての主体が欲望する目的にふさわしいイメージを構成する。

このように欲望イメージは主体が欲望する必然的対象として欲望的な場を構成し、言語的概念の実在イメージとして絵画的価値を獲得し、絵画性に基盤を置いた原本性と欲望概念の実在イメージを言語的抽象意味を使用して欲望の内的概念を外的イメージで抽象の外形を説明する。

言語的抽象は欲望の構造と認識するラカンの想像界と鏡に映った実在を視覚的構造で確立した欲望の背景がチェ·チョルジュの「ラッパの花」だ。 彼の欲望概念デザインプロセスで可逆的光の陰影の中の実在を隠す影が<竹林>だ。 そして言語的構造として無意識的欲望概念の実在を照らしてみた抽象的言語イメージが<消えた池>だ

 

したがって、チェ·チョルジュの欲望概念は象徴的実在の<消えた池>構造を言語的表象に欲望概念を視覚化し、現代美術の理想的なロゴス表現の範疇で抽象的欲望概念を実在イメージに還元する。 

そして欲望概念のデザインプロセスとして欲望の対象を概念的主体としたデザインで象徴化し、抑圧された無意識から現われた欲望を通じて表出された実在をデザインで形成し、存在として抽象化を表わす。/ 文。 美術評論家 チェ·チョルジュ （抽象画家 & 文化デザイン博士/ 文. 元ソウル市立美術館学芸員キュレーター チェ·チョルジュ（現代概念抽象画家&文化デザイン博士

 

  

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, Trump gets attacked during the campaign 11, a hand-painted picture on a computer 

 

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, Trump gets attacked during the campaign, 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 [188] Trump gets attacked during the campaign, (2024-7-14)  / Reporter Choi Chul-joo’s Cartoon Review  

. Trump gets attacked during the campaign

. Trump se fait attaquer pendant la campagne

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 199-Trump gets attacked during the campaign: 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 g199-Trump gets attacked during the campaign: 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 g199-Trump gets attacked during the campaign-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Louis Choi Chul-joo, Trump gets attacked during the campaign 10 , a hand-painted picture on a computer

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 197-Trump gets attacked during the campaign: 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 f197-Trump gets attacked during the campaign: 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 f197-Trump gets attacked during the campaign-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Louis Choi Chul-joo, Trump gets attacked during the campaign 8 , a hand-painted picture on a computer

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 190-Trump gets attacked during the campaign: 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 e190-Trump gets attacked during the campaign: 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 e190-Trump gets attacked during the campaign-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.

 

"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, In front of the bamboo forest Bamboo Forest Forest e190-Trump gets attacked during the campaign-pond-1: 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.

 

Conceptualization of Desire: Conceptualization of Desire Art is a visualization of progress and results as objects of imagination and existence, facing artistic ideas and portraying the desires of others as objects of imagination and existence. Louis Choi Chuljoo's Conceptual Abstract Art faces artistic ideas and visualizes progressive phenomena and consequences as objects of Desire's imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 Louis Choi Chul-joo' theory of abstract art)

 

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 

 

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 Chul-joo Choi, Samsung acquitted of the first trial of illegal succession of management rights, a hand-painted picture on a computer, 2024

 

 

News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news

■ Cartoonist Choi Chul-joo, one line of current affairs cartoon Review: [179] Samsung acquitted of the first trial of illegal succession of management rights (2024-2-7) /Reporter Choi Chul-joo’s Cartoon Review

. Samsung acquitted of the first trial of illegal succession of management rights

. Samsung est innocent du premier procès pour succession illégale de droits de gestion

 

■ Choi Chul-joo's Concept of Desire Formul: In the concept of Choi Chul-joo's desire,  

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

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

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 303-Samsung acquitted of the first trial of illegal succession of management rights-pond, a hand-painted picture on a computer/  Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

 

Desire Concept Realistic Abstract Work: In front of the bamboo forest e303-Samsung acquitted of the first trial of illegal succession of management rights-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p115-5-Samsung acquitted of the first trial of illegal succession of management rights: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. 

 

Desire Design Methodology in Abstract Art Theory on Painting Design, ■ Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <morning glory p115-5-Samsung acquitted of the first trial of illegal succession of management rights> 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 2023 Busan Exhibition to actualize the Desire Object. The image <morning glory> becomes a non-real abstraction of reality.

 

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

 

 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.

 

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 303, a hand-painted picture on a computer

 

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p115, a hand-painted picture on a computer