現代美術家 現代ポップアートの抽象画家 [4] 現代アートアーティストポップアート概念抽象美術家: 欲望概念 抽象デザイン 欲望公式 適用 抽象画 / 現代概念の抽象画家·美術批評[4]現代美術評論家のルイ·チェ·チョルジュは写真漫画美術デザインの美的価値過程の芸術性を検証し、視覚芸術論で作品の意味に接近する現代美術評論家だ。 絵画言語構造とは抽象的欲望のイメージが欲望概念の言語的意味構造であるように思われる視線の現実上だ。 美術評論家のチェ·チョルジュは、現代美術批評とともに欲望抽象デザインという概念で

現代美術家 現代ポップアートの抽象画家 [4] 現代アートアーティストポップアート概念抽象美術家: 欲望概念 抽象デザイン 欲望公式 適用 抽象画 / 現代概念の抽象画家·美術批評[3]現代美術評論家のルイ·チェ·チョルジュは写真漫画美術デザインの美的価値過程の芸術性を検証し、視覚芸術論で作品の意味に接近する現代美術評論家だ。 絵画言語構造とは抽象的欲望のイメージが欲望概念の言語的意味構造であるように思われる視線の現実上だ。 美術評論家のチェ·チョルジュは、現代美術批評とともに欲望抽象デザインという概念で、現代美術批評の美的価値、プロセス、芸術性に接近している。 彼の批評は、写真、漫画、美術、デザインの芸術性が言語的文法構造で作品の意味に接近し、欲望概念の現実を批判する視覚芸術理論を指す。 / 現代抽象美術批評家のルイ·チェチョルジュの事件と行為の話は、視覚芸術を通じた現代概念の抽象的欲望を言語的意味を視覚化する。 このように写真、漫画、美術、デザインの美的価値、過程、芸術性を検証し、抽象芸術理論で作品の意味に接近する現代美術評論は:Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025 & Cartoonist Choi Chul-joo, K-POP Star (20) BTS New York Times Square Performance : A line News of Choi Chul-joo’s Manwha Review (2020.1.2.) / Reporter Choi Chul-joo’s Cartoon Review 

  

Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

 

現在の欲望を反映した池スケッチ

チェ·チョルジュの欲望イメージは一つの対象であり、欲望を明示する時事ニュースの通時的欲望として抽象的欲望概念の言語的意味を表すイメージとして池に映ります。

その池で映ったオブジェが自らの欲望に支配され、その欲望の主体を失った実在と明示された物理的構造は、連続する欲望の現象的主体イメージとして通時的(diachronic)欲望を代理します。      

チェ·チョルジュの欲望公式を通じて、通時的欲望で美的構造をデザインして適用することで、現象的主体、すなわち存在としての実体的オブジェクトが形成される過程を記表イメージで示します。 通時的欲望の経路は欲望公式を適用して欲望構造の抽象的デザインから実際のイメージの設置までです これは視覚領域で存在として欲望イメージを実在イメージとして認知し、他者の無意識の欲望的観点からオブジェとして事件イメージをニュースで伝え、そのオブジェを存在として現象的イメージとして認知します。  

ここで鏡構造の池で現象的イメージの主体を抽象化する存在は、言語的意味で記票イメージに分裂し、社会的可視性が欠乏した欲望のイメージを作り出す。 そのイメージは、持続的な欲望のかけらが社会構造に反映された池で構成されます。 その池の水面は鏡のように現実のイメージを反映します。 これは理想的な美的構造で他者の欲望を抽象化して再現しようとする現代写実主義絵画のイメージとして認識します。 これは池で事件と公演の現場を反映し、他人の欲望を現実と共に見る主体としての自我の欲望相互作用によって作られたイメージです

したがって、欲望をつなぐ欲望概念の抽象的デザイン過程と美的構造としての現象的イメージのデザインを通じて、チェ·チョルジュの抽象的デザイン過程を適用して欲望概念を実際のイメージに、他者の欲望の中で現れる歪曲されたイメージを同じ欲望概念で表現します。      

近代まで宗教的制約に重畳されたルネサンス時代の科学的思考において、レオン·バチスタ·アルベルティ(Leon Battista Alberti)の絵画論、すなわち遠近法的構成とした被写体の比例と概念で連続した同時代の抽象的欲望概念を多認定したのがチェ·チョルジュの欲望公式です。 これは現代の理想的抽象とは異なり、欲望概念の言語的意味を彼の抽象デザインプロセスを通じて可逆的光の陰影でアルベルティの遠近法を回帰させ、欲望構造を実在イメージとして具現します。

欲望構造の実在イメージは、他者の欲望から凝視する抽象的空間で事件イメージをオブジェとして凝視領域で瞬間的に欲望構造と同一視されることによって認知することになります。 これは、隠蔽された他者の無意識に抑圧された欲望が表出したものです。 このように認知されるオブジェの視覚的特性は、存在性と抽象性です。

 

Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X164cm, acrylic and composite materials on cloth, 2024

 

凝視的イメージとしてオブジェの連続的な形態と欲望構造の不変性は、時間が経つにつれて同じ欲望の概念として認識される時、瞬間的なイメージで凝視されます。 その欲望のオブジェは時間が経つにつれて他の背景として現れますが、その実体は変わらずに凝視する時点が歪曲されたイメージに見えるように転移します。 チェ·チョルジュの抽象的なデザイン過程は、光の可逆的影の中で作られた欲望のオブジェを他人の欲望として眺めようとする欲望の概念から始まった視線で見る歪曲されたイメージでこれを実現します。

ここで歪曲されたイメージとして<ラッパの花>は欲望の背景として欲望の構造を言います。 したがって絵の背景ではなく欲望の一片としてレオナルド·ダ·ヴィンチのデッサン<アルノー風景>のように風景を一つの主体として<ラッパ花>は実際に見える欲望を表す背景です。 この概念的抽象化は欲望の視線に集中するために、オブジェを平らな構造の実際の空間と整列して平面的に歪曲します。 その欲望概念の言語的意味で事件と公演のイメージは漫画イメージとしての「ラッパ花」と可逆的な光の影の中の事件イメージで同じ平面構造で描かれ、これを事件イメージと重なります。 また、現存する欲望のイメージに映った池を可逆的な光の陰影で飾り、主体としての欲望の座を飾ります。

 

池に映ったイメージを主体に形成する存在の中の欲望概念は、既存の空間構造においてオブジェとしての欲望概念と直接的に関連したヘーゲルの存在(Existenz)としての抽象的な不存在を実現する主体としての非自発的不知不識間の欲望構造イメージです。

抽象的な非存在から認知的視線を認識する過程を通じて、欲望の概念は事件のイメージを視覚的デザインでデザインし、視線知覚を通じて存在する対象の形成的美的価値を形成する対象として認識されます。 このように形成されたイメージは、現代の美的価値を表わし、他人の欲望という概念を通じてイメージの実体を解釈します。 これは欲望構造の領域で他者の視線によってオブジェを生成する過程を抽象的なデザインに適用し、その結果、オブジェと欲望オブジェの現実から分離された他者としての欲望イメージを歪曲することです。 したがって、他者の欲望構造を表すブゼを形成し、認識可能な他の既存のイメージに転移します。 ここで時間性は、現存材の視覚的構造を形成する実際のイメージを可逆的な光の陰影に導き、可逆的な空間構造を確保します。

新しい数学的図形構造は欲望概念の結果として美的構造をデザインしようとする抽象的なチェ·チョルジュの欲望公式です。その抽象的欲望の概念は事件のイメージの中で他人の欲望に対する美的意味を持つ時、欲望を実現する抽象的な概念で他人の欲望構造を意味します。   

    

Louis Choi chuljoo, morning glory p132-5-BTS New York Times Square Performance, a hand-painted picture on a computer 

 

現在の欲望を反映した池のレンダリング

欲望の美的構造として主体はオブジェとして事件イメージと同じ欲望概念を無意識と実在イメージに分裂し、無意識的欲望を存在的実在としてモデリングしたポップアート的イメージです。

したがって、言語的意味を語る主体はニュースで放送した事件とイメージで、発話行為(enunciation)として口語体言語と事件映像放送の視聴効果をニュースに依存する要素を特定する一つの発話行為の言表的美的構造として欲望概念の真理値である抽象化を実在で表象します。

したがって、言語的意味を実在を語る主体は抽象化、すなわち欲望概念の真理値を表し、これは口語体と事件ビデオ放送の視聴効果をニュースに依存する発火行為(enunciation)で明示する表象的美的構造です。 これは視覚的イメージの欲望概念は開放系として数多くの視覚イメージを多元的な視覚体系を通じて他人に伝えられるためです。 欲望概念の真理値である抽象的イメージは、他者の欲望から表出された実在イメージで普遍性を持っているため、注目を集めることになります。 つまり、他者の抽象的欲望から明らかになったオブジェは、芸術作品として適用されるポップアートの通時的機能を通じて、他者の欲望概念と同じ美的イメージを交換する欲望機能をします

欲望概念の抽象的イメージと現実が同じ言語的意味での解釈は欲望の構造を示すもので、抽象的な欲望概念の現実が欲望の因果構造である現実イメージとして矛盾的欲望と意味的関係を形成することによって欲望の構造を演出します。

カントのように近代美術まで二元的構造として神話的対象を人間と同じ構造で二律背反を一つの構造に包括します

 

したがって、理性的主体の視線を通じて欲望構造の言語的意味と同じ合理的なオブジェである事件イメージとしてのオブジェは、主体が見ることができない実際のイメージとして認識されます。

そして欲望の欠乏を満たそうとする実在イメージは、継続的に他の欲望のオブジェを代理します。 抽象的欲望にオブジェとして現在の欲望を反映する池は、実在として欲望構造を提示して抽象的欲望にオブジェですが、実在イメージを通じて欠如から分離された欲望構造を隠蔽され、外れた社会的可視性に欲望構造が隷属された欲望が欠乏した不完全な抽象性から抜け出し、実在イメージとして欲望の原因を事件イメージとしてのオブジェに帰還します。

また、他の欲望のオブジェは、欲望の欠乏を満たそうとする実際のイメージで持続的に表現されます。 抽象的欲望のオブジェとして現在の欲望を反映する池は、抽象的欲望のオブジェである現実としての欲望構造を提示しますが、欲望が欠如した不完全な抽象から抜け出し、実際のイメージとしての欲望の原因を事件イメージとしてのオブジェに戻します。 すなわち、欠乏と分裂した欲望の構造は抽象的な欲望の実際のイメージを通じて隠されており、逸脱した社会的可視性に従属した矛盾した欲望が欲望の原因となり、実際のイメージのオブジェになります。

 

 Louis Chul-joo Choi, morning glory p132-4,  a hand-painted picture on a computer

 

欲望概念オブジェクトレンダリングプロセス

欲望概念のオブジェレンダリングは、 1.オブジェとして事件イメージと同じ欲望概念を無意識と実在イメージに分裂させ、無意識的欲望を存在的実在としてレンダリングしたポップアート的イメージです。したがって、言語的意味を語る欲望構造のオブジェは、ニュースで放送した事件とイメージで、発話行為(enunciation)として口語体言語と事件映像放送の視聴効果をニュースに依存する要素を特定する一つの発話行為の言表的美的構造として欲望概念のオブジェの真理値である抽象化を実在で表象します。 2. 欲望概念の真理値として言語的意味を実在を語る抽象化、すなわち欲望概念の真理値を表し、これは口語体と事件ビデオ放送の視聴効果をニュースに依存する発火行為(enunciation)で明示する表象的美的構造です。 これは視覚的イメージの欲望概念は開放系として数多くの視覚イメージを多元的な視覚体系を通じて他人に伝達されるためです。 欲望概念の真理値である抽象的イメージは、他者の欲望から表出された実在イメージで普遍性を持っているため、注目を集めることになります。 つまり、他者の抽象的欲望から明らかになった欲望概念の真の価値であるオブジェは、芸術作品として適用されるポップアートの通時的機能を通じて、他者の欲望概念と同じ言語的意味の美的イメージを交換する欲望機能をします 3. 欲望概念の抽象的イメージと現実が同じ言語的意味での欲望概念の真理値は欲望の構造を示すもので、抽象的欲望概念の現実が欲望の因果構造である現実イメージとして矛盾的欲望と意味的関係を形成することによって欲望の構造を演出します。 これはカントのように近代美術まで二元的構造として神話的対象を人間と同じ構造と解釈する二律背反的イメージを一つの実在構造として包括します. 4. 欲望概念のオブジェレンダリングは、理性的主体の視線を通じて欲望構造の言語的意味と同じ合理的なオブジェである事件イメージとしてのオブジェは、主体が見ることのできない実際のイメージでレンダリングします。 そして欲望の欠乏を満たそうとする実在イメージは、持続的に他の欲望のオブジェを代理する抽象的欲望にオブジェとして現在の欲望を反映する鏡構造の池で、可逆的光の陰影で欲望構造として言語的意味のイメージを繰り返しデザインしレンダリングします

そのレンダリングはイメージの実在として欲望構造を提示して抽象的欲望のオブジェですが、実在イメージを通じて欠如から分離された欲望構造を隠蔽され、外れた社会的可視性に欲望構造が隷属された欲望が欠乏した不完全な抽象性から抜け出し、実在イメージとして欲望の原因を事件イメージとしてのオブジェに帰還します。 また、他の欲望のオブジェレンダリングは、欲望の欠乏を満たそうとする実際のイメージで継続的に表現されます。 抽象的欲望のオブジェとして現在の欲望を反映するオブジェのレンダリングは、抽象的欲望のオブジェである現実としての欲望構造を提示しますが、欲望が欠如した不完全な抽象から抜け出し、実際のイメージとしての欲望の原因を事件イメージとしてのオブジェに戻します。 すなわち、欠乏と分裂した欲望の構造は抽象的な欲望の実際のイメージを通じて隠されており、逸脱した社会的可視性に従属した矛盾した欲望が欲望の原因となり、実際のイメージとして抽象化に帰着します

 

 

現在の欲望を反映した池レンダリング 

新しい数学的構造は、欲望の概念の結果として美的構造をデザインしようとするチェ·チョルジュの欲望の公式です

現在の欲望を反映した池のオブジェとして、事件イメージで他者との欲望を直視し、美的意味を持つ時、抽象的欲望概念を実在化した抽象化で、借者の欲望構造で代理します。

欲望の池で美的構造として主体はオブジェとして事件イメージと同じ欲望概念を無意識と実在イメージに分裂し、無意識的欲望を存在的実在としてモデリングしたポップアート的イメージです。

現在の欲望で池の形が持つ絶対的な欲望概念は抽象化で見られる記号的隠喩で、その欲望概念は他者の欲望を抽象しますが、模倣的絵の範疇を越えることはできません。  .

抽象的欲望から実在イメージとの違いを言語的概念の意味として受け入れながら、欲望と関係構造を成す抽象と向き合う欲望の言語的意味が作る実在構造を抽象化します。 これは宗教的慣習から受け入れられる社会的制約(制約)から脱し、絵の中の欲望の造形的現実を隠し、実在のニュースに基づいた事件イメージを抽象化するチェ·チョルジュの欲望概念抽象化です。    

したがって、言語的意味を語る主体はニュースで放送した事件とイメージで、発話行為(enunciation)として口語体言語と事件映像放送の視聴効果をニュースに依存する要素を特定する一つの発話行為の言表的美的構造として欲望概念の真理値である抽象化を実在で表象します。

欲望概念の抽象的実体と現実が同じ言語的意味での欲望概念解釈は、欲望と意味的関係を形成することによって欲望の構造を表します。 このイメージで欲望の抽象的実体は欲望の因果構造です。 すなわち、二律背反的同等性が抽象的欲望概念の実在性をアポリアイメージから欲望の原因的構造にした実在イメージで欲望との意味関係を結んで欲望の構造を代理します。

欲望構造としての実在イメージの抽象化は、見える隠喩の形態的イメージが抽象的言語の意味が実在に転移します。 その抽象化は、実在的な形状のイメージとして、形状の欲望構造が陰弊した抽象的な気儀としての還流的固着です。 つまり、抽象化において社会的事件のイメージとしての他者の欲望により実体化された形状的意味を追加的な形に置き換えます。 

これはカントのように近代美術まで二元的構造として神話的対象を人間と同じ構造で二律背反を一つの構造として包括します。 

したがって、欲望構造を理性的主体の視線で洞察した言語的意味と同じ理性的な対象である事件イメージとしてのオブジェは、主体が見ることができない二律背反的な場で凝視した実在イメージとして認識します。

 

チェ·チョルジュの欲望概念で見たマネの<Le Déjeuner sur l'herbe 草むらの上の昼食>でスーツを着た男は、幼児として主体性を認識しながら自身のイメージと同一視する象徴系です。 正装した男は、服装を整えて理性的な道徳観を表明した時代から19世紀まで、継続的な社会的規定によって幼児が持つ認識の構造です。 池と同じ鏡の構造に映った外部に露出した開放された空間で、女性と男性が服を脱いでいるのは間違っていることを認識してスーツを着ており、ヌードの女性とは違ってスーツをした男性がイメージの主体であることを認識します。 

これは欲望構造が時代錯誤的な社会性に従属し、欲望が欠如した不完全な抽象化から抜け出し、欲望構造をレンダリングすることによって欲望概念の原因をオブジェに戻す鏡構造の実際のイメージです。 

このように池のイメージを鏡構造でレンダリングすることは抽象的な欲望の概念で現実になる平らな記号であり、事件イメージは他人の欲望概念を表現する抽象的な欲望を可逆的な光の陰影で彫刻し、視覚的範囲に投影されたイメージの次元で隠す。

池のイメージで欲望の主体は抽象の絵画的意味を拒否し、流体固定による抽象的構造ではなく現実のイメージとして表し、既存の理性に隠された幻想の実体を表します。 これは見えない欲望の実体としての実際のイメージを現し、「現在の欲望を反映した池レンダリング」で現代の絶対的幻想の固着を破壊します。

欲望構造が鏡を代理する抽象的欲望概念を実在の空間の位置を表す欲望の不安定な自我を実在に確定し、池に映った欲望イメージを構成します。

これは欲望の概念の象徴的意味を表面に反映する無意識的な欲望を実際のイメージと対照し、欲望イメージを可逆的な光の陰影対比構造で実現したものです。

ここで池は欲望の構造を鏡の構造に分け、欲望の概念を実際のイメージで表面に反映して他人の欲望を自我と同一視します。

欲望は一つのオブジェであり、事件のイメージと言語的意味は連結された構造です。 デザインを羅列した後、欲望を抽象化する代わりに、欲望概念の主体としての言語的意味は実際のイメージに向かいます。

このように池に映った他人の欲望イメージを識別する主体は、現実で自我の無意識的欲望概念を象徴する構造の言語的意味を表わし、欲望と視線のイメージを影の中に残しておきます。

したがって、池の実際の姿が陰の構造の中に欲望が隠された現実の法則にさらに近づくために、チェ·チョルジュの抽象的過程は欲望の概念を結び、表面に光が何度も反射され、事物の質感の影を描き出す。

 

欲望の背景とオブジェクトスペクトルレンダリングは、現在の欲望を反映する池のスケッチに照らして、複数の光を同じ場所に重ねて実行されます。

これは物体の質感の色が照明の色によって変性されたり、他の色が可逆的な光に反射されて認識される時に凝視できる予測値として実際の欲望イメージとしての欲望概念を固定させます。

欲望概念の固定されたスケッチイメージは、言語的意味が遡及的効果によって欲望構造が池の水面に完成されます。 

池の水面に反射する可逆的な光でステッチした欲望のオブジェを実在の固有色で構成します。 そして可逆的な光が欲望のオブジェに投射され、実在の陰影に彫刻され反射されて凝視される実在イメージに帰結します。

したがって、遠近感視覚システムとは異なり、現在の欲望を反映する欲望イメージのレンダリングは、欲望構造の時間性によって表と裏が重なる象徴的現実イメージを繰り返しデザインし、同じ表面に複数の可逆的な光で欲望の質感を作り、単一イメージと同じ構造を具現します../著者。現代美術評論家 チェ·チョルジュ（文化デザイン博士  

 

Louis Choi chuljoo, morning glory p133-1-23-BTS New York Times Square Performance, a hand-painted picture on a computer 

 

The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.

 

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

 

Louis Choi chuljoo, morning glory p132-5-BTS New York Times Square Performance, a hand-painted picture on a computer 

 

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

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

Choi Chul-joo'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.

 

Pond Sketch Reflecting Current Desire

Choi Chul-joo's image of desire is an object, and it is reflected in the pond as an image representing the linguistic meaning of the concept of abstract desire as a diachronic desire of current affairs news that specifies desire.

The physical structure specified as a reality in which the object reflected in the pond is dominated by its own desire and the subject of that desire has been lost represents diachronic desire as a phenomenal subject image of continuous desire.     

It shows the process of being formed as a phenomenal subject, that is, a real object as a being, as a signifier image by designing and applying an aesthetic structure from diachronic desire through the Choi Chul-joo Desire Formula. The path of diachronic desire is from applying the desire formula to the abstract design of the desire structure to the installation of a real image.  

This recognizes the image of desire as a being in the visual domain as a real image, delivers the event image as an object to the news from the perspective of unconscious desire, and recognizes the object as a phenomenal image as the presence. 

Here, the existence of abstracting the subject of a phenomenal image in a pond with a mirror structure divides into signifier images in a linguistic sense, creating an image of desire that lacks social visibility. The image is formed in a pond where a continuous sculpture of desire is reflected in the social structure.

The surface of the pond reflects the image of reality like a mirror. This is an ideal aesthetic structure, and the desire of others is abstracted and recognized as an image of modern realism painting to reproduce. This is an image created by the desire interaction of the self as a subject who reflects the scene of events and performances on the pond and sees the desire of others with reality. 

Therefore, through the abstract design process of the concept of desire connecting desires and the design of phenomenal images as an aesthetic structure, Choi Chul-joo's abstract design process is applied to appear the concept of desire as a real image and a distorted image revealed in the desire of others as the same concept of desire.

 

Choi Chul-joo's desire formula is a multilateral version of Leon Battista Alberti's concept of contemporary abstract desire from the proportion and concept of a subject as a perspective composition in Renaissance scientific thinking overlapped with religious constraints until modern times. Unlike modern ideal abstraction, this embodies the structure of desire as a real image by regressing Alberti's perspective with a shade of reversible light through his abstract design process.

 

The real image of the desire structure is recognized by instantaneously identifying the event image with the desire structure in the gaze area as an object in the abstract space staring at the other's desire. This is expressed by the desire suppressed by the unconsciousness of the other person. The visual characteristics of the object that are perceived in this way are existence and abstraction.

As a gaze image, the continuous shape of an object and the immutability of the structure of desire are stared at as a momentary image when it is perceived as the same concept of desire over time. The object of desire appears in a different background as time passes, but its reality does not change, but the point of time when it stares at it is transferred to make it appear as a distorted image. Choi Chul-joo's abstract design process realizes this as a distorted image seen as a gaze from the concept of desire to gaze at the object of desire created in a reversible shadow of light as the desire of others. 

Here, as a distorted image, "morning glory" refers to the structure of desire as the background of desire. Therefore, not as a background of the painting, but as a piece of desire, "morning glory" as a subject of the landscape, like Leonardo da Vinci's De saint "Arno Landscape", is a background that represents visible desire in real. This conceptual abstraction distorts objects flatly by aligning them with real space in a flat structure to focus on the gaze of desire. In the linguistic sense of the concept of desire, the image of events and performances is drawn in the same flat structure, that is, "morning glory" as a cartoon image in a reversible shadow of light, and overlaps it with an event image. In addition, the pond reflected in the image of desire in the presence is decorated with a reversible shadow of light to create a place of desire as a subject.     

The concept of desire in the presence, which forms the image reflected in the pond as the subject, is an image of an involuntary desire structure as a object who realizes the abstract non-existence as Hegel's Existenz, who directly relates to the concept of desire as an object in the existing spatial structure.

Through the process of perception of cognitive gaze from abstract non-existence, the concept of desire is recognized as an object that designed the image of an event as a visual design and forms the formative aesthetic value of the object that exists through gaze perception. The image formed in this way reveals the aesthetic value of the contemporary time and understands the reality of the image through the concept of desire of others.

This is to apply the process of creating an object by the gaze of the other in the area of the desire structure to abstract design in the process of forming the other's desire as an object, and as a result, form an object as a distorts desire image as another being separated from the reality of the object and the desire object. Therefore, it forms an object that reveals the desire structure of the other and transitions to another recognizable existing image.

Here, temporality secures a reversible spatial structure by leading real images that form the visual structure of existence to reversible shadows of light.

The new mathematical figure structure is abstract Choi Chul-joo's Desire Formula, an abstract formulation for designing aesthetic structures as a result of the concept of desire.

The concept of abstract desire represents the desire structure of others as an abstraction that actualizes desire when it has an aesthetic meaning for the desires of others in the image of an event.

 

Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

 

Pond Rendering Reflects Current Desire

As an aesthetic structure of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.

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.

This is because 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. 

Like Kant, the mythical object of the same structure as humans and the logical facts within one structure are included in one structure as contradictory antinomic relationships that are compatible on equal grounds.

The interpretation of the concept of desire in a linguistic sense in which the abstract image and reality of the concept of desire are the same represents the structure of desire by forming a semantic relationship with antinomic desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire.      

Therefore, 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.               

 

 

Object rendering process of the concept of 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.

 

Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

 

Pond Rendering Reflects Current Desire

A new mathematical structure is Choi Cheol-joo's Desire Formula to design an aesthetic structure as a result of the concept of desire

As an object of a pond reflecting the present desire, when it has an aesthetic meaning by facing the desire of the other in the image of the event, it represents the concept of abstract desire as an actual abstraction and the structure of the desire of the other.

As an aesthetic structure in the pond of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.

The concept of absolute desire in the form of a pond in the present desire is a symbolic metaphor seen in abstraction, and the concept of desire abstracts the desire of others, but does not exceed the category of imitative painting. 

While accepting the difference from the actual image in abstract desire as the meaning of the linguistic concept, it abstracts the actual structure created by the linguistic meaning of desire facing the abstraction that constitutes the structure of desire and relationship with desire. This is Choi Chul-joo's conceptual abstraction of desire, which is free from the social constraints (制約) that can be accepted in religious customs and hides the formative reality of desire in painting and abstracts the event image based on the news of reality.           

Therefore, the subject that speaks linguistic meaning is an act of speech (enunciation) that specifies the elements that depend on the news for the viewing effect of colloquial language and event video broadcasting as an expressive aesthetic structure of enunciation, and represents abstraction, the true value of the concept of desire.

The interpretation of the concept of desire in a linguistic sense in which the abstract and reality of the concept of desire are the same represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire. In other words, antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aporia image.     

In the abstraction of real image as a desire structure, the morphological image of visible metaphor is transferred to abstract language meaning. The abstraction is a transitional fixation as an abstract meaning in which the desire structure of the shape is obscured as a real image. In other words, in abstraction, the actual form meaning is transformed into an additional form by the desire of others as an image of social events.

Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans and includes antinomic distribution as a single structure.

Therefore, through the gaze of the rational subject, the object as an event image, which is the same rational object as the linguistic meaning of the desire structure, is recognized as a real image that cannot be seen by the subject staring from an antinomic position.

 

In Manet's "Lunch on the Grass", seen as the concept of Choi Chul-joo's desire, the man in a suit is a symbolic world that identifies his image while recognizing subjectivity as a toddler. A man in a suit is a structure of perception of an infant by continuous social regulations from the time when he dressed up and expressed a rational view of morality to the 19th century. It recognizes that it is wrong for women and men to take off their clothes in an open space exposed to the outside reflected in the same mirror structure as a pond, and recognizes that a man in a suit is the subject of the image, unlike a nude woman.

This is a real image of a mirror structure that deviates from incomplete abstraction lacking desire due to the subordination of the desire structure to diachronic sociality and returns the cause of the desire concept to the object by rendering the desire structure. 

In this way, the rendering of the pond image as a mirror structure is a flat sign that will be real in the concept of abstract desire, and the event image carves the abstract desire that expresses the concept of desire of others into reversible light shades and obscures it into the dimension of the image projected in the visual range.

In the pond image, the subject of desire rejects the pictorial meaning of abstraction and reveals the reality of the illusion hidden in conventional reason by revealing it as an image of reality rather than an abstract structure by fluid fixation. This reveals the real image  as a reality of invisible desire, destroying the fixation of the contemporary absolute illusion in "Pond Rendering Reflecting Current Desire".

 

The abstract concept of desire, in which the desire structure represents a mirror, is confirmed as reality the unstable self of desire, which represents the place of the real space, and the image of desire reflected in the pond is composed.

This is a realization of the desire image as a shaded contrast structure of reversible light by contrasting the involuntary desire that reflects the symbolic meaning of the concept of desire on the surface with the real image.

Here, the pond divides the desire structure as a mirror structure and equates the desire of the other with the self by reflecting the concept of desire on the surface as a real image.

The desire is an object, and the event image and linguistic meaning are connected structures, and instead of abstracting desire after serializing design, the linguistic meaning as the subject of the concept of desire is directed as a real image.

In this way, the subject that identifies the image of another's desire reflected in the pond reveals the linguistic meaning of the structure that symbolizes the concept of unconscious desire of the self in reality, and leaves the image of desire and gaze in the shadow. 

Therefore, in order for the actual image reflected in the pond to be close to the actual rule of reality in which desire is hidden in the shadow structure, Choi Chul-joo's abstract design process connects the concept of desire and sketches the height of the texture of the object according to the multi-reflection of light on the water surface.

 

The background of desire and the object spectral rendering are performed by superimposing multiple lights in the same place when illuminated on a pond sketch reflecting the present desire.

This fixes the concept of desire as an actual desire image as a predictive value that can be stared at when the texture color of an object becomes metamorphism depending on the illumination color or is perceived as a different color is reflected in reversible light.

In the fixed sketch image of the concept of desire, the linguistic meaning is retroactive, and the desire structure is completed on the surface of the pond. 

The object of desire stitched by reversible light that reflects the surface of the pond is composed of the unique colors of reality.

And a reversible light is projected onto an object of desire, sculpted and reflected in the shadow of reality, resulting in a real image that is stared at.      

Thus, unlike perspective visual systems, Pond rendering, which reflects current desires, repeatedly designs symbolic reality images with overlapping surfaces and backs depending on the temporality of the desire structure to outline them, and creates the texture of desire with multiple reversible lights on the same surface to achieve the same structure as a single image. / Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

 

Louis Choi chuljoo, morning glory p132-1-7-BTS New York Times Square Performance, a hand-painted picture on a computer

 

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

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

 

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

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

 

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

 

 

The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.

"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.

 

The Design Results of Choi Chul-joo's Desire Abstract Concept: The beneficiary who experienced martial law as a desire for the other is passive, but the powerful person who can actively enforce it from the perspective of the perpetrator puts it into practice with the same desire as the sympathizer. When a powerful person provides the benefit of power or a sympathizer receives it, the sympathizer becomes the same desire and becomes the subject of martial law enforcement. Here, the desire of the other, which is obscured, generalizes martial law practiced by inappropriate powerful and sympathizers as another object of desire and acts like a victor of war. However, when martial law as an act overshadowed by reversible light is not generalized as a public act, inappropriate power and sympathizers are antagonized by the desire of the other as a subject who implements it according to the general desire of the others.

 

■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.

Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression. 

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

    

Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.

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

And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.     

The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.

 

Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.     

The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.

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

As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.     

The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.

The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.

 

Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.     

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

  

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 296-BTS New York Times Square Performance, 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

 

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 Chul-joo Choi, be made up by a person who gives love, a hand-painted picture on a computer, 2024 ■ Cartoonist Choi Chul-joo, K-POP Star (20) BTS New York Times Square Performance : A line News of Choi Chul-joo’s Manwha Review (2020.1.2.) / Reporter Choi Chul-joo’s Cartoon Review

 

Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction. 

 

- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.

- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work

 

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.

 

Desire Concept Realistic Abstract Work: In front of the bamboo forest h296-BTS New York Times Square Performance: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 239-BTS New York Times Square Performance: 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 i239-BTS New York Times Square Performance: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. 

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i239-BTS New York Times Square Performance-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i239-BTS New York Times Square Performance-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Louis Choi chuljoo, morning glory p132-1-7-BTS New York Times Square Performance, a hand-painted picture on a computer

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p133-1-7-BTS New York Times Square Performance: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art. 

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

 

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

 

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p133-1-7-BTS New York Times Square Performance> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory p133-1-7-BTS New York Times Square Performance> becomes a non-real abstraction of reality.

 

 

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

 

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

 

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p132-5-BTS New York Times Square Performance" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest i239-BTS New York Times Square Performance-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory

 

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 239, a hand-painted picture on a computer

 

Louis Choi chuljoo, BTS New York Times Square Performance 6  [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Cartoonist Choi Chul-joo, K-POP Star (20) BTS New York Times Square Performance : A line News of Choi Chul-joo’s Manwha Review (2020.1.2.) / 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 Concept of Desire Formul: In the concept of Choi Chul-joo's desire,  mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.  ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. ■ Effect of Abstract Design with the concept of Choi Chul-joo's Desire as a Linguistic Meaning: The beneficiary who experienced reality as a desire for the other party is passive, but the person in power who can actively execute it from the perspective of the perpetrator puts it into practice with the same desire as the sympathizer. The sympathizer becomes the same desire and becomes the subject of actual action when a powerful person provides the benefit of power or a sympathizer receives it. The other's desire, which is hidden here, generalizes the actual actions of inappropriate powerful people and sympathizers as another object of desire and acts like a victor of war. However, when the actual effect as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire is antagonized by the other's desire, away from the other's general desire for inappropriate power and sympathizers. ■ 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.

 

Louis Chul-joo Choi, a missing pond sketch 5, 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.

 

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

 

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)

 

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p133, a hand-painted picture on a computer