现代美术家，现代流行艺术抽象画家，现代艺术家美术评论 [1] 作为现代美术家,概念抽象画家Louis崔徹柱的现代概念抽象美术评论是以他人的欲望为主题的非实际存在,以现代艺术实际造型性的痕迹和可逆的光的阴影抽象欲望概念的美术评论。这是一个概念抽象艺术评论，它抽象了早期概念艺术的绘画性，即代表真实存在位置的他人的欲望。 [59] 现代美术家 Louis 崔徹柱的概念抽象美术和概念抽象画家评论作品及设计: Louis Chul-joo Choi, a pond reflecting the image of

现代美术家 Louis

by Art Review 2025. 4. 7. 01:15

现代美术家，现代流行艺术抽象画家，现代艺术家美术评论 [1] 作为现代美术家,概念抽象画家Louis崔徹柱的现代概念抽象美术评论是以他人的欲望为主题的非实际存在,以现代艺术实际造型性的痕迹和可逆的光的阴影抽象欲望概念的美术评论。这是一个概念抽象艺术评论，它抽象了早期概念艺术的绘画性，即代表真实存在位置的他人的欲望。 [59] 现代美术家 Louis 崔徹柱的概念抽象美术和概念抽象画家评论作品及设计: Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X165cm, acrylic and composite materials on cloth, 2024 & Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

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

反映现在欲望的莲花池素描

崔徹柱的欲望形象是一个对象,是明示欲望的时事新闻的通时欲望,作为体现抽象欲望概念的语言意义的形象出现在莲花池中。

在莲花池中映照的物体被自己的欲望所支配,被明示为失去欲望主体的实际存在的物理结构,作为连续欲望的现象性主体形象,代理了时间性(diachronic)欲望

通过崔哲柱的欲望公式,以时间欲望设计和适用审美结构,将现象性主体,即作为存在的实体对象形成的过程用图表图像表示。时间欲望的途径是运用欲望公式，从欲望结构的抽象设计到实际形象的设置。这是在视觉领域作为存在,将欲望形象作为实际存在形象认知,从他人的无意识的欲望观点出发,作为对象,将事件形象作为新闻传达,并将该对象作为存在,作为现象形象认知。

这里抽象了镜子结构池塘中现象图像主体的存在,在语言意义上分裂为记票图像,形成缺乏社会可视性的欲望图像。该图像由池塘组成，其中持续欲望的碎片反映在社会结构中。那个池塘的水面像镜子一样反映现实形象。这是将他人的欲望抽象成理想的审美结构并再现的现代现实主义绘画形象。这是在莲花池中反映事件和演出形象，作为与现实一起看待他人欲望的主体，通过自我欲望的相互作用而形成的形象。

因此,通过连接欲望的欲望概念抽象设计过程和作为审美结构的现象性形象设计,适用崔哲柱的抽象设计过程,将欲望概念表现为实际形象,将他人欲望中出现的歪曲形象表现为同样的欲望概念。

崔徹柱的欲望公式是,在近代也受到宗教制约的文艺复兴时代的科学思考中,Leon Battista Alberti的绘画论,即以远近法构成的被摄体的比例和概念,多认可了同时代的抽象欲望概念。这与现代理想抽象不同,欲望概念的语言意义通过他的抽象设计过程,从可逆光的阴影中回归阿尔贝蒂的透视法,将欲望结构体现为实际存在形象。

欲望结构的实际存在形象是在他人的欲望中凝视的抽象空间中,将事件形象作为对象,在凝视领域瞬间与欲望结构相提并论。这是被隐藏的他人无意识中压抑的欲望的表现。这样被认知的物体的视觉特性是存在性和抽象性

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

作为凝视的形象,物体的连续形态和欲望结构的不变性随着时间的流逝,被认定为同样的欲望概念时,就会以瞬间的形象被凝视。欲望的对象随着时间的流逝,以不同的背景出现,但其实体依然如故,凝视的时间似乎被歪曲。 崔徹柱的抽象设计过程是从将光的可逆阴影中形成的欲望对象视为他人欲望的欲望概念开始的,用视线看待的歪曲形象来实现这一点。

这里歪曲的形象是《morning glory》以欲望的背景,指的是欲望的结构。因此,不是画的背景,而是欲望的一部分,像莱昂纳多·达·芬奇的素描《阿尔诺风景》一样,将风景作为一个主体,《morning glory》是体现实际欲望的背景。该概念抽象化为了集中于欲望的视线，将物体与平坦结构的实际空间排列，平面性地歪曲。在欲望概念的语言意义上,事件和演出的形象以漫画形象的"morning glory"和可逆的光影中的事件形象描绘成相同的平面结构,并与事件形象重叠。另外,将现存的欲望形象中的莲花池装饰成可逆光的阴影,装饰作为主体的欲望的位置。

以池塘中映照图像为主体的存在中的欲望概念是黑格尔存在（Existenz），与现有空间结构中对象的欲望概念直接相关，作为实现抽象不存在的主体，是非自愿的潜意识中的欲望结构图像

通过从抽象的非存在中认识认知视线的过程,欲望的概念将事件的形象设计成视觉设计,通过视线知觉,被认为是形成存在对象的形成性审美价值的对象。这样形成的形象表现了现代的美学价值，通过他人的欲望概念解释形象的实体。这是在欲望结构领域根据他人的视线生成对象的过程应用于抽象的设计,结果歪曲了从对象和欲望对象现实中分离出来的作为他人的欲望形象。因此，形成表现他人欲望结构的副产品，转移到其他可识别的现有形象上。在这里,时间性将形成现有材料的视觉结构的实际形象引导到可逆的光阴影中,确保可逆的空间结构。

新的数学图形结构是作为欲望概念的结果,想要设计审美结构的抽象的崔哲柱的欲望公式。抽象欲望的概念是在事件的形象中对他人的欲望具有审美意义时实现欲望的抽象概念，意味着他人的欲望结构

反映当前欲望的池塘渲染

作为欲望的审美结构,主体作为对象,将与事件形象相同的欲望概念分裂为无意识和实际存在形象,将无意识的欲望建模为存在实际存在的流行艺术形象。

因此,谈论语言意义的主体是在新闻中播放的事件和形象中,作为发话行为(enunciation),将口语体语言和事件影像广播的收视效果作为特定依赖新闻的因素的一个发话行为的言表性审美结构,将欲望概念的真理值抽象化表现为实际存在

因此,将语言意义说成实际存在的主体是抽象化,即欲望概念的真理值,这是将口语体和事件录像广播的收视效果明示为依赖于新闻的发火行为(enunciation)的表象性美学结构。这是因为视觉形象的欲望概念是开放系,通过多元的视觉体系将众多视觉形象传达给他人。欲望概念的真理值抽象形象是从他人的欲望中表现出来的实际存在形象,具有普遍性,因此备受关注。即，从他人的抽象欲望中暴露出来的物体，通过作为艺术作品适用的流行艺术的通时功能，具有交换与他人的欲望概念相同的审美形象的欲望功能。

欲望概念的抽象形象和现实在相同语言意义上的解释是欲望的结构,抽象的欲望概念的现实是欲望的因果结构的现实形象,与矛盾的欲望形成意义关系,从而演绎欲望的结构。

像康德一样，近代美术也采用二元结构，将神话对象与人类结构相同，将二律背反包含在一个结构中

因此,通过理性主体的视线,作为与欲望结构的语言意义相同的合理对象的事件形象的对象,被认为是主体看不到的实际形象。

而且，想要填补欲望不足的实际存在形象持续代理其他欲望的对象。在抽象欲望中作为对象反映现在欲望的莲花池,作为实际存在提出欲望结构,在抽象欲望中作为对象,但是通过实际存在形象隐藏从缺乏中分离出来的欲望结构,脱离了社会可视性,欲望结构隶属的欲望缺乏的不完整的抽象性,作为实际存在形象,将欲望的原因作为事件形象回归到对象。

另一个欲望的对象持续表现为想要满足欲望缺乏的实际形象。作为抽象欲望的对象,反映现在欲望的莲花池提出了抽象欲望的对象--现实的欲望结构,摆脱了缺乏欲望的不完整的抽象,将实际形象的欲望原因归结为事件形象的对象。即,缺乏和分裂的欲望结构通过抽象欲望的实际形象被隐藏,从属于脱离的社会可视性的矛盾欲望成为欲望的原因,成为实际形象的对象。

Louis Chul-joo Choi, morning glory p132-5-1-Pond Rendering Reflects Current Desire-BTS New York Times Square Performance, a hand-painted picture on a computer

欲望概念对象渲染过程

欲望概念的对象渲染是1.作为对象,将与事件形象相同的欲望概念分割成无意识和实际存在形象,将无意识的欲望渲染成存在实际存在的流行艺术形象。因此,讲述语言意义的欲望结构的对象物是在新闻中播放的事件和形象中,作为发话行为(enunciation),将口语体语言和事件影像广播的收视效果特定于新闻的要素的一个发话行为的言表性审美结构,将欲望概念对象的真理值抽象化表现为实际存在。 2. 作为欲望概念的真理值,将语言意义说成实际存在的抽象化,即欲望概念的真理值,这是将口语体和事件视频广播的收视效果明示为依赖于新闻的发火行为(enunciation)的表象性美学结构。

这是因为视觉形象的欲望概念是开放系,通过多元的视觉体系将众多视觉形象传达给他人。欲望概念的真理值抽象形象是从他人的欲望中表现出来的实际存在形象,具有普遍性,因此备受关注。即，在他人的抽象欲望中体现的欲望概念的真正价值——Object，通过作为艺术作品适用的流行艺术的通时功能，具有交换与他人的欲望概念具有相同语言意义的审美形象的欲望功能。 3. 欲望概念的抽象形象和现实在相同语言意义上的欲望概念的真理值表示欲望的结构,抽象欲望概念的现实是欲望的因果结构的现实形象,与矛盾欲望形成意义关系,从而演绎欲望的结构。

它像康德一样，将近代美术也作为二元结构，将神话对象解释为与人类相同结构的二律背反形象作为一个实际存在结构包含在内。 4. 欲望概念的Object Rendering通过理性主体的视线,将欲望结构的语言意义等合理的Object事件形象渲染为主体看不到的实际形象。还有想要满足欲望缺乏的实际形象是持续代理其他欲望的抽象欲望，作为对象反映现在欲望的镜子结构的莲花池，在可逆光的阴影下，作为欲望结构，反复设计和渲染语言意义上的形象。

其渲染作为形象的实际存在,提示欲望结构,是抽象欲望的对象,通过实际存在形象隐藏从缺乏中分离出来的欲望结构,摆脱脱离的社会可视性中欲望结构隶属的欲望缺乏的不完整的抽象性,作为实际存在形象,将欲望的原因作为事件形象回归到对象。另一个欲望的对象渲染持续表现为想要满足欲望缺乏的实际形象。作为抽象欲望的对象,反映现在欲望的对象渲染提出了抽象欲望的对象--现实的欲望结构,摆脱了缺乏欲望的不完整抽象,将实际形象的欲望原因归结为事件形象的对象。即,缺乏和分裂的欲望的结构通过抽象欲望的实际形象被隐藏,从属于脱离的社会可视性的矛盾欲望成为欲望的原因,作为实际形象归结为抽象化。

反映当前欲望的池塘渲染

新的数学结构是作为欲望概念的结果，想要设计审美结构的崔徹柱欲望的公式。

作为反映现在欲望的莲花池对象,在事件形象中直视与他人的欲望,具有审美意义时,将抽象的欲望概念以实际存在的抽象化,以借款人的欲望结构代理。

在欲望的莲花池中,作为审美结构,主体作为对象,将与事件形象相同的欲望概念分裂为无意识和实际存在形象,将无意识的欲望建模为存在实际存在的流行艺术形象。

在现在的欲望中,莲花池形状所具有的绝对欲望概念是在抽象化中看到的符号隐喻,其欲望概念虽然抽象了他人的欲望,但无法超越模仿的范畴。 .

在抽象欲望中,把与实际存在形象的差异作为语言概念的意义来接受,抽象化与欲望形成关系结构的抽象相面对的欲望的语言意义形成的实际存在结构。这是摆脱宗教习惯中接受的社会制约(制约),隐藏画中欲望的造型现实,抽象化以实际新闻为基础的事件形象的崔哲柱的欲望概念抽象化。

因此,谈论语言意义的主体是在新闻中播放的事件和形象中,作为发话行为(enunciation),将口语体语言和事件影像广播的收视效果作为特定依赖新闻的因素的一个发话行为的言表性审美结构,将欲望概念的真理值抽象化表现为实际存在。

欲望概念的抽象实体和现实在相同语言意义上的欲望概念解释,通过形成欲望和意义关系,表现欲望的结构。在这个形象中，欲望的抽象实体是欲望的因果结构。即,二律背反的同等性将抽象欲望概念的真实性从Aporia形象转变为欲望的原因性结构的真实形象,与欲望建立意义关系,代理欲望的结构。

作为欲望结构的实际存在形象抽象化,可视隐喻的形态形象将抽象语言的意义转移到实际存在上。其抽象化是实际形状的图像,形状的欲望结构阴弊的抽象仪器的回流固定。也就是说,在抽象化中,作为社会事件形象,根据他人的欲望,将实体化的形状意义置换为追加的形式。

就像康德一样，近代美术也采用二元结构，神话对象与人类结构相同，二律背反作为一个结构。

因此,与用理性主体的视线洞察欲望结构的语言意义相同,作为理性对象的事件形象的对象,被认定为在主体看不到的二律背反的场所凝视的实际存在形象

从崔徹柱的欲望概念来看,马奈的《Le Déjeuner surl'herbe 草丛上的午餐》中,身穿西装的男性作为幼儿认识主体性,是与自己的形象一视同仁的象征系。穿正装的男性从整理服装、表明理性道德观的时代到19世纪,根据持续的社会规定,幼儿所具有的认识结构。在与莲花池一样的镜子结构中暴露在外部的开放空间里,女性和男性认识到脱衣服是错误的,所以穿了正装,与裸体女性不同,穿了正装的男性是形象的主体。

这是欲望结构从属于时代错误的社会性、缺乏欲望的不完全抽象化中摆脱出来,通过渲染欲望结构,将欲望概念的原因返回到物体上的镜子结构的实际形象

像这样,将莲花池的形象用镜子结构渲染是从抽象欲望的概念变成现实的平坦符号,事件形象将表现他人欲望概念的抽象欲望用可逆的光的阴影雕刻出来,隐藏在投影到视觉范围的形象层面。

在池塘形象中,欲望的主体拒绝抽象的绘画意义,用现实形象代替流体固定的抽象结构,表现隐藏在现有理性中的幻想实体。它展现了看不见的欲望实体的实际形象,以"反映现在欲望的池塘渲染"破坏现代绝对幻想的固定

欲望结构代理镜子的抽象欲望概念,将体现实际空间位置的欲望的不稳定自我确定为实际,构成映在莲花池中的欲望形象。

这是将欲望概念的象征意义反映在表面上的无意识欲望与实际形象进行对照,将欲望形象以可逆的光阴影对比结构实现的。

这里的莲花池将欲望的结构分为镜子的结构,将欲望的概念以实际形象反映在表面上,将他人的欲望与自我等同起来。

欲望是一个物体，事件的形象和语言意义是连接在一起的结构。罗列设计后，不抽象化欲望，而是作为欲望概念主体的语言意义指向实际形象。

像这样,识别莲花池中他人的欲望形象的主体,在现实中表现出象征自我无意识的欲望概念的结构的语言意义,将欲望和视线的形象留在阴影中。

因此,为了使莲花池的实际面貌更接近于欲望隐藏在阴影结构中的现实法则,崔哲柱的抽象过程结合了欲望的概念,表面多次反射光线,描绘了事物质感的影子。

欲望背景和对象光谱渲染基于反映当前欲望的池塘草图，在同一位置叠加多个灯光。

这是物体的质感颜色根据照明的颜色而变性,或者其他颜色被可逆的光反射识别时可以凝视的预测值,固定了作为实际欲望图像的欲望概念。

欲望概念的固定素描形象,语言意义追溯效果,欲望结构在池塘水面完成

以池面反射的可逆光线缝合的欲望对象,以实际固有的颜色构成。然后,可逆的光线投射到欲望的对象上,被雕刻成实际阴影,被反射和凝视的实际形象。

因此，与透视视觉系统不同，反映当前欲望的欲望形象渲染根据欲望结构的时间性，反复设计表里不一的象征性现实形象，在同一表面上用多种可逆的光打造欲望的质感，实现与单一形象相同的结构。/ 现代美术评论家崔哲柱（文化设计博士）

Louis Chul-joo Choi, morning glory p131-1, 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.

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.

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

■ 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.

Louis Chul-joo Choi, Release Lovelyz's mini album 'Lovelyz 8, a hand-painted picture on a computer, 2019/ 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

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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 234-Release Lovelyz's mini album 'Lovely: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest i234-Release Lovelyz's mini album 'Lovely: 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 i234-Release Lovelyz's mini album 'Lovely-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i234-Release Lovelyz's mini album 'Lovely-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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i234-Release Lovelyz's mini album 'Lovely-pond-mirror 2: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, 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

Louis Chul-joo Choi, morning glory p131-1-Release Lovelyz's mini album, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p131-1-Release Lovelyz's mini album: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p131-1-Release Lovelyz's mini album> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X165cm, 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 <morning glory p131-1-Release Lovelyz's mini album> becomes a non-real abstraction of reality.

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

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, morning glory p131-1-Release Lovelyz's mini album" 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 i234-Release Lovelyz's mini album 'Lovely-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

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

Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 234, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p131, a hand-painted picture on a computer

Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.

One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.

The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.

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

Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.

By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.

In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.

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