Contemporary artist Louis Choi Chul-joo painting and criticism [1] Modern Art Critic Louis Contemporary artist Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary

Contemporary artist Louis Choi Chul-joo painting and criticism [1] Modern Art Critic Louis Contemporary artist Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning,

 

Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, 113X165cm, acrylic and composite materials on cloth, 2025

 

Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning

As a linguistic semantic element realized as a unit of abstraction morning glory-dancer desire concept, the Mona Lisa is divided into a transformation form composed of light of a particular shade and the concept of existence of desire.

This is a semantic element obtained from the desires of others in response to the composition of the painting and linguistic semantic structure in which the Mona Lisa takes the morning glory-dancer as an object, inducing several abstract meanings and constructing images as linguistic meanings in the sense of simultaneity of the desire structure.

Here, the abstract meaning is divided into the common points of temporal and phenomenal meanings formed by the difference in the time difference (視差) between the gaze and the visible gaze according to the characteristics of the object. The concept of desire to implement this as an abstract structure repeatedly designs the linguistic meaning as a real image and specifically abstracts it as a virtual reality image.

In other words, as a linguistic semantic element realized as a unit of the concept of abstraction morning glory desire, the Mona Lisa divides into a transformation form composed of light in a specific shade and the concept of desire as being.

This means that the event image embodied as the principle of the simultaneity of Choi Chul-joo's concept of desire is obtained from the desire of the other who, as the subject of desire, induces various abstract meanings and identifies the desire structure as a single semantic image in the same meaning.

The abstraction that emerges here is an abstract meaning, and it is an image that identifies the temporal meaning and phenomenal image formed according to the temporality of realizing the object as a subject of linguistic meaning, and repeatedly designs the linguistic meaning in the actual image to realize the concept of a desire to implement it as an aesthetic structure.

Choi Chul-joo's concept of desire realizes an abstract virtual image at the intersection of form and reality as a semantic element by representing a symbolic object with a metaphorical meaning as the same real image as the concept of desire.

Here, the Mona Lisa is abstracted as a real image as a linguistic meaning of the morning glory-dancer with a desire structure drawn in a linguistic sense through the Choi Chul-joo desire formula to establish the meaning of the phenomenal language as a meaning.

Here, Mona Lisa abstracts the linguistic meaning of the morning glory-dancer with a desire structure drawn in a linguistic sense through the Choi Chul-joo desire formula into a real image, and establishes the meaning of phenomenal language to have the same synchronism with the real image.

The subject of another's desire is an image with the same linguistic meaning between the concept of abstract desire, the image of an event as a phenomenal object, and the actual image opposite to the abstract, that is, the image of the concept of desire morning glory. Through semantic action, behavioral meaning is transmitted as an event image as a background image of a subject object, and an image with the same linguistic meaning acts as a semantic structure at the point where the concept of unconscious desire and the divided real image intersect.

The difference between art and non-art as a semantic structure is distinguished by the existence of a real image formed from the point of view of the other's desire from the virtual form as a substance as a reality and as a non-existence. Therefore, the aesthetic condition as a semantic structure is that the material as a reality has an image installed in the place, and the virtual form as a non-existence is a realistic image and reveals an abstract image by realizing the desire of the other as a being in linguistic meaning.

This completes the meaning of the linguistic meaning as an image as an abstraction of morning glory retroactively to the concept of desire. It also shows that the symbolic meaning obscured in the concept of desire is an abstraction of a real image.

As the subject of abstraction, the semantic element distinguishes the background of the subject and the smile with the object as the subject as the Mona Lisa as a fantastic imagination and Freudian sexual behavior. This represents the desire of the other as a real structure by returning to the image of abstract desire that identifies with the enjoyment object and linguistic meaning in the mirror.

Here, the actual structure depicts a dancer who creates abstract artificial lighting with reversible shades of light and equates the desire structure with a real structure with a morning glory background and a Mona Lisa with a reversible shade of light, unlike the phenomenal description of the subject's background as a color adjustment like Leonardo.

 

Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-sketch 2, 113X165cm, acrylic and composite materials on cloth, 2025

 

Desire according to abstraction The design is the same form that cannot be distinguished between the original and the reproduction. This means that the original is absent. This is because the completed design object can form a virtual image through linguistic meaning or can be re-formed into a cultural form with the desire of the same other. Therefore, the desire of the abstract other, which is difficult to replicate, is designed as an anamorphosis image. Here, the anamorphosis image is non-existent as the whole image, but the Mona Lisa is abstracted as another anamorphosis image as separated from the real image.

In this way, the concept of desire is symbolically identified as the actual structure of the Mona Lisa and the dancer, and as a subject of linguistic meaning, the Mona Lisa identifies the event image with the phenomenal reality image of the concept of desire as an object.

Since the desire structure does not set a reversible lighting setting, it combines several objects into a desire background like a photo collage by contrasting them with shades and shades between objects relative to the subject. Without distinguishing the entire background of the desire structure and the boundary line between the objects, the 'morning glory background' and the object line are clearly removed to create a space that fits the specific linguistic meaning of the desire concept.

The Mona Lisa's gaze is divided into reversible light shadows and gaps that allow the right eye to stare at the front and the rest of the face.

Mona Lisa, a picture of an object composed of reversible light, is an abstraction. An image formed from a virtual object that reproduces a pictorial object is a virtual image that hides reality. A virtual image is recognized in a plane and appears as a virtual image. Here, as a virtual image, Mona Lisa is abstracted into a real image by revealing an object as existence through Choi Chul-joo's Desire Formula.

Abstraction created as a real image creates a real image with objects and backgrounds as subjects and shades of reality and desire objects as light, and transitions to abstraction of existence as a linguistic semantic element of the concept of desire.

The abstract collages the depiction representing the characteristics of the Mona Lisa on the "morning glory Background" and spaces it with reversible light shadows to form a fragmented space according to the temporality.

The space separated from temporality is hidden by the geometric diagram of the perspective visual system that reproduces objects, and is instantly revealed as a gaze from the perspective of desire revealed in the unconscious. As an abstraction, an object acquires an aesthetic structure by creating an object as an being by repeating the design of an anamorphosis image expressed through the desire of the other to acquire artistry beyond generality.

This hides the left and right landscape with different shades of Leonardo's Mona Lisa light, realistically reveals the right eye area to fit the Mona Lisa image as a linguistic meaning, and determines the idealized abstract desire concept as an image set as a specific attribute of Mona Lisa so that it can be recognized as a conceptual object of abstract desire as a real image, and separates the head and back of the hand into shades of light as a character composition.

Here, the intermediate sexual face distinguishes between good and evil forms according to the visible direction.

The gaze from the front distinguishes the shape and size of the Mona Lisa, but the gaze from left to right expresses the abstract space of the Mona Lisa in a segmental way, embodying an image of desire in a linguistic sense to immobilize the Mona Lisa as a being.

And by identifying the image of the desire structure created by moving the fixed Mona Lisa and the gaze virtually, the gaze shifts to the image of the structure of good and evil as another representation.

Here, the aesthetic Mona Lisa transforms the inner structure of good and evil into a dancer image from the other's desire perspective, revealing its formative existence and representing the autonomy of the concept of desire.

This is a representation of the Mona Lisa in real space, but the image of the desire structure creates a desire space as a superimposed being with the Mona Lisa by moving a virtual gaze made of the same artificial lighting as reversible light.

In this way, the gaze of the dancer as the subject of desire forms a place of desire that cannot be viewed as the real structure of the other's desire as a gaze on the object of desire. Therefore, the real structure of desire is an abstract desire concept, and the real structure designed so that an object can see a dancer as the subject of desire is viewed as a real image in which the concept of desire is abstracted.

Abstraction, which appears to be a gaze, erases the concept of desire according to the timeliness of the actual structure in which reversible light overlaps, and illuminates the representational existence of the past time by artificially reflecting reality as a reversible structure of light.

The gaze made from the light of artificial lighting is specified as a flow of small particles of light that do not look like the light of Newton, and forms a hue as the frequency of light by Einstein, who saw light as a light quantum as a grain.

As a result, the actual image of the concept of abstract desire is abstract. This is because when the morpheme as a language structure was transferred to the Mona Lisa image as a language structure according to symbolic culture, the actual meaning of the past representative concept of desire was transferred to the Mona Lisa image as an abstract structure. In other words, when the morpheme as a linguistic meaning is transferred to the Mona Lisa image, the abstract real meaning is removed from the concept of abstract desire and forms a real image.

As a semantic element, the image of the Mona Lisa whose outline is unclear with the existing spumato technique is a shade of scientific artificial illumination, which is a syntagmatic confrontation with religious language meaning, conceals reality as a real image in one language meaning.

The image follows a cultural interpretation according to the timeliness of the reversible light of artificial lighting to express it as an image different from Leonardo's Mona Lisa in a linguistic sense or to distinguish reality only within a linguistic sense.

These images, separated by cultural temporality, are abstractions in which one linguistic meaning does not change into another linguistic meaning in philosophical perception, distinguishing the reality of the Mona Lisa image from the reality of linguistic meaning.

Therefore, Choi Chul-joo's definition of "Napal Flower" is an image that divides the concept of abstract desire into secondary temporality, and is an abstraction projected as a real image with the same linguistic meaning as the image lacking by the concept of desire without changing from philosophical perception to another linguistic meaning.

The subject image of linguistic meaning has a holistic culturality that is identified with the concept of desire specified as a subjective scene of linguistic meaning of the event image according to sociality.

 

 

The desire of others has cultural connection through the image of events as an object that is specified as a real image that expresses the linguistic meaning as one in sociality.

Cultural connection as a linguistic meaning refers to a phenomenal reality image that does not specify an object as an image and has a cultural connection with that object.

Mona Lisa cannot verbally specify an image with the linguistic meaning of the concept of desire morning glory, we repeatedly design specific images with aesthetic structures as Choi Chul-joo's desire formula.

The object as reality is a planar structure that has stopped at the limit of impressionistic reality, and is an abstraction of a realistic structure with the concept of abstract language meaning. Here, the realistic structure refers to a scene in which the image of an event and a performance is stopped with a photo.

This is a realistic image that makes the front and sides illuminated in various directions of a stationary subject look like planes, unlike abstract conceptual art in which images are matched to lines and colors.

Transforming the other's desire into an image as a linguistic meaning creates a position of shape with a reversible shadow of light hidden in the sky.

And the abstract structure formed by light disappears when it makes the existence of the abstract desire concept that existed in the past be recognized as a reversible shadow of light, and the abstract structure disappears when the morning glory is placed on the shadow of the desire structure.

Mona Lisa's desire is identified as an image of expressive desire that lacks unconscious pleasure in the language of consciousness, and between unconscious desire and culturally deficient desire, it forms an image of the same meaning, identifying linguistic meaning as an image and aesthetic structure. In other words, the concept of desire is abstracted from the concept of abstract desire to meet reality as an installation of visual images to a real image so that it can be seen from a gaze that meets reality.

Therefore, Choi Chul-joo's principle of simultaneity of desire analyzes the object of desire with an invisible gaze, designs the form of desire as a mirror image, reveals the concept of desire in the language structure as an image, and creates a background of desire to reveal the concept of desire as a spatial image in the language structure. And as an abstract linguistic concept representing the concept of desire, it removes the abstract structure of the concept of desire according to the timeliness of reversible light, acquires the aesthetic value of the target image through the shadow of light, and identifies it as a real image of the same concept as the abstract desire image as being.

The object superimposed on the Mona Lisa exists as a realistic desire image as an abstract existence that represents the concept of desire that erases the abstract structure of the concept of desire and expands aesthetic value into the shade of light according to the temporality of light.

In other words, as the principle of simultaneity of Choi Cheol-joo's desire structure, abstract beings representing the concept of desire are identified with realistic desire images in order to eliminate the abstract structure of the concept of desire according to the temporality of reversible light and acquire aesthetic value in the shade of light.

Therefore, the principle of simultaneity of the desire structure abstractly designs the concept of desire and implements the object of the image of desire lacking from unconscious desire into the existing structure of reality.

Desire images are another woman whose Mona Lisa is unknown, creating mirror images to form a face similar to that of mirror images, and openly decorating the background of desire with linguistic structures to realize a deficient desire structure in which the meaning of the real image seems identical.

In addition, Choi Chul-joo's abstract design desire theory creates an abstract image of desire in reality, and interprets the concept of abstract desire as a real image by separating the object seen as the gaze and gaze of desire from the image of desire into the abstract existence of unconscious desire.

In this way, when the Mona Lisa expresses the structure of desire as a subject of gaze, it forms the structure of desire by designing the meaning of conscious language as a real image that looks at the meaning of conscious language with a gaze. The Mona Lisa, the subject of unconscious structure, recognizes it as the object of gaze as the subject of desire and creates abstract desire as an image. / Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi,morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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 Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, 113X165cm, acrylic and composite materials on cloth, 2025

 

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

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

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning> 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 Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, 113X165cm, acrylic and composite materials on cloth, 2025> 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 Chul-joo Choi, morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, > becomes a non-real abstraction of reality.

 

 

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

 

Louis Chul-joo Choi, morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning, a hand-painted picture on a computer

 

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's " Louis Chul-joo Choi, morning glory p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Bamboo Forest j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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.

 

Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p138, a hand-painted picture on a computer

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 p138-7-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning" 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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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 264, a hand-painted picture on a computer

 

Louis Choi Chul-joo, Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer

Cartoonist Choi Chul-joo's comic abstraction as a treacherous conceptual art means the abstraction of the conceptual image of desire as a realistic structure in art. Since the conceptual meaning of desire that exists in place of a realistic form can be divided into a cartoon criticism image, abstraction is drawn through reversible contrast that interprets the image of events and performances as an image of others' abstract desires.

Choi Chul joo cartoon review, which uses contemporary art abstraction as a treacherous conceptual art, reinterprets the image of desire as a concept of cartoon.

 

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 262-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths: 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: Louis Choi chuljoo, ba-pondmboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

 

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <2024 U.S. presidential candidate> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <bamboo forest d204-pond-2024 U.S. presidential candidate> becomes a non-real abstraction of reality.

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "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: < > 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 Choi Chul-joo, morning glory p137-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer> created by reversible light.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths" 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

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

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p138-4-Like the movie Ophelia, false love and war between countries end their deaths: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's 3formula <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 p138-4-Like the movie Ophelia, false love and war between countries end their deaths" 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.

Conceptual Abstract Painter Louis Choi Chul-joo's work "bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond-mirror" rather than campaign broadcasts through YouTube-pond-mirror" is an abstract reality image that reconstructs the structure of desire created through an aesthetic grammatical structure into a linguistic sense.

 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 265-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning: 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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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 j264-Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-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 p138-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths: 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.

 

Louis Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025

 

Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths> 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, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025> 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 p138-6-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer> becomes a non-real abstraction of reality.

 

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

 

Louis Choi chuljoo, morning glory p138-6-Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer

 

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p138-Like the movie Ophelia, false love and war between countries end their deaths" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p138-6-Like the movie Ophelia, false love and war between countries end their deaths" 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 265, a hand-painted picture on a computer

 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond-mirror: [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] 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, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world. ■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire, mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality. ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. ■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.

 

Choi Chul-joo, a contemporary artist