고정 헤더 영역
상세 컨텐츠
본문 제목
現代美術家ルイ·チェチョルジュの概念抽象絵画と現代美術批評 [1] 現代美術評論家ルイ現代美術家チェ·チョルジュ氏の現代美術批評と現代美術デザイン批評 = 現代美術今日、現代美術評論家チェ·チョルジュの美術批評、現代抽象美術画家批評: チェ·チョルジュ欲望概念抽象ポップアートは、相手の欲望芸術の抽象概念的アプローチとポップアートのデザイン形態と言語抽象的イメージを組み合わせたものである。 彼の欲望の概念、つまり概念抽象芸術が現れ、形而上学的哲学的光の中で強調される言語的意味の概念と衝突する絵が、人工照明で
본문
現代美術家ルイ·チェチョルジュの概念抽象絵画と現代美術批評 [1] 現代美術評論家ルイ現代美術家チェ·チョルジュ氏の現代美術批評と現代美術デザイン批評 = 現代美術今日、現代美術評論家チェ·チョルジュの美術批評、現代抽象美術画家批評: チェ·チョルジュ欲望概念抽象ポップアートは、相手の欲望芸術の抽象概念的アプローチとポップアートのデザイン形態と言語抽象的イメージを組み合わせたものである。 彼の欲望の概念、つまり概念抽象芸術が現れ、形而上学的哲学的光の中で強調される言語的意味の概念と衝突する絵が、人工照明で劇的な出来事イメージを作り出す。& 現代美術の抽象絵画をデザインする抽象現代美術:抽象画家ルイ·チェ·チョルジュの現代概念美術は、他者の欲望をテーマにした非実在として、実際的造形性の痕跡と可逆的光の陰影で概念を抽象する美術だ。 これは初期概念美術の概念で、ある絵画性の復帰、すなわち実在の座を代理する他者の欲望を抽象化する抽象画だ。: 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
モナリザの欲望構造の朝顔-ダンスイメージは公示的な言語的意味です
抽象化「morning glory-dancer」の欲望概念の単位として実現された言語的意味要素として、モナリザは特定の陰の光で構成された変形形態と欲望の存在概念に分けられます。
これはモナリザが「morning glory-dancer」をオブジェクトとして様々な抽象的な意味を誘導し、欲望構造の同時性という意味でイメージを言語的意味で構成する絵の構成と言語的意味構造に対する反応で、他の人々の欲望から得た意味要素です。
ここで抽象的意味は対象の特性によって視線と可視的視線の時間差(視差)で形成される時間的意味と現象的意味の共通点に分かれます。 これを抽象的な構造で具現しようとする欲求の概念は、言語的意味を実際のイメージで繰り返し設計し、具体的に仮想現実イメージで抽象化します。
つまり、抽象化アサガオ欲望の概念の単位として実現された言語的意味要素として、モナリザは特定の陰影の光で構成された変形形態と存在としての欲望概念に分かれます。
これはチェ·チョルジュの欲望概念の同時性原理で具現された事件イメージが欲望の主体として多様な抽象的意味を誘導し、欲望構造を同じ意味の単一意味イメージで識別する他者の欲望から始まるということを意味します。
ここで現れる抽象化は抽象的な意味で、言語的意味の主体として対象を実現する時間性によって形成された時間的意味と現象的イメージを識別し、実際のイメージで言語的意味を反復的に設計してこれを美的構造で具現しようとする欲望の概念を実現するイメージだ。
チェ·チョルジュの欲望概念は、形と現実の交差点で抽象的な仮想イメージを意味要素として具現し、隠喩的意味を持つ象徴的オブジェクトを欲望概念と同じ実際のイメージで表現します。
ここでモナリザはチェ·チョルジュ欲望公式を通じて言語的意味で描かれた欲望構造を持つ「morning glory-dancer」の言語的意味として実際のイメージで抽象化され、現象的言語の意味を確立する。
ここでモナリザはチェ·チョルジュ欲望公式を通じて言語的意味で描かれた欲望構造で「morning glory-dancer」の言語的意味を実際のイメージで抽象化し、現象的言語の意味を実際のイメージと同一に設定する。
他者の欲望の主体は抽象的欲望の概念、現象的対象としての事件のイメージ、抽象と反対される実際のイメージ、すなわち欲望アサガオ概念のイメージの間に言語的意味が同じイメージです。 意味作用を通じて行動的意味は主体対象の背景イメージとして事件イメージに伝達され、無意識的欲望の概念と分裂した実際のイメージが交差する地点で言語的意味が同じイメージが意味構造として作用する。
意味構造としての芸術と非芸術の違いは、実体としての仮想形式と存在しない仮想形式で、他者の欲望の観点から形成された実際のイメージの存在に区分されます。 したがって、意味構造としての美的条件は実体としての物質が場所に設置されたイメージを持っており、存在しない仮想の形式は現実的なイメージとして言語的意味の存在として他者の欲望を実現して抽象的なイメージを表わすことです。
これは欲望の概念に遡ってアサガオを抽象化したイメージとしての言語的意味を完成させます。 また、欲望の概念に隠された象徴的意味が実際のイメージの抽象化であることを知らせてくれる。
抽象化の主体として意味的要素はモナリザを主体とする被写体の背景と笑顔を幻想的な想像力とフロイトの性的行動に区分します。 これは鏡の中の楽しさの対象と言語的意味を同一視する抽象的欲望のイメージに戻り、実際の構造としての他者の欲望を表します。
ここで実際の構造はレオナルドのように色調整という被写体の背景を現象的に描写するのとは異なり、抽象的な人工照明を可逆的な光の陰影にし欲望構造をアサガオの背景を持つ実際の構造と同一視するダンサーを描写する。
抽象化による欲望のデザインは、原本と複製物を区別できない同じ形です。 つまり、原本は存在しません。 完成されたデザインオブジェクトは言語的意味を通じて仮想のイメージを形成したり、同じ他者の欲望を込めて文化的形態に再構成することができるからだ。 したがって、複製が難しい抽象的な打者の欲望をアナモルフォシスのイメージでデザインします。 ここでアナモルフォシス(anamorphosis,)のイメージは全体イメージとして存在しないが、モナリザは実際のイメージと分離され、また別のアナモルフォシスのイメージとして抽象化される。
このように欲望概念をモナリザとダンサーの実在構造に象徴的同一視(identification)して言語的意味の主体としてモナリザは事件イメージをオブジェにした欲望概念の現象的実在イメージと同一視する。
欲望構造は可逆的な照明設定をしないため、被写体を基準にオブジェクト間の陰影と陰影を対照し、複数のオブジェクトをフォトコラージュのように欲望の背景に結合します。 欲望構造の全体背景とオブジェクト間の境界線を区別せずに「moring gloryの背景」とオブジェクト線を明確に除去し、欲望概念の特定言語的意味に合う空間を作ります。
モナリザの視線は、右目が顔の前面と残りの部分を凝視できるようにする可逆的な光の影と隙間に分ける。
可逆的な光で構成されたオブジェの絵であるモナリザは抽象化です。 絵画的な物体を再現する仮想物体で形成されたイメージは、現実を隠す仮想イメージです。 仮想画像は平面上で認識され、仮想画像として表示されます。 ここでモナリザはチェ·チョルジュの欲望公式を通じて物体を存在として表わし、実際のイメージで抽象化されます。
実際のイメージで生成された抽象化は、オブジェと背景を被写体とし、現実と欲望の陰影を光として実際のイメージを生成し、欲望概念の言語的意味要素として存在の抽象化に転換します。 その抽象画はモナリザの特徴を表す描写を「morning gloryの背景」にコラージュし、これを可逆的な光の影に配置して時間性によって割れた空間を成す。
Louis Choi Chul-joo, Morning glory-dancer image of Mona Lisa's Desire structure is synchronic linguistic meaning-sketch 1, 113X165cm, acrylic and composite materials on cloth, 2025
時間性と分離された空間は、事物を再現する遠近感視覚体系の幾何学的図形に隠され、無意識の中であらわれる欲望の観点で眺める視線であっという間に現れます。 抽象化として、対象は一般性を越えて芸術性を獲得しようとする他者の欲望を通じて表現された歪んだイメージのデザインを繰り返し、存在としての対象を創造することで美的構造を獲得します。
これはレオナルドのモナリザ光の多様な色調を持つ左右の風景を隠し、モナリザイメージに合う右目の領域を言語的意味で現実的に表わし、モナリザの特定属性に設定されたイメージとして理想化された抽象的欲望概念を決めて実際のイメージとして抽象的欲望の概念的対象として認識できるようにし、手の頭と背中をキャラクター構成として光の色調に分離します。
ここで中間性的顔は見える方向によって善と悪の形態を区分します。 正面から眺める視線はモナリザの形と大きさを区分しますが、左から右に眺める視線はモナリザの抽象的な空間を分節的に表現し、モナリザを存在として固定させるための言語的意味の欲望のイメージを具現します。
固定されたモナリザと視線を仮想に移動させて作った欲望構造のイメージを識別することで、視線はまた別の表現として善と悪の構造のイメージに移動します。
ここで美学的モナリザは善と悪の内面構造を他人の欲望の観点からダンサーのイメージに変換し、その形成的存在を表わし欲望概念の自律性を表します。
これは実際の空間でモナリザを表現したものですが、欲望構造のイメージは可逆的な光と同じ人工照明で作られた仮想の視線を動かし、モナリザと重なった存在として欲望空間を作ります。
このように欲望の主体であるダンサーの視線は、欲望の対象を眺める視線として他人の欲望の実際の構造とは見られない欲望の場所を形成します。 したがって、欲望の実際の構造は抽象的な欲望概念であり、事物がダンサーを欲望の主体と見られるように設計された実際の構造は欲望の概念が抽象化された実際のイメージと見なされます。
凝視に見える抽象化は、可逆的な光が重なる実際の構造の適時性によって欲望の概念を消し、現実を可逆的な光の構造に人為的に反映して過去の時間の再現的存在を明らかにします。
人工照明の光で作られた視線はニュートンの光のように見えない小さな光粒子の流れに指定され、光を粒子と見たアインシュタインによって光の周波数で色調を形成します。
結果として、抽象的な欲望の概念の実際のイメージは抽象的です。 言語構造としての形態素が象徴文化によって言語構造としてのモナリザイメージに移された時、過去の代表的欲望概念の実際の意味が抽象的構造としてのモナリザイメージに移されたためです。 すなわち、言語的意味としての形態素がモナリザイメージに移れば、抽象的真の意味が抽象的欲望の概念から外れて実際のイメージを形成することになります。
意味要素として、既存のスプマト技法で輪郭が不明なモナリザのイメージは科学的人工照明の一形態で、宗教的言語意味との合成語的対立で現実を一つの言語意味で隠蔽します。
そのイメージは、人工照明の可逆的な光の時宜性による文化的解釈に従い、言語的意味でレオナルドのモナリザとは異なるイメージで表現したり、言語的意味でのみ現実を区分する
文化的時間性によって分離されたこれらのイメージは、哲学的認識から一つの言語的意味が他の言語的意味に変わらない抽象化で、モナリザイメージの現実と言語的意味の現実を区別します。
したがってチェ·チョルジュの「ラッパの花」定義は抽象的欲望の概念を二次的時間性で分けるイメージで、哲学的認識から他の言語的意味に変わらず欲望の概念が欠如したイメージと同じ言語的意味を持つ実際のイメージで投影された抽象化です。
言語的意味の主体イメージは、社会性によって事件イメージの主観的な言語的意味場面として明示された欲望の概念と同一視される総体的な文化性を持つ。
他人の欲望は、社会性の中で言語的意味を一つに表現する実際のイメージとして明示された事件のイメージを通じて文化的につながります。
言語的意味としての文化的連結は、対象をイメージとして明示せず、その対象と文化的連結を持つ現象的現実イメージを意味します。
現実としての対象は印象主義的現実の限界で止まった平面構造で、抽象的言語意味の概念で現実的構造を抽象化したものです。 ここで現実的な構造とは、事件と公演のイメージが写真で停止された場面のことです。
これは停止された被写体の多様な方向に照らされた前面と側面を平面のように見せる現実的なイメージです。 これは、画像が線と色に合わせられた抽象的な概念芸術とは異なります。
相手の欲望を言語的意味としてのイメージに変換すると、空に可逆的な光の影が隠されている形の位置が作られます。
そして光によって形成された抽象的構造は過去に存在した抽象的欲望概念の存在を可逆的な光の影と認識するようになれば消え、朝顔が欲望構造の影の上に置かれれば抽象的構造は消える。
モナリザは欲望アサガオという概念の言語的意味を持つイメージを言語的に明示することができないため、私たちはチェ·チョルジュの欲望公式として美的構造を持つ特定イメージを繰り返しデザインします。
モナリザの欲望は意識の言語で無意識的快楽が欠如した表現的欲望のイメージとして識別され、無意識的欲望と文化的に欠乏した欲望の間で同じ意味のイメージを形成して言語的意味をイメージと美的構造で識別します。 すなわち、欲望の概念は視覚的イメージの設置として抽象的欲望の概念から実際のイメージに抽象化され、現実と出会う視線で実在との出会いを成す。
したがって、チェ·チョルジュの欲望同時性原理は欲望の対象を見えない視線で分析し、欲望の形態を鏡イメージで設計して言語構造の中の欲望の概念をイメージで表わし、欲望の概念を言語構造の中で空間イメージで表そうとする欲望の背景を作り出します。 そして欲望の概念を表す抽象的言語概念として可逆的光の時宜性にともなう欲望概念の抽象的構造を除去し、光の影を通じて対象イメージの美的価値を獲得し、抽象的欲望イメージと同じ概念の実際イメージとして把握することだ。
モナリザに重畳されたオブジェは、明るくなる光の時間性によって欲望概念の抽象構造を消去し、光の陰影で美的価値を拡張する欲望概念を代理する抽象的存在を事実的欲望イメージとして実在する。
すなわち、チェ·チョルジュ欲望構造の同時性原理として可逆的光の時間性によって欲望概念の抽象構造を消去し、光の陰影で美的価値を獲得しようと欲望概念を代理する抽象的存在を事実的欲望イメージと同一視して実在する。
したがって欲望構造の同時性の原理は欲望概念を抽象デザインして無意識的欲望から欠乏した欲望イメージの対象を現存する実在構造として具現する。
欲望イメージはモナリザが知られていないもう一人の女性で、鏡イメージを作って鏡イメージと類似した顔を形成し、欲望の背景を言語的構造で公開的に飾り、実際のイメージの意味が同じように見える欠乏した欲望構造を実現します。
また、チェ·チョルジュの抽象的デザイン欲望理論は、現実で欲望の抽象的イメージを生成し、欲望の視線と欲望のイメージに見える対象を無意識的欲望の抽象的存在に分離し、抽象的欲望の概念を実際のイメージとして解釈します。
このようにモナリザは視線の主体として欲望の構造を表現する時、意識言語の意味を視線で眺める実際のイメージでデザインして欲望の構造を形成します。 無意識構造の主体であるモナリザは、欲望の主体として視線の対象と認識し、抽象的な欲望をイメージで飾る。 / 著者. 現代美術評論家 チェ·チョルジュ （文化デザイン博士）
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.
