Concept Abstract Modern Art Criticism [42] Case of Contemporary Concept Abs

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Modern art Pop & Contemporary Conceptual Abstract Artist Louis Choi Chul-joo's Desire Concept Abstract Art Work Review & Concept Abstract Modern Art Criticism [42] Case of Contemporary Concept Abstract Art: Modern art painter Louis Choi Chuljoo's Contemporary Art Today Choi Chul-joo's Art Works ( https://opensea.io/Louisland ) Criticism: Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024 &  Korean news cartoon review-A line News of Choi Chul-joo’s Manwha Review [198] South Korean President Threatens People With Declaration of Emergency Order 6. (2024-12-05) / Reporter Choi Chul-joo’s Cartoon Review

 Louis Chul-joo Choi, morning glory p219-2, a hand-painted picture on a computer

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

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

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

Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i223-South Korean President Threatens People With Declaration of Emergency Order-pond, a hand-painted picture on a computer

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 rendering of the real image resulting from the intersection of the concept of desire and the abstract structure overlaps the real image in the same position as the outline of the meaning abstracted by the concept of desire with a shade of reversible light, resulting from the intersection of the concept of desire and the abstract structure, creating a flat image by shadowing the three-dimensional shape in which the shade of reversible light overlaps with the real image in the same position as the outline of the meaning abstracted by the concept of desire.  

Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024

Rendering the intersection of desire outside the window

Reversible light-crossed windows that make up the structure of desire can face multiple intersections of desires depending on their temporality.

Through the window at the intersection of desire, the selector of desire creates a double place as a concept of desire and overtakes the linguistic meaning of the concept of desire, and the actual image emerges as the meaning substance of the abstractly deficient desire structure desired by the selector of desire as the subject.

The aesthetic value of a real image as a semantic being of desire is possible as a real being formed in the concept of desire by rendering the image as if it were a real thing to form a virtual shape. Here, rendering under the condition of an aesthetic work expresses materiality by rendering a flat structure composed of reversible shades of light, the concept of desire becomes a real image to express the image in reversible shades, and applies the Choi Chul-joo Desire Formula as a mathematical design process to realize the existence of an image at the intersection of desire outside the window.

Desire created as a subject outside the window is the linguistic meaning of the concept of abstract desire, and insufficient desire dominates the subject's desire, loses the subject of that desire, and desire reduced by division is identified with the deficient desire that dominates desire. 

The object of desire is rendered as a distorted image containing the desire of the other person, which is difficult to replicate the same image as the linguistic meaning.

Here, the distorted image is a real image as the existence of desire as another reality separated from the entire image of the object of desire.

Real images reveal desires as existing real images by transforming abstract concepts of desire into reality by the structure of the linguistic meaning of the unconscious according to the deferred action meaning of the unconscious experienced in the past.

In the structure of desire, unconscious desire through past visual experiences becomes a verbal meaning according to delayed desire, and the object of the same visual experience appears as the object of desire in the present. This forms an intersection where the concept of unconscious desire and the image of conscious reality overlap by grasping the reality of the desire structure experienced in the past time reflected in the window beyond temporality and interpreting the concept of abstract desire reflected in the window as the meaning of delayed desire.

The reversible shadow of light at that intersection forms a real image that intersects the present in another empty space without contacting the object space of desire. At that intersection, the structure of desire hidden by the concept of ex post desire in the current real image meets reversible light.

The concept of unconscious desire and the object of conscious desire intersect when insufficient desire meets several objects as the subject of the desire to be the object of ex post desire. And at that intersection, the concept of unconscious desire is transferred to a real image designed to identify with the concept of conscious desire as a semantic function and a divided subject.

Here, unconscious desire design has an artistic meaning as autonomous creativity by rendering the other's suppressed unconsciousness into an aesthetic image suitable for reversible light timeliness in order to acquire artistry beyond generality.

Desire, which appears to be the light of temporality, shows the image as a difference in distance, like a window, and the current form that distinguishes the direction and size of the image intersects outside the window.

As a result, an object that appears to have stared at the intersection of desire outside the window is revealed as the intersection of light reflected in the eyes of the other, the subject. This is not an unrealistic image viewed from the perspective of desire from the perspective of the unconscious, but a real image viewed from the gaze system of desire from the perspective of the suppressed unconscious.

This is a concept of abstract desire, such as a mirror image, and in order to identify other objects of desire reflected in the pond, a conscious image that generates an expressive image generated by desire as a subject can be designed with the Choi Chul-joo Desire Formula.

As a result, desire, which is distinguished by temporality, is a concept of conscious desire in which different forms of desire intersect to achieve a gradual change in desire, and desire appears as an image of reality in a reversible shadow of light. This is the intersection of desire that meets reality between the desire of others to look at the object of desire and the cultural space that differs according to temporality.

The lack of desire that meets at the intersection of desire exchanges images in a place specified by the structure of the object as a reversible shade of light.

In addition, desire as a subject structures the structure of reality that interprets the linguistic meaning as an image of desire, and the event or performance image as an opportunity for desire as a result of other desires, and the subject of desire structures the linguistic meaning spoken by the unconscious.

The structure interprets linguistic meaning as an image, but abstracts linguistic meaning into the inevitable specific object the other person wants, equating it to a real image.

Here, as the subject of abstracting desire, the window limits desire to a real image as an empirical illusion, and selects one of the other's desires to reveal the real image.

In the concept of desire, the selector as a divided subject forces a specific object into a real image reflected in the pond by the other's desire, a reversible shadow of light with temporality creates a window as an abstract virtual frame, and the vector that forms the direction of the real image beyond the window at the intersection of desire outside the window connects the desire concept to the image vector, and creates an image that the selector lacks in the concept of desire.

In addition, although the other's desire cannot be transformed into a numerical image of a vector at the intersection of desire, it realizes the abstract other's desire as a real image by limiting the real image to a deficient desire structure and equating it with an alienated linguistic meaning.

In a real image, a specific object composed of a psychological vector of the concept of unconscious desire and an instruction vector in which desires are opposed to each other's gaze creates a lack of desire. In a 1971 lecture, Lacan expressed desire as a mathematical sign, explaining the lack of desire seen as a gaze as a mathematical sign. 

As an axiomatic proposition, mathematical statements contain linguistic meanings that logically judge desire. This determines it as a real image with the same desire structure as the concept of desire without distinction from the real image by defining a linguistic meaning so that insufficient desire can determine a specific object.

In this way, mathematical statements 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.

In this way, 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 rendering of the real image resulting from the intersection of the concept of desire and the abstract structure overlaps the real image in the same position as the outline of the meaning abstracted by the concept of desire with a shade of reversible light, resulting from the intersection of the concept of desire and the abstract structure, creating a flat image by shadowing the three-dimensional shape in which the shade of reversible light overlaps with the real image in the same position as the outline of the meaning abstracted by the concept of desire. 

The rendering at the intersection of desire outside the window created by the morning glory, the background of insufficient desire, and the abstraction of the concept of unconscious desire, which forms the meaning of the concept of unconscious desire as a real image in a specific place, are drawn according to Choi Chul-joo's desire formula.

Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to produce a desire image of polynomial products by linking the number of design images with event and performance images.

The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire. This image creates a window as a frame of the real structure so that the subject of insufficient desire makes the concept of desire hidden in the shade of reversible light appear as a real image, and constitutes a line space as a being in which a specific concept of desire can gaze as a real image as an abstract symbol.

Desire design creates an aesthetic for the object of desire by flattening the concept of desire into abstract symbols. Here, the abstract symbol is the expressive semantic structure of desire as being. The structure transitions to abstraction through the Choi Chul-joo concept of desire, which connects the unconscious meaning of the concept of desire and the design balance with the real conscious image as an abstract symbol.

As a design process with a mathematical desire formula of desire structure, the design is repeated until the metaphysical desire concept is identified as a symbolic aesthetic image.

In this way, the concept of desire is interpreted as an aesthetic abstraction.

The concept of desire that can accurately respond to formal aesthetics is interpreted as an aesthetic abstraction, and it is a new modern art that applies the image of the concept of desire to the Choi Chul-joo Desire Formula without conforming to the trend of emphasizing the aesthetic pleasure of contemporary art as sentimental acceptance aesthetics, forming the history of the abstract art movement with real images.

Therefore, the abstraction of the concept of desire envisions the concept of linguistic desire that reproduces the real subject. This is a stereoscopic conceptual work that visualizes reality that divides abstract structures into reversible shades of light.

The structure of desire, which repeats the design that simplifies the actual structure flat so that the actual image in the linguistic sense can be observed by overlapping the reversible shadow of light and the formability of reality according to temporality, constitutes a reality identified with the entire image in the place of being created by weaving the linguistic meaning inherent in the concept of unconscious desire.

Additionally, as a framework for the actual structure, the desire structures of several pieces outside the window differ in the direction of the reversible light, and the illuminated pieces alternate with each other to form an intersection. This is not absorbed by the reversible light shadow, but is captured by a white intersection that illuminates the place of reality as a being like a star according to temporality.

The actual structure of temporality is interpreted as a meaningful image at the time of existence. Therefore, according to temporality, the existential reality image is abstracted as a reversible non-existence of time. The desire structure consists of a general real image, starting with the existing one as a linguistic meaning that unifies the past and the future into the present.

This constitutes a structure as a causal object of the concept of desire by summoning the real image transferred from the existing symbolic relationship at the intersection of desire outside the window so that the abstract past and future images cannot return to their original state,/ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

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

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

■ 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.

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News 

Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design 

Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light. 

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

Realistic structures reflect the shape by being distorted by light.  It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

South Korean President Threatens People With Declaration of Emergency Order.[198] Korean News Cartoon Review-A line News of Choi Chul-joo’s Manwha Review, Cartoon art work designed by Louis Choi Chul-joo.

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

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

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

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

Conceptual Artwork Criticism: Korean news cartoon review-A line News of Choi Chul-joo’s Manwha Review [198] South Korean President Threatens People With Declaration of Emergency Order 6. (2024-12-05) / Reporter Choi Chul-joo’s Cartoon Review 

. South Korean President Threatens People With Declaration of Emergency Order.

. Le président sud-coréen menace les gens par une déclaration d'ordre d'urgence. 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 223-South Korean President Threatens People With Declaration of Emergency Order: 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 i223-South Korean President Threatens People With Declaration of Emergency Order: 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 i223-South Korean President Threatens People With Declaration of Emergency Order-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Louis Choi chuljoo, morning glory p129-2-South Korean President Threatens People With Declaration of Emergency Order, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p129-2-South Korean President Threatens People With Declaration of Emergency Order: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p129-2> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory p129-2-South Korean President Threatens People With Declaration of Emergency Order> becomes a non-real abstraction of reality.

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

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p129-2-South Korean President Threatens People With Declaration of Emergency Order" 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 i223-South Korean President Threatens People With Declaration of Emergency Order-pond" 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 223, a hand-painted picture on a computer

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

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

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

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

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

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

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

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

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

Louis Choi chuljoo, South Korean President Threatens People With Declaration of Emergency Order 3-sketch/ 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./ [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ A line News of Choi Chul-joo’s Manwha Review [198] South Korean President Threatens People With Declaration of Emergency Order. (2024-12-05)/ Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's Concept of Desire Formul: In the concept of Choi Chul-joo's desire,  mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ 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.