現代美術家 現代アート評論 [6] 現代美術評論家のLouisチェ·チョルジュの現代概念抽象美術評論は、他者の欲望をテーマにした非実在で、現代アート実

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現代美術家 現代アート評論 [6] 現代美術評論家のLouisチェ·チョルジュの現代概念抽象美術評論は、他者の欲望をテーマにした非実在で、現代アート実際的な造形性の痕跡と可逆的な光の陰影で欲望概念を抽象する美術評論です。 これは初期の概念美術としての絵画性を復帰、つまり事実的実在の座を代理する他者の欲望を抽象する概念抽象美術評論です [25] 現代美術家 Louis チェ·チョルジュの現代アート概念抽象美術と概念抽象画家評論作品及びデザイン: Louis Chul-joo Choi, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024 

Louis Choi Chul-joo, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024

チェ·チョルジュの欲望公式は、I/I(イメージ)とD/d(デザイン)を記号として使用し、デザインイメージの個数と事件および公演イメージを連結して多項式の欲望イメージを生成する掛け算公式だ。 記号としてのイメージの言語的意味は欲望の抽象的概念を識別しようとする欲望概念のイメージ(I/i)だ。

抽象画家としてチェ·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、実際的な造形性の痕跡と可逆的な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、すなわち事実的実在の座を代理する他者の欲望を抽象化する抽象画だ。

チェ·チョルジュの欲望概念抽象デザイン概念は、ロマン主義から抽象に変貌した現代抽象概念を現代美術運動から出発し、実際のイメージで具現した新しい抽象美術方法論です。

一つの概念芸術は抽象的な場所ではなく、選択者の欲望という概念で二重的な場所を作り、二重的な場所で抽象的な概念芸術を追い越し、選択者が望む抽象的に欠乏した欲望構造を主体として現実イメージを意味的実体として繰り返しデザインします。 

欲望の現実をデザインする図形の概念的美学は、美的経験を人生の価値として客観的現実に抽象化しようとする経験的欲望の不足を設計した結果であり、必要な対象の不足を満たすことによって実際のイメージから形成的価値を得ます。

ここで欲望の対象は不十分であり、経験的意識の動きを通じて意味的相関関係を得ようとする相手の欲望概念に従います。

したがって、欲望の構造としての実際のイメージは、欲望という概念によって現実世界で影のイメージを省略して光の範囲に配置することによって、既存の慣行に符合する美的価値を持っており、現実主体の構造と現実の本質に定着します。 光の可逆的な影の中で概念を帰納的に照明することで、イメージの言語的意味と実際の現象を明確に具現します。

時間性によって一つの場所に重なった複数の空間

時間性による一つの位置に重畳された複数の空間に存在する現在の空間は時間性で現在の空間にイメージの構造である。 すなわち、空間の主体が認知する時間性による時間的現在のイメージ構造だ。 これは現在のイメージの美的構造を演出する可逆的光の時間性だ。

美的時間性の抽象的欲望の言語的意味としての絵画に見られる隠喩として模倣的絵画の範疇を越えることができない。 その絵画で模倣性の範疇で記票をキャンバスに入れて近代までの絵画は宗教的慣習で受容できる社会的制約だ。 紀義は絵画からヌードの形象的実体を隠し、神話の話に基づいた虚像に象徴化される。 想像界で社会的にタブーとなった気儀は象徴的な意味を持つが、形態的な気表は差を持たない。

したがって、抽象的欲望概念の言語的意味と同じ実際のイメージで抽象化したチェ·チョルジュの美的欲望概念は、過去の時代性から可逆的光の影に至るまで、特定の場所で抽象的欲望を現在の時間性で照明します。 ここで抽象的欲望概念の言語的意味で識別される現在の実際のイメージは、可逆的な光の影の構造につながります。

そのイメージは時間性で現存する実在の欲望構造を可逆的光の陰影で連続して抽象した言表的意味の場を作る。

抽象的な言符の意味として見えない実在は、見える隠喩の形態的記符が抽象的な意味の記意に転移する。 絵画は実体的な形状である記表として、形状の実体は消え、虚像的象徴の紀義としての還流的固着だ。 すなわち、絵画で社会的制約としての気意は、画家の欲望で実体化された形象的意味を象徴的な形象に席替えをする。

近代までの絵画は明暗の段階を表した写実的造形性と通念的主体性の範疇に留まっていた。 決まった欲望概念の主体から抜け出そうとするチェ·チョルジュの欲望概念は「見える実在」として象徴性を越えて実在イメージした美学的抽象を追求する。 

美学的論理を適用する際、芸術関連哲学的根拠として解釈し、誤りを回避しないように欲望公式と抽象デザインプロセスを通じて、文化デザイン博士のチェ·チョルジュの現代美術デザイン方法論を適用し、同時代で公示的推論で彼の欲望概念作品を例示として提示する現代概念抽象美術運動を展開する。

チェ·チョルジュの抽象美術理論で彼の「morning glory」で欲望概念の主体として実在が主体性を認識しながら、その実在イメージと欲望概念と同一視する抽象系だ。 絵画において実在のイメージを表明した時代から19世紀まで継続的な社会的規定により、実在のイメージが絵画的認識の仕組みである。 彼の抽象系は欲望概念の抽象とは異なり、実在が時間性にした欲望の席で欲望概念の言語的意味の実在イメージが欲望の主体であることを認識する。 

時間性による一つの席に重畳された複数の空間は、美的抽象化として時間性が存在イメージを区分せず、可逆的光の陰影で隠蔽された一つの欲望概念の同時性で重畳した実在の席を作り、他者の欲望イメージを連続して決まった席に位置する。

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、実際的な可能性の痕跡と可逆的な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、すなわち事実的実在の座を代理する他者の欲望を抽象化する抽象画だ

したがって、欲望概念の抽象化は抽象的欲望概念の言語的意味を抽象化と現実の二重構造の中で創造し、事件と公演のイメージを光の可逆的な影の中で欲望の主体が選択した不十分な欲望の意味的実体に作り出す。

このように言語的意味で抽象的欲望の概念を持つ事件と公演のイメージは、欲望の不在によって抽象的欲望の主体が実際の構造に分かれる実際のイメージと同一視されます。 これは反芸術的形態とは異なり、事件と公演の実際のイメージと同じ言語的意味を持つ事物の形態を使う抽象的欲望の実際のイメージです。

チェ·チョルジュは抽象的欲望の実在イメージを彼の欲望によって明らかになった幻遊が新しい気意で欲望記表からその記表の言語的意味で抽象化で表現することで抽象の欲望概念を実在に歪曲する。 彼は同時代の社会的実状を社会的コラムの「カートゥーン」として見せながら、その実体との交感をしている。

カートゥーンの中で事件と公演の主体が還流的固着で欲望概念を抽象化して実在として表すことで、想像界の絵画的意味を拒否し、慣習的理性に隠された虚像の実在を欲望概念の抽象界として表す。 これは欲望概念がイメージとして見える実在としての象徴性で実体を表わし、同時代の絶対的な還流の固着現象とした既存の概念美術としての虚無主義的反美術的ミニマルアートを彼の抽象的欲望概念から破壊する。

したがって、欲望的概念美術は虚無主義の反美術的ミニマルアートではなく、抽象的欲望概念を実在のイメージとして摘示する。 すなわち欲望概念と同じ言語的意味として事件と公演イメージを指摘して見せる。 

実在として事件と公演イメージは無意識的欲望構造を可逆的光でいくつかの時間性によって実際的意識の席を構成する。

このように抽象的欲望概念を言語的意味にした事件と公演イメージは、欠乏した欲望によって抽象的欲望の主体が実在構造に分裂し、欠乏した欲望がデザインされた実在イメージと同一視される。 これは実在のイメージを提示して実在ではない抽象だとしたのは抽象的実在を再現できないということ、すなわち絵画で実在を再現できないため抽象の言語的意味のイメージが抽象を代理する。 抽象的欲望を言語的意味と同じ実在のイメージを美的にデザインしたチェ·チョルジュの現代概念抽象化運動だ

チェ·チョルジュの欲望概念を言語的意味にした抽象的デザインの効果は、相手に対する欲望で現実を経験した受益者は消極的ですが、加害者の立場で積極的に実行できる権力者は同調者のような欲望を持って実践に移します。 共感者は権力者が権力の恩恵を提供したり同調者がこれを受ける時、同じ欲望になって実際の行動の主体になります。 

ここで隠された相手の欲望は不適切な権力者と同調者の実際の行動をまた別の欲望の対象に一般化し、戦争の勝利者のように行動します。 しかし、可逆的な光に隠された行為としての実際の効果が公的行為に一般化されないならば、不適切な欲望の主体は不適切な権力と同調者に対する相手の一般的欲望から抜け出し、相手の欲望によって敵対視されます。

光は影を作り、欲望構造の影に可逆的な光を当てると、暗い場所に抽象的欲望概念の言語的意味で陰影を成す。 その陰影は欲望の言語的意味として事後的欲望を支配する実在が記号的イメージに分裂し、主体を象徴する実在イメージとしての欲望を出現する。 欲望的実在は、矮小的イメージとして全体の形状から分離されたもう一つの実在だ。 ここで抽象的イメージは欲望概念の言語的意味と外れた欲望との抽象的な出会いを避けようとする実在化の試みを通じて、言表イメージが抽象化デザイン運動が繰り返し欲望概念の言語的意味が同じ機能性の条件で実在の鏡イメージと同じイメージを抽象的欲望概念の言表的実在を表象する.

現在では、その陰影が視線によって複数の影に重畳し、イメージで分裂した主体が抽象的欲望構造を実在の鏡イメージと同じイメージを実在に合わせて実在イメージを編み出す。 このように欲望の構造は現実で象徴的イメージのデザインを陰影で連結して抽象的な場所を作ります。 これは無意識的な欲望が鏡イメージから可逆的な光の影に特定の実際のイメージで構造を形成し、これを他者の欲望構造に一般化する言語的意味です。 

したがって、欲望構造を特定視線に合わせた可逆的光の陰影で複数の実在イメージに影を作り、欲望構造で複数の影を消して一つの欲望の席に意識的実在を代理するイメージとした無意識的抽象化を成す。

ここで実際のイメージとしての抽象化は抽象的なデザイン過程を通じて抽象的な欲望概念と同じ言語的意味の鏡イメージを消し、チェ·チョルジュの欲望公式に従って実際のイメージをデザインと連結します

光で連続する影は全体を隠したり星のように陰陽で指摘して存在を二分する。 したがって、絵画的再現から始まった仮想的イメージは、実在から離れた新しい概念の導入を通じて、実在から分離されたまた別の実在が形成される。 

欲望概念の対象は遠近法的視覚体系で認知できる形状であるのに対し、抽象的欲望概念の言語的意味のイメージとして可逆的光の陰影でその対象を特定する。 / 文. 元釜山市立美術館キュレーター チェ·チョルジュ（現代概念抽象画家&文化デザイン博士

Louis Chul-joo Choi, morning glory p130-5,  a hand-painted picture on a computer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Louis Chul-joo Choi, morning glory p100-3-2-Overlapping multiple spaces in one place depending on the time,  a hand-painted picture on a computer

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.

Louis Choi Chuljoo, Marilyn Monroe as an actor 2, a hand-painted picture on a computer, 2024 

Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula. 

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

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

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, morning glory p130-5: 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, Marilyn Monroe as an actor 2, a hand-painted picture on a computer, 2024 

Choi Chul-joo's "Marilyn Monroe as an actor" is not a philosophical ideal, but a cross-sectional shape of pop art.

Therefore, portrait images are valuable in expressing the aesthetic structure and series of semantic shapes of people who view people as ideological ideals stopped at the same time in their everyday place. 

The image reveals the value of the portrait image in the form of meaning that the object is revealed beyond philosophy by the status of the contemporary object.

Portrait images representing philosophical ideals enjoy semantic phenomena and are formed as existential abstractions. This creates a semantic gap between the portrait and the same image, and projects the gap into phenomenal light. And it realizes the shape of existence perceived at the same time with the shade of reversible light.

Therefore, the portrait image formed as a pop art image appears to be a universal image that conveys a semantic entity to a specific shape in the shadow of existence and reversible light, and from a conceptual point of view, the image shows traces of contemporary aesthetic conditions and existential meaning. 

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 252-Marilyn Monroe as an actor: 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: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest e252-Marilyn Monroe as an actor: 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: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest e252-Marilyn Monroe as an actor-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: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest e252-Marilyn Monroe as an actor-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 Chul-joo Choi, morning glory p100-3-2-Overlapping multiple spaces in one place depending on the time,  a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory Louis Chul-joo Choi, morning glory p100-3-2-Overlapping multiple spaces in one place depending on the time, : 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 p134-2-Desire structure of objects in a pond reflected-Mona Lisa> 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, Overlapping multiple spaces in one place depending on the time, 113X149cm, 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 Chul-joo Choi, morning glory p100-3-2-Overlapping multiple spaces in one place depending on the time,> becomes a non-real abstraction of reality.

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

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Chul-joo Choi, morning glory p100-3-2-Overlapping multiple spaces in one place depending on the time,  a hand-painted picture on a computer" 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 e252-Marilyn Monroe as an actor-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And  Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression‎ for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression‎ in contemporary art. 

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

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

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 252, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p100-3, 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.

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.

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.

Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula. 

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

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

Louis Choi Chul-joo's "morning glory" is painted on a cloth that reflects the image on the back as an image generated from a crooked image that means the substance of the morning glory.

Louis Choi Chul-joo <morning glory> is an abstract thread painting depicting the concept of desire drawn on a fabric whose back side is reflected by hand using images created as anamorphosis, which means the reality of morning glory.

On March 1, 2022, at Flushing Town Hall in New York and at Yeomyeong Hall in New York on March 8, 2022, Louis Choi Chul-joo's "morning glory" exhibition in New York completed 100 posters of New York by visualizing the progress and results of depicting the imagination of other people's desires and objects of existence while facing the artistic notion of desire conceptual art in preparation, and the final abstract work "morning glory 2022 p-100" is displayed in the New York exhibition. 

Here, by producing painting and poster abstraction of contemporary art works using the same conceptual art, Louis Choi Chul-joo's solo exhibition works were presented as modern art abstract paintings symbolizing the exhibition image of paintings. In other words, it referred to the concept of posters as modern art abstract painting as immaterial visual effects. This is the same conceptual art abstraction as <morning glory> by visualizing another painting and poster in the place after setting a place for one exhibition space. 

A review of contemporary art works <morning glory> on the exhibition of contemporary art poster by contemporary art critic and contemporary artist Louis, 20220301~20220308 Flushing Town Hall, New York.

Painting docent as Lacan conceptual art: Lacan conceptual art faces artistic ideas. It visualizes the phenomenon of progressive phenomenon and results as painting objects of Lacan's an imagination and existence. ( ACN ・ 2021. 12. 28. 17:07 라캉적 도슨트/ 루이 최철주)

As a background of culture, shape abstracts the concept of a realistic structure and determines its shape by reversible shading of light, but the background in which the shape disappeared as the whole is covered according to its shape time is summarized as contemporary light.

(Choi Chul-joo's Cultural Concept Theory of Realistic Abstract Painting with Treacherous Conceptual Art) 

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)

Therefore, realistic abstraction using treacherous conceptual art abstracts realistic concepts by confirm‎ing the formation of the shape as a shade of light that distorts the realistic structure in everyday events. 

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 rib images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon rib image as an image. (*Cartoon rib image, that is, an image that emphasizes the hidden meaning of the cartoon)

Contemporary art works Media Art<morning glory> on the exhibition of contemporary art poster by contemporary art and contemporary artist Louis Choi Chuljoo, 20220301~20220308 Flushing Town Hall, New York.

Modern Art Critic and Conceptual Artist Choi Chul-joo's Modern Conceptual Art is the concept of early conceptual art and is the return of painting. In other words, because it is a conceptual art created by a painting work, his contemporary conceptual art criticizes phenomenal images such as current events and mentions the meaningful value of painting.

This combines the life value of critical perspective and cartoonization with scene photography of events, which goes beyond mathematical and philosophically meaningful linguistic interpretations, and combines the life value of critical perspective and desire with satirical photo image of events. Here, desire abstraction means a conversational personality that can immediately recognize the rational perception of the other person's desire rather than an arbitrary philosophy. 

Louis Chul-joo Choi, morning glory 2021-k-1, 136X168cm, acrylic and composite materials on cloth, 2021

Louis Choi Chul-joo is a contemporary art critic and contemporary conceptual abstract painter in the fields of photographic aesthetics and cultural design theory at the 2022 New York exhibition, and he created a pop art abstraction of contemporary photography that interprets the aesthetics of photography through photographic criticism. One of his notable paintings is a realistic poster abstraction of "morning glory" a grammatical design of symbolic expressions made in reversible shades of light against the backdrop of the concept of desire. 

The concept of his work realistically designs events and performance scenes based on his desire work to explore the image structure of conceptual art and create abstract designs from symbolic expressions made in reversible shades of light.

Through reversible light that explores realistic abstractions as treacherous conceptual art, his work reveals spatiality and temporality that abstracts the concept of desire, like symbolic expression‎ grammar created by reversible shades of light.

This is an example of his realistic desire conceptual abstract movement, which creates abstractions based on contemporary art conceptual abstract works related to morning glory posters, expressing design as contemporary conceptual abstractions with grammatical structures the symbolic expressions created by reversible shades of light as a conceptual semantic structure.

The object (Luis Choi Chul-joo 2022 New York exhibition morning glory 2021-e), which depicts the meaning of the shape seen in the meaning space created by the reversible light of the non-real shape, represents an abstract space that can reverse the object into a real shape by structuring the meaning of the image that hides the desire of the other in the temporal shadow, and the image in the mirror shows the concept of desire of the abstract image that reveals the place of the other's unconscious desire with a non-real virtual image.

The concept of desire is an abstract meaning, or the concept of desire, obscured by changes in the actual form of an exhibition poster by composing certain forms of meaning into grammatical expressions of symbols in the shade of reversible light. For a long time, when the other person's desire is shared by abstraction or the meaning of desire, the meaning of the hidden image is obscured by the actual changed movement of the event image as an object in the form of an exhibition poster.

This is a distorted planarity that seems to consistently mean an morning glory in the painting. The morning glory is like a mirror reality, but the shape of the background is not the same. This is because abstraction as an unrealistic form of conceptual semantic structure with the same meaning as conceptual semantic structure, but abstraction as the same meaning of different shapes is realistic unrealistic as an ideological informal being of different colors and sizes.

Its existence defines abstract space as a real reversible form, a grammatical representation of symbols created by the reversible shading of light of the object whose form is obscured by the real change of the reversible shadow of light, which represents the abstract meaning of the object in exhibition poster concept art.

Desire Concept Realistic Abstract Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest e252-Marilyn Monroe as an actor-pond-mirror, a hand-painted picture on a computer/ 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. ■ 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.