Abstraction des Concepts Art et Artiste contemporain [6] Critique de l'arti

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Abstraction des Concepts Art et Artiste contemporain [6] Critique de l'artiste conceptuel abstrait: Critique de l'art contemporain et du design de l'art conceptuel Résumé Art par l'artiste contemporain Louis Choi Chul-joo, Art contemporain et abstraction des concepts de design contemporain [6] Critique artistique et design d'artistes contemporains et de concepts contemporains / Critique artistique abstraite contemporaine et design de l'artiste contemporain Louis Choi Chul-joo est une critique et un dessin artistique abstrait basé sur le concept du désir, dans lequel les traces des désirs et de la réalité des autres sont des nuances réversibles de lumière. C'est un dessin qui résume le retour à la peinture comme art conceptuel précoce, c'est-à-dire la critique de l'art abstrait conceptuel et le désir des autres de représenter la réalité réaliste. / peinture abstraite de concepts contemporains [5] Critique artistique et abstrait Critique artistique du peintre conceptuel abstrait: Critiques d'art et œuvres de design d'artistes contemporains et de peintres abstraits de concepts modernes: 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, Marilyn Monroe as an actor 2, a hand-painted picture on a computer, 2024 

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

La formule Désir de Choi Chul-joo est une formule de multiplication qui utilise I/I (image) et D/D (design) comme symboles pour générer une image de désir polynôme en reliant le nombre d'images de design à des images d'événements et de performances. Le sens linguistique d'une image en tant que symbole est une image (I/I) du concept de désir d'identifier le concept abstrait du désir.

En tant qu'artiste abstrait, l'art conceptuel contemporain de Choi Chul-joo est un art abstrait qui résume le concept de formabilité réelle et d'ombre réversible de la lumière en tant qu'êtres irréalistes selon les désirs des autres. Il s'agit d'une abstraction du désir de l'autre de remplacer le lieu réel, c'est-à-dire le désir de l'autre de représenter le lieu réel.

Le concept de désir de Choi Chul-joo Concept de design abstrait est une nouvelle méthodologie artistique abstraite qui incarne des concepts abstraits modernes transformés du romantisme en Abstract en images réelles, à partir du mouvement artistique moderne.

Un art conceptuel crée une double place avec le concept du désir du sélectionneur plutôt qu'abstrait, l'emporte sur l'art conceptuel abstrait à la double place et conçoit à plusieurs reprises une image de réalité comme une entité sémantique avec la structure abstraite désirée par le sélectionneur comme sujet.

L'esthétique conceptuelle des figures qui conçoivent la réalité du désir résulte d'un manque de désir empirique d'abstraire l'expérience esthétique à la réalité objective comme valeur de vie, et la valeur formative est obtenue à partir d'images réelles en satisfaisant le manque d'objets nécessaires.

Ici, l'objet du désir est insuffisant et suit le concept de désir de l'autre d'obtenir une corrélation sémantique par des mouvements empiriques de conscience.

Par conséquent, l'image réelle en tant que structure du désir a une valeur esthétique conforme à la pratique conventionnelle en omettant les images d'ombre du monde réel et en les plaçant dans la gamme de lumière due au concept du désir, et en s'installant dans la structure du vrai sujet et de l'essence de la réalité. En éclairant inductivement le concept dans l'ombre réversible de la lumière, il incarne clairement le sens linguistique de l'image et du phénomène réel.

Multiples espaces qui se chevauchent en un seul endroit selon le temps

L'espace actuel existant dans plusieurs espaces se chevauchant en un seul endroit selon la temporalité est la structure d'une image dans l'espace actuel dans la temporalité. En d'autres termes, il s'agit d'une structure d'image dans le temps présent selon la temporalité perçue par le sujet de l'espace. C'est la temporalité de la lumière réversible qui produit la structure esthétique de l'image actuelle.

Elle n'excède pas la portée de la peinture imitative comme métaphore que l'on voit dans la peinture comme signification linguistique du désir abstrait de temporalité esthétique. Dans la catégorie de l'imitabilité de la peinture, la notation se trouve sur la toile, et la peinture jusqu'aux temps modernes est une contrainte sociale (制約) qui peut être acceptée dans les coutumes religieuses. Dans la peinture, le sens cache la réalité figurative du corps nu et est symbolisé comme une illusion basée sur une histoire mythique. Dans le monde de l'imagination, les signes sociaux tabous ont une signification symbolique, mais les signes morphologiques ne diffèrent pas.

Par conséquent, le concept de désir esthétique de Choi Chul-joo, qui se résume à la même image réelle que le sens linguistique du concept de désir abstrait, éclaire le désir abstrait dans un lieu précis que le présent, de l'intemporel du passé à l'ombre d'une lumière réversible. Ici, l'image réelle actuelle identifiée par le sens linguistique du concept de désir abstrait se traduit par la structure réversible de l'ombre lumineuse. 

L'image crée un lieu de signification expressive abstraite en continuant la structure désirée de la réalité existante dans la temporalité avec des nuances réversibles de lumière.

La réalité invisible comme signification des expressions abstraites, les signes morphologiques des métaphores visibles sont transférés au signe de signification abstraite. La peinture est un signe qui est une forme substantielle, et la substance de la forme disparaît, et c'est une fixation métamorphique comme signe d'un symbole imaginaire. En d'autres termes, la signification comme contrainte sociale dans la peinture transforme le sens figuratif incarné par le désir de l'artiste en une forme symbolique.

Jusqu'à l'époque moderne, les peintures demeuraient dans les catégories de formabilité réaliste et de subjectivité conventionnelle qui représentaient le stade de la lumière et de l'obscurité. Le concept de désir de Choi Chul-joo, qui cherche à échapper au sujet d'un concept de désir fixe, poursuit une abstraction esthétique qui transcende le symbolisme comme « réalité visible »

Lorsqu'il applique la logique esthétique, il l'interprète comme une base philosophique liée à l'art et applique la méthodologie de conception de l'art moderne. Le Dr Choi Cheol-joo, chercheur en design culturel, passe par une formule de désir et un processus de conception abstraite pour éviter les erreurs. 

La logique esthétique est appliquée pour l'interpréter comme une base philosophique liée à l'art pour éviter les erreurs, et le mouvement d'art moderne montré par la méthodologie d'art moderne de Choi Chul-joo développe le désir et le processus du design abstrait en un nouveau mouvement de design abstrait.

En outre, son monde abstrait reconnaît que l'image réelle du sens linguistique du concept de désir est le sujet du désir dans le lieu du désir où la réalité est temporaire, contrairement à l'abstraction du concept de désir.

Dans la théorie de l'art abstrait de Choi Chul-joo, c'est un monde abstrait dans lequel la réalité reconnaît la subjectivité du concept du désir dans sa « morning glory » et l'identifie à l'image réelle et au concept du désir. De l'ère de l'expression‎ de l'image réelle dans la peinture jusqu'au XIXe siècle, l'image réelle est la structure de la perception de la peinture selon les règles sociales continues. Contrairement à l'abstraction de la notion de désir, son monde abstrait reconnaît que l'image réelle du sens linguistique de la notion de désir est le sujet du désir dans le lieu du désir où la réalité est temporelle.

Plusieurs espaces se chevauchent en un endroit selon la temporalité sont des abstractions esthétiques, créant un lieu de réalité où la temporalité ne distingue pas l'image de l'existence, mais chevauche la simultanéité d'un concept de désir caché dans une ombre réversible de lumière, et capture continuellement l'image du désir de l'autre.

L'art conceptuel moderne de l'artiste abstrait Louis Choi Chul-joo est un art qui résume le concept avec des traces de formabilité réelle et des nuances réversibles de lumière comme une non-réalité soumise au désir des autres. Il s'agit d'une abstraction qui résume le désir de l'autre de représenter la place de la réalité réaliste, c'est-à-dire le retour de la picturalité en tant que concept d'art conceptuel précoce.

Par conséquent, l'abstraction du concept de désir crée le sens linguistique du concept de désir abstrait dans la double structure de l'abstraction et de la réalité, et crée l'image des événements et des spectacles comme une entité sémantique d'un désir insuffisant choisi par le sujet dans une ombre réversible de lumière.  

Ainsi, l'image des événements et des spectacles avec le concept de désir abstrait au sens linguistique est identifiée à l'image réelle dans laquelle le sujet du désir abstrait est divisé en une structure réelle selon le manque de désir. Contrairement à la forme anti-artistique, il s'agit d'une image réelle d'un désir abstrait utilisant la forme d'un objet comme le même sens verbal que le concept de désir que l'image réelle des événements et des spectacles.

Choi Chul-joo transforme le concept du désir abstrait en réalité en exprimant le manque de désir abstrait comme une abstraction dans le sens linguistique du désir dans un nouveau symbole. Comme une bande dessinée dans la rubrique société, elle montre la réalité de la société moderne et communique avec la réalité.

Dans les dessins animés, le sujet des événements et des spectacles résume le concept du désir, rejette le sens pictural de l'imagination, exprime le concept du désir comme réalité, et révèle la réalité du monde imaginaire caché dans la raison existante comme monde abstrait du concept du désir. Cela détruit l'art minimaliste anti-artistique nihiliste en tant qu'art conceptuel existant, phénomène fixé comme concept absolu, et révèle en même temps la réalité comme concept de désir abstrait comme image.

Par conséquent, la notion d'art du désir indique que le concept abstrait du désir est une image de la réalité et non un art minimaliste anti-artistique du nihilisme. En d'autres termes, il montre l'image des événements et des spectacles comme le même sens linguistique que le concept de désir. 

En réalité, l'image des événements et des spectacles constitue un lieu de conscience réelle selon plusieurs délais avec la structure du désir inconscient comme lumière réversible.

Ainsi, l'image des événements et des spectacles avec le concept de désir abstrait au sens linguistique est identifiée à l'image réelle dans laquelle le sujet du désir abstrait est divisé en une structure réelle selon le manque de désir.

L'image au sens linguistique de l'abstraction symbolise l'abstraction, car il est impossible de reproduire la réalité abstraite en présentant l'image de la réalité. C'est le mouvement d'abstraction du concept contemporain de Choi Chul-joo qui conçoit esthétiquement l'image de la réalité ayant le même désir abstrait et le même sens linguistique.

La direction du concept moderne abstrait de M. Choi est une conception esthétique de l'image réelle du désir abstrait identique au sens linguistique du concept du désir.

L'effet du dessin abstrait avec la notion de désir de Choi Chul-joo comme signification linguistique est que le bénéficiaire qui a vécu la réalité comme un désir de l'autre partie est passif, mais la personne au pouvoir qui peut l'appliquer activement du point de vue de l'auteur le met en pratique avec le même désir que le sympathisant. Lorsque la personne puissante fournit les avantages du pouvoir ou que le sympathisant le reçoit, le sympathisant devient le même désir et devient l'objet de l'action réelle.

Le désir de l'autre, qui est caché ici, généralise les actions réelles des puissants inappropriés et des sympathisants à un autre objet de désir et agit comme les vainqueurs de la guerre. Toutefois, si l'effet réel d'un acte éclipsé par une lumière réversible n'est pas généralisé à l'action publique, le sujet du désir inapproprié est écarté du désir général de l'autre de pouvoir et de sympathisants inappropriés et est contrecarré par le désir de l'autre.

Si la lumière crée une ombre et reflète l'ombre de la structure du désir, elle forme une ombre dans un endroit sombre avec le sens linguistique du concept abstrait du désir. L'ombre est le sens linguistique du désir, qui divise la réalité qui domine le désir après la mort par une image symbolique et le désir en tant qu'image réelle symbolisant le sujet apparaît.

La réalité désirée est une autre réalité, séparée de la forme générale de l'image déformée. L'image abstraite représente ici la réalité expressive du concept du désir sous condition fonctionnelle que le mouvement abstrait du design soit identique à l'image miroir de la réalité, dans le même sens linguistique que l'image abstraite du concept du désir.

Actuellement, l'ombre chevauche plusieurs ombres selon le regard, et le sujet divisé en images tisse l'image réelle en faisant correspondre la structure du désir abstrait avec la même image que l'image miroir réelle.

De cette façon, la structure du désir crée une place abstraite en reliant le design des images symboliques à des nuances dans la réalité. C'est une signification linguistique dans laquelle le désir inconscient forme une structure allant d'une image miroir à une image réelle spécifique à une ombre réversible de lumière et la généralise à la structure du désir de l'autre.

Ainsi, la structure du désir est créée en créant des ombres dans de multiples images réelles avec des nuances de lumière réversibles adaptées à un regard spécifique, en supprimant plusieurs ombres de la structure du désir, et en créant une image inconsciente représentant la réalité consciente dans un lieu de désir.

Ici, l'abstraction comme image réelle efface l'image miroir au même sens linguistique que le concept de désir abstrait par le processus de conception abstraite et relie l'image réelle au design selon la formule de désir de Choi Chul-joo.

Les ombres qui continuent avec la lumière sont divisées entre les êtres en recouvrant le tout ou en les montrant dans le yin et le yang comme des étoiles. Par conséquent, une autre réalité séparée de la réalité se forme par l'introduction d'un nouveau concept qui s'écarte de la réalité dans l'image virtuelle qui a commencé par la représentation picturale. 

Bien que l'objet du concept de désir soit une forme que l'on peut percevoir dans le système visuel de perspective, il est une image du sens linguistique du concept abstrait du désir et spécifie l'objet dans une nuance réversible de lumière./ L'auteur. Choi Chul-joo, ancien conservateur du musée d'art de Seoul (artiste d'art moderne et docteur en design culturel)

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.

l'artiste contemporain Louis Choi Chul-joo