현대 개념 추상화가 최철주 [4] 현대개념추상미술평론, 현대개념추상미술가평론, 현대개념추상미술작품평론 Modern Conceptual

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현대 개념 추상화가 최철주｜현대개념추상미술평론, 현대개념추상미술가평론, 현대개념추상미술작품평론 Modern Conceptual Abstract Painter [4] Contemporary art critic Louis Choi Chul-joo is a modern art critic who examines the artistry of the aesthetic value process of photographic cartoon art design and approaches the meaning of the work in visual art theory. Painting language structure is the reality of the gaze in which the image of abstract desire seems to be the linguistic semantic structure of the concept of desire. Art critic Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with the concept of desire abstract design along with contemporary art criticism. His criticism refers to a visual art theory in which the artistry of photography, manga, art, and design approaches the meaning of the work in a linguistic grammatical structure and criticizes the reality of the concept of desire. / The story of events and acts by contemporary abstract art critic Louis Choi Chul-joo visualizes the abstract desires of modern concepts through visual art to the linguistic meaning. In this way, modern art criticism, which examines the aesthetic value, process, and artistry of photography, manga, art, and design and approaches the meaning of the work in abstract art theory, is: 욕망을 성공적으로 매개할 수 있는 문학적 개연성(蓋然性) the literary probability of successfully conveying desire    

Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire, 113X165cm, acrylic and composite materials on cloth, 2025

현대 개념 추상화가로서 최철주의 욕망 개념, 즉 현대 미술이 등장하는데, 형이상학적 철학적 빛에서 강조된 언어적 의미의 개념과 충돌하는 그림이 인공 조명으로 극적인 사건 이미지를 만들어낸다.

욕망과 사회적 구조를 반영한 독특한 작품을 선보이고. 욕망의 개념을 가역적 빛의 음영으로 시각적으로 표현하며, 언어적 의미와 추상적 디자인을 통해 타자에게 깊은 욕망 개념의 이미지를 전한다.

욕망을 성공적으로 매개할 수 있는 문학적 개연성(蓋然性) 

욕망 개념의 언어적 의미는 시각적 문법을 매개하는 공간적 관계를 형성합니다.

타인의 욕망에 참여하여 욕망의 장소를 기반으로 한 관점 구조로서의 실제 이미지를 구축하는 문화적 관찰입니다. 이는 타인의 욕망에 참여하고자 하는 문화적 욕망을 성공적으로 매개하고 욕망의 장소를 기반으로 한 관점 구조로서의 실제 이미지를 구축할 수 있는 문학적 개연성이다. 그 이미지에서의 욕망 자리에 배열된 오브제로서 사건 이미지의 주체적 욕망 개념을 실재와의 차이로서 추상을 생성한다.

여기서 결핍된 욕망으로 제시된 추상과 불연속성을 이루는 실재 이미지레 가역적 빛과 음영적 형태를 주어서 추상화를 구성한다.

그 추상화는 욕망의 주체를 지향하는 벡터로서 기호적 상징계에서 소외된 욕망의 존재를 실재 이미지로 분열하여서 욕망 개념이 실재 이미지로 전이할 없는 프로이드 사후성의 본질에서 벗어나 최철주의 욕망 개념은 가역적 빛의 음영으로 원인적인 추상적 욕망에서 무의식적 욕망 개념을 매개자로 하여서 욕망의 추상성을 소급한 결과룰 실재 이미지를 연출한다.

이것은 라캉의 왜상적 실재를 평면적 실재 이미지로 직시하는 것이다. 욕망 매개자로서 가역적 빛의 음영이 발현한 욕망 구조는 소유의 속성(possessive attributes)을 가진 욕망 개념과 실재를 분열한 결핍된 욕망의 추상계에 마문다. 즉 추상계에서 결핍된 욕망 공간을 설정하여서 분열한 실재를 언어적 의미로서 추상적 이미지를 실재에 통합(integration)한다.

욕망의 개념은 실제 이미지로 설계되었으며, 욕망의 개념은 여러 기존 프레임에서 언어적 의미로 구조적으로 표현됩니다. 이는 결핍된 욕구으로 인해 발생하는 언어적 의미로서의 회화적 이미지로 표현한 것입니다.

선거 기간 동안 트럼프는 결핍된 욕망가 연결성을 가진 사진 이미지를 통해 결핍된 욕망을 넘어 대통령 후보가 되는 정치적 위기를 피합니다. 

이것은 시각적 정치 이미지에서 최우선되는 정치 리더의 이미지가 되어서 대통령 선거에 미치는 영향을 주어서 유권자와의 후속 관계를 유발한다. 

인기 있는 방탄소년단의 음악을 연출하는 행위처럼 그는 성조기를 배경으로 한 이미지로서의 미국 대통령의 심볼로 의미화하여서 유권자를 조작하는 정치적 이미지로서 상징적 승리 구조를 구성했다.

여기서 정치적 실재에 근거하지않고 상징적 오브제로서 성조기와 분리된 언어적 의미로서 추상적 욕망 개념은 동일한 실재의 보편적 미적 개념으로 발전한 추상적인 실재 이미지가 된다.

그는 보편적 가치체계에서 위기적 욕망의 소유의 속성으로서 전통의 잠식된 사회성을 벗어나 개인적 욕구로서 지나친 행정 개입과 정치력으로 한 경제적 정치쟁점화를 유발했다. 또한 결핍된 욕망의 시각적 문법으로 복지국가를 주장하는 왜곡된 정치로서 실질적 복지는 회손되고 시장경제를 독점하여서 그것의 정당성을 꾸민다.

Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire-sketch, 113X165cm, acrylic and composite materials on cloth, 2025

성공적 욕망의 매개자가 위기적 욕망의 소유의 속성 즉 결핍된 욕망의 시각 문법은 문화적으로 변모한 회화 분야와 결합되어 있다. 

욕망체계 언어적 기능에서 벌전한 시각 문법적 이미지가 추상적 의미를 지닌다.

따라서 최철주의 욕망 공식에 따른 추상적 욕망 개념의 언어적 의미로서의 실재 이미지는 추상화다.

실재 이미지로 귀결된 추상화는 추상적 욕망의 주체가 분열된 거울에 비친 실재 이미지와 추상적 욕망 개념을 동일하게 구성한 회화적 이미지다. 그 이미지는 언어적 의미로 언표(statement)하는 거울처럼 욕망 개념이 예측 가능한 이미지를 실재의 자리에 구성하여서 실재 이미지를 재현한다.

그리고 실재 이미지와 동일한 욕망 개념에서 출현한 자아가 그 이미지의 언어적 의미를 타자의 욕망에 맞추어 가역적 빛의 음영 구조로서 동일시 한다.

가역적 빛의 음영 구조는 새로운 결핍된 타자의 욕망을 이상적인 문제로 만들며, 언어적 의미에서 현실을 시각적 구성으로 나타낸다.

이렇게 분리(separation)된 구조는 결핍된 욕망을 추상적 형태와 대조되는 언어적 의미의 시각적 문법을 창조하여서 실재 사건 이미지를 재현한다.

오브제로서 사건 이미지의 재현은 결핍된 욕망의 구조로서 추상적 욕망 개념으로 진행되며 이미지는 타자의 욕망을 연출한 실재 구조와 사건 이미지를 공유한다.

사건 이미지의 연출은 무의식적 욕망을 언어적 의미의 실재 구조로서 추상적 욕망 개념의 시점에서 결핍된 욕망을 회귀하는 가역적 빛의 음영으로 한 효과적인 실재의 자리를 구현하여서 타자의 욕망이 특정 대상으로서 동일한 언어적 의미를 해석한 이미지를 결정한다.

문법적 언어의 의미는 성공적인 욕망의 매개체로서 부족한 추상적 욕망과 동일할 수 없기 때문에 추상적 욕망이 원하는 실제 판타지 구조에서 벗어나 요구에 따라 실제 이미지를 갖는 이중 의미 구조를 만듭니다. 선택된 실제 이미지는 욕망이 필연적으로 소유하는 소유의 속성과 동일한 현실의 환상을 전달하는 상관 객체이며, 연결된 실제 이미지는 욕망이 필연적으로 소유하는 소유의 속성과 동일한 현실에 실제 환상을 전달하는 상관적 오브제로 선택한다.

이것은 욕망의 개념과 상관관계가 있는 문화적 욕망 배경과의 거리를 좁혀 특정한 욕망의 이미지를 만들어냅니다. 또한 이미지 디자인을 곱한 최철주 욕망 공식과 같이 기하학적 개념의 수학으로 장식된 객체에서 욕망의 언어적 의미를 선택하여 타인의 욕망을 관점으로 유도할 수 있으며, 욕망 구조에서 가역적인 빛의 방향과 그늘의 크기로 추상적 욕망 개념의 관점에서 벗어난 실제 이미지를 벡터로 구성할 수 있다.

따라서 사물의 원근적 묘사보다는 사물의 위치를 현실로 결정하는 3차원 구조, 즉 기하학적 현실의 수학적 이론에 따라 추상적인 욕망 개념을 평면 위에 묘사하는 그림, 즉 미적 추상화를 통해 구조 속 욕망의 구조를 만들어내는 순간적인 시선에 초점을 맞춘 욕망의 이미지입니다.

수학적 크기와 방향을 공유하는 욕망의 유클리드 백터는 추상적 욕망 개념을 유클리드 공간에서 성공적 욕망의 매개자로서 실재의 구조를 디자인한 기하학적 오브제를 만든다. 이것은 사건 이미지로서 실재 이미지를 재현하여서 결핍된 욕망의 존재로서 욕망 개념을 매개하는 언어적 의미의 이미지가 결핍된 욕망의 본질을 구현한다.

그리고 결핍된 욕망의 구조가 언어로 전이되고 의식 구조 속에서 추상적인 즐거움이 제거되는 언어적 현실로서 형태소를 중첩하여 구성됩니다.

형태소를 구성하는 문법성에 따르면, 욕망 개념의 이미지는 의미를 말하는 구조주의 언어학처럼 언어적 의미에서 구조적 질서를 찾는 것과 동일하다.

이미지로서의 언어적 추상화는 문법 규칙에 따라 형태소를 실제 이미지로 구성하는 과정입니다.

이는 문장을 구성하는 과정에서 문장의 의미로서 언어적 의미로서 실제 이미지와 단어를 구별하는 은유적 기호를 의미합니다.

따라서 추상화는 최철주의 욕망 개념에서 사건과 퍼포먼스 이미지의 언어적 의미로서 상징적 형태소를 임의의 실제 이미지로 구성하는 그림입니다. 추상화를 문법적으로 해체하려는 시도는 칸트처럼 평면적 의미와 경험적 객관적 현실을 시각적, 미학적 표현으로 구성하는 이중 구조를 가지고 있습니다. 이는 현실에 내재된 욕망의 언어적 의미를 문법적으로 해체하는 것과 달리 현실에 내재된 욕망의 개념에 의해 유도된 욕망의 언어적 의미를 이미지로 구성하고 욕망의 결핍을 희생함으로써 추상화의 언어적 의미를 현실의 이미지로 전이하는 것입니다.

이렇게 사건과 공연 이미지에 대하여 언어적 의미로서 언표(statement) 하여서 의식적 구조의 이미지를 의미화 한다.  

무의식에서 파생된 추상의 언어적 의미를 욕망의 향유에서 거세로 전환하면서 언어적 행동의 차원으로 문법적으로 해체함으로써, 최철주의 추상화는 주관적 목적의 원칙으로서 미적 욕망 개념, 즉 칸트와 같은 미적 욕망 개념을 가진다.

욕망의 매개체로서의 욕망의 속성 구조는 가역적인 빛의 그림자 속에서 실제 이미지로 완성됩니다. 즉, 성공적인 욕망의 매개체로서 결핍을 표현하고자 하는 타자의 욕망은 추상적 욕망과 동시에 존재하는 언어적 의미의 실제 구조에 의해 드러납니다. 이는 메타언어적 기능에 맞는 욕망의 개념을 실제 이미지의 언어적 의미로 이끄는 추상적 욕망의 실제 구조입니다.

따라서 실재 구조를 이미지의 언어적 의미로 재현하려고 문법적 대상의 결핍된 욕망의 주체로서의 속성은 언어적 욕망 배경과 욕망의 자리 그리고 오브제로서 사건 이미지를 결핍된 욕망의 소유적 속성에 따라 미적 대상의 결핍된 욕망을 언어적 의미로서의 상징성을 추상적 실재로서 동일한 기호적 회화 이미지로서 미적 의미를 정의한다.  

이것은 추상적 실재로서의 추상화가 아니라 이미지의 욕망적 이중 자리를 만들고 그 자리에 추상으로 결핍된 욕망 이미지를 존재하는 실재 이미지로 반복해서 디자인하여서 이미지를 가역적 빛의 음영으로 언어적 개념으로서 추상화의 크기를 소거하고 실재의 범위로 자리를 제한한다.      

따라서 욕망의 언어적 개념으로서 추상적 상징성은 결핍된 욕망의 현상을 가진 기호적 이미지로서 문화적 형태 구조적 역할을 한다.

즉 상징적 형태의 예술적 구조는 타자의 욕망의 상징적 형삭에 맞추어 언어적 기호 의미를 타자가 응시할 수 있도록 회화적 실재 이미지로 전이한다. 

이렇게 타자가 응시할 수 있는 욕망 구조는 오브제로서의 사건 이미지에서 결핍된 욕망의 존재가 가지고 있는 속성을 실재 형태로 구성해서 재현한 이미지다.

그 이미지는 추상적 욕망 개념에 발현되어서 문화성에 따른 결핍된 욕망이 순간적으로 발생하는 사건 이미지에서 소비되는 문회에 맞춘 기호적 추상화로 변모된다.

그 추상화는 문화성의 서사적인 현존하는 벡터 이미지로서 문학적 서사적 이미지와 욕망 개념적 결핍된 이미지로 구분된다.

여기서 욕망 개념의 언어적 의미로서 사건 이미지를 행위를 표시하는 동사로서 문법적 벡터이다. 즉 벡터는 욕망 개념을 행동하는 동사지만 언어적 의미를 시각적으로 표출할 수 없기 때문에 욕망 개념을 추상하여서 언어적 의미와 동일한 실재 이미지로 시각화한다.

이렇게 욕망 개념의 언어적 의미를 시각적 표현이 가능하도록 이미지를 기호 방식에 맞도록 디자인을 반복하여서 문화적 사회성에 범위에서 추상적 욕망 개념을 가역적 빛의 음영으로 서사적 이미지로 결정한다.

또한, 성공적인 욕망의 매개체로서의 대상의 욕망 개념, 즉 추상적인 대답을 은유적 현실로 거부하는 언어적 의미의 수사적 이미지는 빛의 그림자 속에서 가역적인 빛이 비추는 어두운 면의 연못에 반영되어 욕망의 결핍을 뒤로 숨기고 욕망의 결핍에 의해 소유된 대상을 바라보는 대상의 모습을 반영합니다.

욕망을 성공적으로 매개할 수 있는 문학적 개연성은 추상적 욕망의 조작에서 벗어난 논리적 실재 이미지로 추론하는 로고스(논증) 함으로서 수사학적으로 추상을 오브제로 설득하는 언어적 의미를 정립하여서 타자의 욕망으로 입증하는 논거(preuve)를 통한 실재의 이미지를 판단한다.

따라서 사건 이미지에 논리적 실재 이미지로 문학적 개연성을 부여하더라도 사건의 개연성과의 욕망으로 증명된 행위 이미지는 실제 사실이기 때문에 사건의 결과를 가능한 이유로 설명하고자 하는 욕망의 보편적 논증을 따른다. 이처럼 사건의 결과를 입즐하기 위한 논증 과정은 욕망의 일관된 설정으로서 실제로 가역적 빛의 음영으로 구성하는 추상적 디자인 과정에 맞춰져 있다.

언어적 의미로서 사물의 존재를 사실적으로 구성하기 위해 실제 이미지를 구성하는 추상적 디자인은 특정 사물의 욕망 개념을 일관되게 유지합니다. 또한 특정 욕망 대상의 미적 특성을 끌어내고 추상적 욕망이 이미지에 의해 촉발되지 않도록 욕망의 개념을 실제 이미지로 추상화한다. 

이러한 수사학적 판단으로 한 결핍된 욕망의 소유하는 오브제의 속성과의 개연성에 따른 결과로서의 실재 이미지는 문학적 보편성에 따르기 때문에 그림으로 표현될때에 문학적 개연성에 따른 추상화가 된다. 즉, 추상화가 결핍된 욕망의 이미지에서 언어적 의미를 실제 이미지로 구현하고, 수사적 판단을 통해 욕망의 소유 대상이 추상적 연개성으로 인과적 구성을 가질 가능성이 있는 그림 이미지를 획득합니다. 

이것은 추상화를 구성하는 프로세스의 방법을 가짐으로서 실재 이미지의 추상화를 새롭게 규정한다. 이렇게 정해진 최철주욕망공식으로 한 추상디자인 프로세스를 통해서 욕망 개념이 추상화라는 물적 오브제의 형태를 이룬다. 그리고 결핍된 욕망을 소유하는 오브제가 추상적 개연성으로  실재와의 관계를 결정하여서 타자의 시선에서 추상적 욕망 개념이 언어적 의미를 실재 이미지로 구성하는 주체로서 추상화가 된다.

개연성을 욕망의 개념의 주체로 그리는 것은 타자의 욕망이 추상성과 현실을 하나의 언어적 의미에서 만나겠다는 약속을 지키는 결과를 낳습니다.

그 이미지가 가상이기 때문에 실제 이미지와 다른 욕망 개념의 언어적 의미를 실제 이미지와 동일하게 인식합니다. 

이때 가상 이미지는 추상화를 회화적 이미지로 재현하는 가상 이미지이며, 현실에서 벗어난 새로운 개념의 욕망 공식을 도입하여 현실과 분리된 또 다른 현실을 추상화한다. 

따라서 욕망의 매개자로서 오브제가 현실적 구조로서 개연성을 구성하기 어렵다. 그러나 추상적으로 결핍된 욕망이 사건과 공연 이미지를 실재 이미지로 욕망 공식에 적용한다는 개념은 개연성 추상화의 대상이 될 가능성을 가진다./ 글. 현대 미술평론가 최철주 (문화디자인박사)

Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire, 113X165cm, acrylic and composite materials on cloth, 2025

the literary probability of successfully conveying desire     

The linguistic meaning of the concept of desire forms spatial relationships that mediate visual grammar. 

It is a cultural observation that participates in the desires of others and builds a real image as a perspective structure based on the place of desire. This is a literary probability that can successfully mediate the cultural desire to participate in the desires of others and build a real image as a perspective structure based on the place of desire.

As an object arranged in the place of desire in the image, the concept of subjective desire in the event image is created as a difference from reality.

Here, abstraction is composed by giving a real image consisting of the continuity of the shaded form of abstract and reversible light presented as a lack of desire, and a reversible light and shaded form.

Abstraction is a vector that targets the subject of desire, and it deviates from the essence of Freud's afterlife so that the concept of desire cannot be transferred to a real image by dividing the existence of desire that is alienated from the symbolic world into a real image. Choi Chul-joo's concept of desire is a reversible shadow of light, and retroactively creates a real image as a result.

This is to face Lacan's dwarf reality as a planar reality image. The desire structure in which reversible shades of light are expressed as a desire medium closes to the abstract world of deficient desire that divides reality and the concept of desire with possessive attributes. In other words, the abstract image is integrated into reality as a linguistic meaning by setting a space for desire that is lacking in the abstract world.     

The concept of desire is designed as a real image, and the concept of desire is structurally expressed in a linguistic sense in several existing frames. This is a picture image of a lack of desire as a linguistic meaning caused by a common lack of desire.

During the election, Trump avoids a political crisis beyond deficient desires through connections to becoming a presidential candidate through photographic images that connect deficient desires. 

This becomes the image of a political leader that is the top priority in the visual political image, influencing the presidential election, leading to a follow-up relationship with the voters

Like directing popular BTS music, he formed a symbolic winning structure as a political image manipulating voters by meaning it as a symbol of the U.S. president as an image set in the American flag.

Here, the concept of abstract desire becomes an abstract reality image that has developed into a universal aesthetic concept of the same reality as a linguistic meaning separate from the American flag as a symbolic object rather than based on political reality.

He broke away from the traditional sociality as an possessive attribute of crisis needs in the universal value system, triggering economic and political disputes with excessive administrative intervention and political power as a personal desire. In addition, actual welfare is undermined as a distorted politics that asserts a welfare state with the visual grammar of insufficient needs, and the market economy is monopolized to justify it.     

The medium of successful desire is the property of possession of crisis desire, the visual grammar of deficient desire, combined with the culturally transformed field of painting 

Desire system In linguistic function, the advanced visual grammatical image has an abstract meaning.

Therefore, the actual image as a linguistic meaning of the concept of abstract desire according to Choi Chul-joo's desire formula is abstract painting.

The abstraction that created the real image is a pictorial image that constitutes the same concept of abstract desire as the real image reflected in a divided mirror. Images reproduce real images by constructing images that can predict the concept of desire on behalf of reality, like mirrors that state them in a linguistic sense.

In addition, the ego that emerged from the same concept of desire as the real image equates the linguistic meaning of the image to the desire of the other as a reversible light shadow structure.

The reversible shaded structure of light makes the desire of the new deficient other an ideal issue and represents reality in a linguistic sense as a visual composition.

This segregated structure creates a visual grammar of linguistic meaning that contrasts deficient desires with abstract forms to reproduce real event images.

As an object, the representation of the event image proceeds as an abstract desire concept as a structure of insufficient desire, and the image shares the actual structure and event image that directed the desire of others.

The production of the event image embodies an effective place of reality in which unconscious desire is a real structure of linguistic meaning and a shadow of reversible light that returns the desire lacking at the time of the abstract desire concept, and determines an image in which the other's desire interprets the same linguistic meaning as a specific object.     

Because the meaning of grammatical language cannot be identical to the abstract desire it lacks as a medium of successful desire, it creates a dual semantic structure, choosing to deviate from the actual fantasy structure desired by abstract desire and have a real image on demand. The selected real image is a correlated object that conveys the illusion in reality that is the same as the property of possession that desire inevitably possesses, and a real image with connection is selected as a correlated object that conveys the real illusion to the same reality as the property of possession that desire inevitably possesses.

This creates a specific image of desire by narrowing the distance from the cultural desire background that is correlated with the concept of desire. Additionally, it is possible to induce the desire of others to perspective by choosing the linguistic meaning of desire in an object decorated with mathematics of geometric concepts, such as the Choi Chul-joo Desire Formula, which multiplies image design, when constructing a real image that deviates from the frame of the abstract desire concept's perspective as a vector as a size of a reversible light direction and shade in the desire structure.

Therefore, rather than a perspective description of an object, it is a three-dimensional structure that determines the position of an object as reality, a picture that depicts an abstract desire concept in accordance with a mathematical theory of geometric reality on a plane, that is, an image of desire that focuses on the instantaneous gaze that creates the structure of desire in the structure in three dimensions through aesthetic abstraction.     

Euclidean vector of desire, which shares a mathematical size and direction, creates a geometric object that designs the structure of reality as a medium of successful desire in Euclidean space. It reproduces the real image as an event image and embodies the nature of desire lacking an image in the linguistic sense that mediates the concept of desire as a being of lack.

And it is composed by superimposing morphemes as a linguistic reality in which the structure of insufficient desire is transferred to language and abstract enjoyment in the conscious structure is eliminated.

According to the grammaticality that constitutes the morpheme, the image of the concept of desire is the same as finding a structural order in the linguistic sense, like the structuralist linguistics that speak meaning.

Linguistic abstraction as an image is the process of constructing morphemes as real images according to grammatical rules.

This means a metaphorical symbol that distinguishes words from real images as linguistic meanings as the meaning of sentences in the process of constructing sentences.

Therefore, abstraction is a picture that composes symbolic morphemes into arbitrary real images as the linguistic meaning of events and performance images in the concept of Choi Chul-joo's desire. An attempt to grammatically dismantle abstraction has a dual structure that consists of flat meaning and empirical and objective reality, like Kant, as a visual and aesthetic expression‎. This is to transfer the linguistic meaning of abstraction to an image of reality by constructing the linguistic meaning of desire induced by the concept of desire inherent in reality as an image and sacrificing lack of desire, unlike the grammatically dismantling of the linguistic meaning of desire induced by the concept of desire inherent in reality.

In this way, images of events and performances are expressed in linguistic meaning, and images of the structure of consciousness are made meaningful 

By grammatically dismantling the linguistic meaning of abstraction derived from unconsciousness into the dimension of linguistic behavior while shifting from enjoyment of desire to castration, Choi Chul-joo's abstract painting has an aesthetic desire concept, that is, an abstract beauty like Kant, as a principle of subjective purpose.     

The attribute structure of desire as a medium of desire is completed into a real image in a reversible shadow of light. In other words, the other's desire to express deficiency as a medium of successful desire is revealed by the actual structure of the linguistic meaning that exists at the same time as abstract desire. This is the actual structure of abstract desire that leads the concept of desire that fits the meta-lingual function to the linguistic meaning of the actual image.

Therefore, to reproduce the actual structure into the linguistic meaning of the image, the attribute as the subject of the grammatical object's deficient desire defines the aesthetic meaning as the same symbolic painting image as abstract reality according to the linguistic desire background, the place of desire, and the possession attribute of the event image as an object.

This is not an abstraction as an abstract reality, but creates a desire double place in an image and repeatedly designs an abstractly deficient desire image as an existing real image, erasing the size of abstraction as a linguistic concept with a reversible shade of light and limiting the position to the scope of reality.     

Therefore, abstract symbolism as a linguistic concept of desire plays a cultural and structural role as a symbolic image with a phenomenon of insufficient desire.

In other words, the artistic structure of the symbolic form is transferred to a pictorial reality image so that the meaning of linguistic symbols can be stared at by the other in line with the symbolic criminal code of the other's desire.

In this way, the desire structure that the other person can look at is an image that reproduces the existence attribute of desire that is lacking in the event image as an object in its real form.

Images are represented by the concept of abstract desires, and insufficient desires based on culturality are transformed from images of instantaneous events into symbolic abstractions tailored to the cultures consumed.

The abstraction is a narrative existing vector image of culturality and is divided into a literary narrative image and a conceptual lack of desire.

Here, as a linguistic meaning of the concept of desire, the event image is a grammatical vector as a verb that displays an action. In other words, a vector is a verb that acts on the concept of desire, but it cannot visually express its linguistic meaning, so it abstracts the concept of desire and visualizes it as a real image identical to the linguistic meaning.

In this way, the linguistic meaning of the concept of desire is repeated to fit the image in a symbolic way so that it can be visually expressed, and the abstract concept of desire is determined as a narrative image in a reversible shadow of light in the range of cultural sociality.

Additionally, the object's concept of desire as a medium of successful desire—a rhetorical image in a linguistic sense that rejects abstract answers as a metaphorical reality—is reflected in the pond in the dark side where reversible light shines in the shadow of light, hiding the lack of desire on the back and reflecting the object's appearance as a gaze on the object possessed by the lack of desire.

Literary probability that can successfully mediate desire is logos (argument) that infers as a logical reality image away from the manipulation of abstract desire, and rhetorically establishes a linguistic meaning that persuades abstraction as an object and judges the image of reality through argument that proves the desire of others.

Therefore, even if the event image is given literary probability as a logical reality image, it follows the universal argument of desire to explain the outcome of the event as a probable reason because the probability of the event and the performance image proved by desire are real facts. In this way, the process of argument for telling the outcome of the event is tailored to the abstract design process that actually constitutes a shadow of reversible light as a consistent setting for desire.     

To construct the existence of an object realistically as a linguistic meaning, abstract design that constructs a real image consistently maintains the concept of desire of a particular object. It also draws out the aesthetic characteristics of a particular object of desire and abstracts the concept of desire into a real image so that abstract desire is not triggered by an image.

The actual image as a result of the possibility of the possessive object of the lack of desire due to this rhetorical judgment follows literary universality, so when expressed as a picture, it is abstracted according to literary probability.

In other words, a pictorial image is acquired from the image of desire lacking in abstraction that embodies linguistic meaning as a real image with the possibility that the possessing object of desire with rhetorical judgment has a causal composition with abstract probability.

This newly defines the abstraction of real images by having a method of process constituting abstraction. Through the abstract design process using the Choi Chul-joo desire formula determined in this way, the concept of desire forms a material object called abstraction. In addition, the object that possesses insufficient desire determines the relationship with reality with abstract probability, and from the perspective of others, the concept of abstract desire becomes abstract as a subject that constitutes the linguistic meaning as a real image.     

Painting probability as the subject of the concept of desire results in the other's desire keeping the promise of meeting abstraction and reality in a single linguistic sense.

Because the image is virtual, it recognizes the linguistic meaning of the concept of desire, which is different from the real image, the same as the real image.

At this time, the virtual image is a virtual image that reproduces abstraction as a pictorial image, and another reality separated from reality is abstracted through the introduction of a new concept of desire formula that deviates from reality. 

Therefore, it is difficult for an object to construct probability as a realistic structure as a medium of desire. However, the notion that abstractly deficient desires apply event and performance images to desire formulas as real images has the potential to be subject to probability abstraction./  Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Louis Choi Chul-joo, the literary probability of successfully conveying desire 2, a hand-painted picture on a computer  

The performance image is an object that depicts the meaning of the shape seen in the semantic space created by reversible light. The performance image shows an abstract reality with a symbolic grammatical structure by structuring the meaning of "BLACKPINK creations a new image in the mirror like the picture "Las Meninas·The Maids 18" into an abstract space that can be reversible to the actual shape by structuring the meaning of the object into an abstract space that can be reversed into the actual shape. The image in the mirror is a virtual non-real image that Velázquez revealed in the unconscious desire of the other, a fantastic image that Velázquez revealed in the unconscious desire of the other, a momentarily distorted image of Velázquez's Las Meninas (From a black of desire to a change of form, young voters want to watch Blackpink's The Show ladder tan campadcasts on YouTube), showing an abstract reality with a symbolic grammatical structure.

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 255-the literary probability of successfully conveying desire, a hand-painted picture on a computer: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j255-the literary probability of successfully conveying desire: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

The visualization of the concept of desire: Louis Choi chuljoo, ba-pondmboo forest j255-the literary probability of successfully conveying desire-pond: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <bamboo forest d204-pond-2024 U.S. presidential candidate> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <2024 U.S. presidential candidate> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j255-the literary probability of successfully conveying desire-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: < > As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting < Louis Choi Chul-joo, morning glory p137-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer> created by reversible light.  

Therefore, conceptual abstract painter Louis Choi Chul-joo's "j255-the literary probability of successfully conveying desire" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire  

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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p137-1--the literary probability of successfully conveying desire: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's 3formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p137-1-the literary probability of successfully conveying desire" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. 

Conceptual Abstract Painter Louis Choi Chul-joo's work "bamboo forest j255-the literary probability of successfully conveying desire-pond-mirror" rather than campaign broadcasts through YouTube-pond-mirror" is an abstract reality image that reconstructs the structure of desire created through an aesthetic grammatical structure into a linguistic sense.

Louis Choi chuljoo, morning glory p133-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p113-7-1-South Korean President Threatens People With Declaration of Emergency Order: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression‎ for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression‎ in contemporary art. 

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

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

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p113-7-1> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory p113-7-1-South Korean President Threatens People With Declaration of Emergency Order> becomes a non-real abstraction of reality.

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

 Louis Choi chuljoo, morning glory p133-1-29-the literary probability of successfully conveying desire, a hand-painted picture on a computer

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p133-1-28-the literary probability of successfully conveying desire" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p133-1-29-the literary probability of successfully conveying desire" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 255, a hand-painted picture on a computer

Final image superimposed on the artist's work: Louis Choi Chul-joo, pond s5, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j255-the literary probability of successfully conveying desire-pond-mirror: [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature]  Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons.   ■ Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world.  ■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire,  mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.  ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. ■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of  the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure.  4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see.  Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.

Background image of an artist's artwork: Louis Chul-joo Choi, a woman of the Joseon Dynasty reflected in a pond, 112X122cm, acrylic and composite materials on cloth, 2024

Choi Chul-joo's concept of desire, or modern art, appears, and a painting that conflicts with the concept of linguistic meaning emphasized by metaphysical and philosophical light creates a dramatic event image with artificial lighting.

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.

A Woman in the Joseon Dynasty Reflected in a Pond

Appropriate plants and fish were artificially cultivated in the ornamental pond. According to modern records, a woman in Joseon records her marriage and birthday with painting, and everyday records capture abstract desires in everyday life-like paintings through novels.

Abstract desire is an image in which the concept of insufficient desire that a woman abstracts as a subject away from the concept of flatness and color art exists as a reality of linguistic meaning.

The vector using the direction of the image desired by reality as the subject is a method of conceptual art that abstracts the concept of desire in the symbolic world. This is to repeatedly reveal the concept of existence image as a subject and desire lacking in the symbolic world as reality at all stages of the symbolic world.

In order to repeatedly reveal the concept of desire as a reality, a vector with the direction of the image desired by the real image as the involuntary subject of desire structures the concept of desire like a picture composed of the vector. In the previous stage of abstracting the concept of desire, the subject of existing desire repeatedly reveals the concept of insufficient desire in which the image of existence is abstracted as reality through conscious movement.

Therefore, abstract desire is not a conceptual art, but a double place with the concept of the selector's desire, overtaking abstract conceptual art in that double place and consciously repeatedly designing reality as a semantic entity for the abstractly deficient desire structure desired by the selector as a subject.

Women in the Joseon Dynasty, like the ornamental pond, used social activities based on the Confucian family system as an exemplary virtue of protecting social order and purity (貞節) by focusing on housework. 

In the late Joseon Dynasty, as the monetary economy developed, the status system changed, the status order collapsed, Seoryul was appointed to the government office, and Cheonmin became a Yangban with a blank appointment letter, Gong Myung-cheop (帖), so Joseon women enjoyed culture freely inside the pavilion (樓亭) building as a pond building. 

In addition, as the subject of desire, the woman constitutes the self by equating the reflection in the pond and the lack of desire with reality in the linguistic meaning of an abstract concept.

During the Joseon Dynasty, ponds were installed as structures to prevent water flow and erosion in the pond to see the pond and its surroundings, such as Jeongja Building (護岸), an open-ended daecheong-maru, and plants matching the lake.

The real image of the pond was designed by instantaneously capturing the real image as a correlation with the concept of desire by determining the current real place that has temporarily stopped in the shade of reversible light. 

In other words, the size of the real image is omitted, and the color and background of the real object matching the custom are designed as the same pond as the image of the subject transferred to the positive film so that the real object has an aesthetic value adjusted to the place as a single image within the range of light.     

The image reflected in the pond is designed as a linguistic image of a woman seen from the perspective of another as an infant, and the same self as the woman is created through consciousness movements.

It's an isolated composition from society as if a woman were on an island in the middle of a pond.

The woman in the pond cannot compare the desires of others by seeing her appearance and memories isolated from society. Therefore, in order to escape the existence of desire in an infant's mirror response, a woman who is separated from sociality describes the concept of desire in reality and explains the concept of desire in reality so that she can recognize the absence of desire as a subject by using the actions of others as a mirror. 

As a reality, the subject makes the concept of unconscious desire exist as a specific object with an abstract structure of linguistic meaning.  

In this way, the reality of a specific object is abstracted by looking at reality as a correlation between the actions of the other reflected in the pond and the lack of desire, and realizing the concept of desire as a subject in order to find an object that a desire that is bound to exist wants

The design of Choi Chul-joo's concept of desire, which has been realized as an abstract, abstracts the actual meaning of the concept of desire by superimposing the news cartoon image published as a news desire image with the background of desire, "Morning glory," "Bamboo Forest," and "Pond."

This is a conscious expression‎ act, and the meaning of the recognition as a subject and the lack of unconscious desire background is a dual desire structure.

In a sense, it is shared with the present in one empty space that is not in contact with the object space, but it satisfies the temporality of the object when it comes into contact with another object in a shared place, 

Therefore, when light comes into contact with multiple objects, existing and past objects form a place of light according to various timeliness in the same place, and unconsciousness and consciousness intersect in the current shared place,

Here, the structure of desire where unconsciousness and consciousness intersect is captured by the instantaneous impression of events and action images, the concept of abstractly illuminating the background of everyday desire is clearly embodied, and the abstract image of desire that illuminates the concept in inductively reversible shades of light results in universal reality.

Memory is the light of time, and as the subject of desire, an image with the ego of desire and the place where the image exists as the subject of desire and desire is set up, and the memory of desire creates a place where the ego of the subject of desire and the real image exist in the present. Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p137, a hand-painted picture on a computer