Contemporary Conceptual Abstract Artwork Criticism [3] Contemporary Art Cri

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Contemporary Conceptual Abstract Artwork Criticism [3] Contemporary Art Critic Louis Choi Chul-joo's Abstract Art Criticism: Contemporary conceptual painting & Contemporary Art Today, Choi Chul-joo's contemporary Art Critique and Example of contemporary desire conceptual art: Contemporary Conceptual Abstract Art Review: Contemporary Artist & conceptual abstract artist Louis Choi Chul-joo's  An exhibition depicting the shadow of the concept of desire hidden in the exhibition "morning glory". 20220301~20220308 Flushing Town Hall, New York.

20220301~20220308, Flushing Town Hall, New York

20220301~20220308, Flushing Town Hall, New York

20220301~20220308, Flushing Town Hall, New York

20220301~20220308, Flushing Town Hall, New York 

Louis Choi Chul-joo, morning glory-2021-l-back, 148X175cm, acrylic and composite materials on cloth, 2021

NewYork Exhibition: Louis Chul-joo Choi's "morning glory"

The object to which Lacan's art theory is applied is Louis Chul-joo Choi's morning glory. The object's real is hidden in the margins of the non-real space, depending on the time.

In this way, the reality of the morning glory as a lacan's object becomes the blank space of the non-real space according to the change in time. The trumpet flowers painted there match the image of the light of the space as the target, and the target is set according to the inevitability of the symmetrical unreal space reflected in the mirror, equating the symmetrical real space with the non-real place. This is the space of the image tailored to the object. It is a space of fabric that repeatedly connects one gap and blank, and one picture structure overlaps the color drawn on the fabric with several blanks, square threads.

The image depends on the color and shape determined by the place of the object.

Therefore, the meaning of the image as an object in <morning glory-2021-l-back> made of thread painting is the color of its meaning, and the reality of the customs universality facing the object is decorated with the color of light.

The dark space in contrast to this decorated light is a shadow created by staying in one place. The object that exists here has a cross-sectional shape that has changed its shape due to the appearance of a staring color and familiarity with customs.

The meaning of "morning glory 2021-l-back" is an aesthetic structure in which the shape of a realized object stopped in a place of everyday life is shaped as the color of light, and the color of the reflective margin that is difficult to distinguish is repeatedly drawn on a fabric-like material.

Here, the colored picture unravels the value of reality in the shape of color when enlightened by customs or when in place.

However, the material hidden in the margins of the object in the picture is tailored to the color suitable for the object of the time because it cannot reproduce its timeliness.

And "morning glory-2021-l-back" which sets the outline of the shape on a cloth-like thread as a color line contrasting its color, captures the familiarity of customs with the inevitability of the past space.

This indicates the meaning of the symbolic action that characterizes the design that repeatedly combines pieces of distorted morning glory image in the pictorial imitation process.

The meaning is a symbolic language that symbolizes imitated flowers. Here, the morning glory image is a sculpture of meaning symbolized in non-real space as a result of the lacan's meaning.

The place where the meaning of the morning glory is fixed is an image that leads from unconscious desire to a divided subject, and by repeating the design of the morning glory, the divided subject and the intersection form an image close to the two fixed points.

The semantic function of the image close to the fixed point is simultaneity and synchronicity. The simultaneous function here is the meaning of the sentence, and the image completed by designing the actual object by retroactive effect of the design concept is <morning glory-2021-l-back>.

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

The synchronic function of the image is <morning glory 2020-D>, which is a synchronic structure that can be obtained from the source of the design concept hidden in the linguistic sentence, that is, an image of a contrasting metaphor of the image reflected in the mirror.

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

"morning glory 2021-k-1" is thread painting in the form of a teaching fabric in which the back is illuminated by manually drawing an image of a misarranged image made from an anamorphosis image of a morning glory.

In other words, it is a shape in which the position of non-realistic painting with reflected light is expanded to the anamorphosis image in a shape of a cloth shaded in a thread and a small hole in the fabric.

The meaning of the shape is decorated with the color of the spatial light of the fabric entangled in a grid of the real of the customary universality facing the morning glory.

The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place.

Here, as a real object, color is a visual image familiar with the custom of sight.

The meaning is a symbolic language that symbolizes the imitated flower. Here, the morning glory is a sculpture of Lacan's object ɑ, the meaning of hidden aesthetic structure, as a symbol of space rather than reality by the meaning of desire.

Realization triggered by naturalism is a computer-made virtual image that is easy to create, duplicate, and convert, creating an unrealistic image without an original.

This is a computer technology that is not related to works of art, so it is different from works of art using the other's desire perspective as a medium.

However, computer-mediated media art makes other virtual images into real images, but also has artistry as a replica of the original virtual image.

Therefore, the way to effectively promote works of art is to use media art, and the technical expression‎ of media art is also artistic.

This is an example of expressing the medium of art as a media art with contemporary media technology.

The difference between art and non-art is distinguished according to the existence of object ɑ as a real formed from the perspective of the desire of the other in a hypothetical shape as a real thing and a virtual shape as a non-existence.

Therefore, it is difficult to reveal the object ɑ in a virtual shape as a non-existence without the original. The condition of a work of art is that the meaning of the hidden aesthetic structure that exists as the original is an object ɑ.

A realistic picture forms a formative structure, but when it is the same form that does not distinguish between the original and the reproduction, it is not a meaningful composition.

This is because its formability can form an image or reform it into the same form through a realistic structure.

Therefore, the anamorphosis image of the desire of the other person who is difficult to replicate is the meaning object ɑ of the concealed aesthetic structure as an existence.

Here, the anamorphosis image is an objectɑ as another real image separated from the real image, although it is not real as an image of the whole.

An image formed as a virtual object by reproducing an object in a painting is a virtual image that conceals reality.

The virtual image is viewed as a virtual image by being recognized as a plane.

Here, by revealing the object ɑ as a being through the Lacan art theory system, the virtual image becomes real.

Desire's Object ɑ is hidden in the geometric schematic of perspective that reproduces objects and is momentarily revealed by the desires revealed in the unconscious.

The object ɑ form an anamorphosis image expressed through the desire revealed in the repressed unconsciousness of others with a design to obtain artistry beyond generality, and create the real of the object ɑ to reveal artistry.

The artistry here reveals the object ɑ as another being of the object by transforming the image of the object into an anamorphosis image from the perspective of the other's desire.

And the meaning object ɑ, which has become a concealed aesthetic structure as an existence, acquires artistic meaning with creativity and autonomy.

<morning glory 2021-k-1> depicts an image generated by an anamorphosis image of a trumpet flower, and the form of a picture drawn in the shape of a cloth consisting of a grid in which the back is illuminated is thread painting.

In other words, it is a shape in which the position of non-real painting with reflected light is expanded to an anamorphosis image of a grid hole in which the back is illuminated is thread painting. The meaning of the form is another person's desire decorated with the color of spatial light with thread painting of the real of universality in the customs facing the morning glory. The dark space in contrast to the light of this decorated shape is a shadow created by staying in one place. Here, as a real object being, the color is an image on one side familiar with the custom seen as a gaze. The meaning is a symbolic language that symbolizes the imitated flower. The flower image is a sculpture of the hidden aesthetic structure meaning object ɑ a symbolized being in non-real space as a result of the lacan's meaning.

Object ɑ is an object revealed in desire's art theory as a 'gazing' from the perspective of desire and rational thinking from a perspective.

Therefore, the object ɑ as a gaze was revealed as a dot of light in the eyes of the other as the subject.

This is an image that overlaps with the perspective visual system but is momentarily revealed from a desire perspective in an oppressed unconsciousness.

The eyes on the picture see an object drawn on the canvas, but the eyes is like a subject staring at it.

The gaze determines what is seen and what is not seen in a small hole on the screen, such as a cloth, in space, the reflected light determines the image that is shifted according to the coincidence or inconsistency with the gaze.

Therefore, Object ɑ means a concealed aesthetic structure as an entity revealed in the lustful gaze system, not a non-real image in the perspective visual system.

Louis Choi Chul-joo, morning glory(2021-b), 132X168cm, acrylic and composite materials on cloth, 2021

The emergence of linguistic meanings unconsciously in reversible temporality creates an image of the other's inconsistent desire as the place of <morning glory 2021-b> and develops it in a consistent sense.

This shows the meaning of desire's unconscious language, which repeatedly indicates that there is no unstable element, and draws an inconsistent image of a "morning glory" representing an incomplete phenomenon representing the unconscious language, like the desire shown by the other's conscious movement.

The structuring of "morning glory" as thread painting is an object that implicitly relies on the existence of a structure, that is, the temporality of a momentary coincidence, at a predetermined object.

The image of the object is structured as a shape of the thread, and the image drawn on the connected fabric is expanded into the shade of light to expand the planar shape of the morning glory in the fabric.

Therefore, the structuring of thread painting is the place of morning glory that depend on the existence of an implicit structure in the designated place of the morning glory, that is, the coincidence of momentary temporality.

The position creates an image of a morning glory in the sky and overlaps the image of the overlapping fabric to expand into a reversible shade of light. And the image describes the atmosphere that has changed to flat morning glory and temporality.

By illuminating the position in several directions, the existing shape of the past time is returned to the unconscious shape, and the images reversible to the real shape cannot be overlapped according to one time, but are overlapped in an integrated meaning.

However, the shape does not appear to be meaningful, and the image background is settled in several shades that are momentarily reversible.

This is a different image in which the position of temporality, that is, the image of the sky, appears to be a stimulus of light set in time at one moment of time, just as clouds, rain, and eyes appear.

The image is the place of infinite and continuous existence that light has achieved over time.

The momentary shape in which abstract phenomena coexist as images with form and meaning is a reversible visual structure. When an painter draws, it is the temporal logic of the image that obtains semantic recognition of the image.

Therefore, the structure of the visual reversible reaction is a momentary image according to the visual reversible reaction in the shape of a morning glory, and a misaligned image in which the morning glory is temporarily obscured by shadow or light or coexists in its original position is the meaning of a momentary image.

The image is a view of another person's desire on a cloth at the moment when the shadowy shape of everyday life intersects the morning glory of the past time.

The structure of the branches and leaves of the trumpet flower shows the meaning in harmony with the trumpet flower that matches the appropriate shade corresponding to the light. It's meaning shows the positional structure of the morning glory exposed to bright light in a symbolic shape according to the shadow light.

Therefore, a morning glory painting is an image method that reveals the morning glory that unconsciously exists in the place of the morning glory. The more you repeat the shading image of the reversible light, the more abstract the morning glory image becomes.

In other words, the more reversible light is repeated over time, the less the area of light is expressed by overlapping the shade of the staring morning glory.

The meaning of the morning glory, which repeatedly combines pieces of distorted morning glory image, represents a symbolic shadow in which the other person's desire is specified.

Here, meaning is a language that symbolizes the conceptual image of a morning glory and a flower that mimics an object that always exists.

Therefore, the morphological language of 'morning glory" decorates the reality of the customary universality faced by objects with the color of light.

The dark space in contrast to the decorated light is a shadow created by staying in one place.

Louis Choi Chul-joo, morning glory 2021-h-back, 131X167cm, acrylic and composite materials on cloth, 2021

In "morning glory 2021-h-back" actual morning glory, cats, fish colors, and shadows coincide with conventional images. The "morning glory 2021-h-back" is a word that symbolizes the other person's desire by imitating the other person's desire hidden on the back of "morning glory 2021-h" where the cat's movement has stopped.

As that "morning glory 2021-h-back", the cats image is a sculpture of meaning symbolized in non-real space as a desire's word of meaning generated by visual reversible reaction in its place.

This is because the color of the shade caused by reversible light on the overlapping fabric determines the position of the cat and morning glory, and over time, the distorted desires of the other overlap and develop into an image of fabric.

This is a visible phenomenon, and the morning glory made by the movement of the other's desire appear inconsistent, and the images of the cat that's separated from desire and the morning glory, whose desires are fragmented, overlap with intersecting threads to form a space ahead of them.

Louis Choi Chul-joo, morning glory-2021-l-back, 148X175cm, acrylic and composite materials on cloth, 2021

The "morning glory 2021-l-back" approaches landscape paintings that seemed to be the daily desires of others, rejects two-dimensional flatness, divides fantastic plane images into two planes and shows them in a fabric structure so that they can recognize others' desires as reversible shadows.

It is difficult to reveal the object ɑ of the structure of beauty concealed in the object of the hidden structure existing as an attribute of shadow in a picture that is converted into a system that approaches recognition as a meaningless being and draws out symbolic expressions.

The perceived symbolic expression‎ is a linguistic composition lacking a formative aesthetic structure that is well-seen at the bottom of the image. It is perceived as a flat expression‎, but it is a virtual image that hides reality.

The image is a virtual image that deviates from the perspective of reality and belongs to the structure of desire as a hidden aesthetic structure.

<morning glory 2021-l-back> is a background shading by manipulating the morning glory's background with reversible light on the surface of a fabric made of crossed threads.

And light reflected in a small hole in the fabric is an abstract image that expands the plane of an object by overlapping it with reversible light in an unrealistic picture.

The meaning of the image is that the reality of the present universality that trumpet blossoms encounter representing the other person's desires overlaps with reversible light, decorating all space with the sense of color.

The dark shape that contrasts with this decorated flat image is a momentary shadow of reversible light drawn on the fabric.

Here, the cross-sectional image of the custom seen as a real object looking at color is a language that symbolizes an imitated morning glory. This is because the morning glory image is a reversible shadow of the Lacan's semantic structure.

The expression‎ of color recognized as a shadow forms the semantic structure of the image according to the tone of speech with temporary light that reflects the desire of others who are staring at the screen or are invisible.

The transition from a practical expression‎ of this semantic structure to a symbolic system transmits the plane dimension of the object to a semantic structure. The planar image of this practical morning glory makes you stare at symbolic expressions and real images. It shows a dual appearance of expressing the opponent's daily life and symbolic desires at the same time through morning glory.

By removing the stage of volume by using reversible shades over time as monochromatic color, <morning glory 2021-l-back> does not have a fantastic image of the object by light, that is, an image of quattrocento painting.

The morning glory has no setting of light, while the background is painted in the way of Quattrocento painting. This is the process of transitioning from an imaginary world to a symbolic world, and images that do not exist, that is, images reflected in the mirror in the imaginary world, coexist. It reproduces the reality of a morning glory as an image that coexists, but the background image is identified with the morning glory, but the image assimilated with a non-substantial shaded color does not fit the metaphorical meaning of the substance. Its meaning is metaphorical like the linguistic structure, so it is not the same as the form of a morning glory.

Therefore, the meaning structure of shadows created by reversible light with images different from morning glory is an object as a reality, not real. It's not an image as an object, it's an object of reality as someone else's desire. In this way, Lacan's symbol, "morning glory 2021-l-back," shows the concept of changing the shape in which reality exists and enlightening its meaning.

The morning glory 2021-l-back is a small hole where the surface of the picture intersects, setting the non-actual position with reflected light, and drawing a shadow shape in which light overlaps. On the right back and side, the part that receives the light has a bright shape unlike it really is, and the rest has a shape of a shadow transferred by reversible light.

By revealing the reality of <morning glory 2021-l-back> created by the other person's desire, it created a dual space in everyday symbolic expression‎ and real space. In terms of perception, this reveals the flatness of the picture that converts the morning glory, which appears to be an external image, into a symbolic image in contrast to several reversible light. Here, the morning glory 2021-l-back extends the position of the non-real image with reflected light reflected from a small grid-shaped hole pierced on the grid-shaped fabric of the grid.

This is expresses non-real images and existential meanings in the part of the light reflected from the back and the light reversible from the before the time. It forms a visual object with reversible light, brightens the object with a awakened image of the other's desire, and forms a form in which the rest of the image is shaded by several reversible light.

By revealing the reality of <morning glory 2021-l-back> made by the desire of the other, it created a real space with symbolic representations and behind everyday life.

In terms of perception, the morning glory flower, which appears to be a substance as an external image, is converted into a symbolic representation system in contrast to a shadow with several reversible lights in the background. In other words, the represented painting of a symbolic representation shows an image of a cultural shape overlapped with several reversible lights over time.

Louis Choi Chul-joo, morning glory 2021-e-back, 114X169cm, acrylic and composite materials on cloth, 2021

The crooked image viewed from the side as the object ɑ of Lacan is consistent with visualizing a photo image of the other person's desire in the past as a collage.

This is a crooked image generated by reversible light that goes beyond the actual visual image of the picture. This is because it is an image created by the desire of the others in the Lacan's theoretical system, which is an irrelevant gaze area whether it is flat or three-dimensional. As an object in <morning glory 2021-e-back>, the morning glory at the bottom of the center among the three morning glory is not clearly aligned and viewed by the object 'ɑ' looks like a gaze.

Here, the morning glory refers to the presence stopped by a momentary gaze in the continuity of reversible time.

The image in <morning glory 2021-e-back> shows the existence of reversible temporality by planarizing the morning glory according to the reversible temporality of the perspective visual system margins and objects.

However, even if the existence of the morning glory is reproduced, the morning glory is identified as the background image, but it does not match the object 'ɑ'

It is a meaning structure of shadows created by reversible light with different images from morning glory about what existence is. It is an object that has another reversible temporality from a shadow that is not real.

Therefore, the object is not an image as an object, but a reality as another person's desire.

The morning glory at the bottom of the center connects reversible light to determine the place of existence and form a process of time to indicate the direction of the existence and a space in which it exists.

A morning glory flower formed at a single light source point in time does not have a sense of volume. Here, the morning glory is a partially fragmented image, such as a collage. In this way, each partial image exists in space as a fragmented shape exposed at the same time.

The planar morning glory is the form of a subject generated by the observer's gaze. Through morning glory that have eliminated volume, the presence connected to the reversible light is extracted, and the various reversible light in the background and the shadow of the morning glory are contrasted to show a plane view converted into a distorted image.

The desire's gaze cannot be selected as a visible image in which real and non-real reproduce an object according to the perspective of view, and the pictorial image expressing the actual image is identified as an image as non-real.

Therefore, the existence of an object is a distorted image similar to that of desire's object ɑ.

Louis Choi Chul-joo, morning glory 2022-b-back, 130X158cm, acrylic and composite materials on cloth, 2022

The painting they completed as a means of livelihood is what desire calls a picture reflected in the mirror, that is, an imaginary system as a metaphor, an object that is satisfied with the image of the real object as an infant by looking at the object reflected in the mirror.

In <morning glory 2022-b-back>, the boundary of the canvas visual range is removed and the three-dimensionality of invisible mannerism in the picture is removed to schematize it as a semantic object. This is an object viewed from the perspective of semantic duality, away from the traditional style of painting expression‎ from the Middle Ages to the modern times.

It imprints that it is a flat canvas and refers to the reality of the family as another meaning of the compositional image formed by chickens and chicks, not the actual picture of perspective. It is a lacan painting that shows the shadow of object a with a reversible light that rejects the image center of simulacre, which replaces real, by omitting the volume of chicken and rejecting perspective description.

The transition from such a semantic representation to notation shifts the planar dimension of the figure to the essence of meaning. This is a dual object that simultaneously shows livestock in daily life and a family in a symbolic sense through chickens and chicks.

The shape of the picture reveals the aesthetic meaning of an object in the visual system in image painting.

This is a pictorial act, and the object is defined in a limited area in perspective, distorting the original space, and drawing it on the canvas to produce meaning.

In addition, another meaning due to the shape of the area similar to the object forms a meaning subtracted from the image in a semantic form from the double expression‎ of the shape.

The dual meaning formed here breaks the relationship with the apparent being in the visual system and exists as a meaning in an immaterial cultural space.

The verbal expression‎ of the object in the picture is also metaphorical, but assuming that it is an image that is not reproduced, real exists as a virtual image that reproduces real through thinking.

Here, 'morning glory 2022-b-back' is an unrealistic meeting that distinguishes the symbolic image and real meaning of morning glory, contrary to the reality that chickens and chicks are life and family.

In the picture space, desire's real is different from objective real and representative thoughts. It has a real object ɑ that is separated from the real transferred from the symbolic world

In "morning glory 2022-b-back," the hidden images of chickens and chicks in the morning glory landscape are repeatedly expressed in the meaning of the family, and the meaning of the family is revealed in the composition of hidden images from the images of chickens and chicks.

In the semantic space in the picture, the volume of chicken is omitted in its actual shape, and the meaning of the family is expressed in a non-visual system.

In the public domain, real is a hidden meaning beyond the displayed image.

As a real in its concealed meaning, "morning glory 2022-b-back" shows both the space of life and chickens and chicks with morning glory in the landscape to reveal the existence of the family. "morning glory 2022-b-back" is a real that shows the value revealed in the family's appearance, eliminating the unrealistic real that seems to be right in front of you and depicts the reality of meaning through thinking.

Painting in the symbolic world is only a continuing symbolic existence of objects. desire calls its existence a transcendent signifier.

<morning glory 2022-b-back> metaphorically expresses the meaning of the family as a real, an area separated from the realm of the symbolic world. Without showing the object to be expressed, compare the actual meaning of the family to chickens and chicks. In other words, invisible concealment creates an image that symbolically compares its meaning with its symbolic image.

However, Freud's unconscious expression‎ can be compared to the desire of the symbolic others in the Lacan theoretical system through psychoanalytic interpretation. Here, the symbolic other's desire is identified in the category of the symbolic world in Freud's unconsciousness and the linguistic meaning of desire's signature image.

Therefore, the meaning of desire's concealed real image is an unconscious structure. By understanding the real of the family, which is not seen in <morning glory 2022-b-back>, you can find the meaning of the image that symbolizes the existence of the other's desire in a desire's painting.

The pictorial objects invisible in the visual system are desire's object ɑ and surreal object.

This is a distorted image in which the desires of others appear momentarily as an object ɑ of surreal desire.

That is a dual object of surreal painting that has a symbolic meaning, unlike the meaning of symbolic and perspective actual shapes, as a shape derived from human subconsciousness.

The semantic language of desire's surreal image is based on the existence of real that identifies Freud's unconsciousness as a category of symbolic world. Therefore, the meaning of Lacan's surreal real is an unconscious structure. By understanding the real of the painting, <morning glory 2021-h-back> can be interpreted as another unconscious real in visual art symbolizes the desire of others.

In other words, the real of desire's unconscious shape is the effect of the emergence of incomplete and distorted images formed by repeating the semantic language of the image. This is a formula that can be exchanged for meaning through the conscious movement of the notation image, and the meaning is determined by substituting a shape to reveal the meaning of desire's desire graph.

It is similar to constructing an image with an unconscious structure into a scenario like a stage in a play and revealing and interpreting the meaning of the scenario through the thinking movement of the image shining reversible light of the past.

In desire's theory of visual arts, image exchange is expressed as the others person's desire instead of semantic action by repeating the structure of the mark image and shows meaning that does not act as resistance to insufficient images, that is, insufficient forms. In desire's graph of desire, it accepts Saussure's symbolic language, but reveals the meaning, which is the effect caused by the unconsciousness that prioritizes the meaning, that is, the image of the notation.

Here, Choi Chuljoo's desire formula; 'D(I...I')d=I(D...D'i)i' is replaced with <morning glory-back>, the morning glory as a image is connected to the sky, and the cat is incarnated, and the fish is selected as an object ɑ of the batter's desire and shaded into an object in the shadow. 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 Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> 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 <morning glory> 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 <morning glory> becomes a non-real abstraction of reality.

Examples of non-realistic abstractions include: objects of desire (light gray trousers) are affected sequentially by subtle changes in reversible light and follow a complementary contrast of light. 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.

Choi Chuljoo's desire formula, which functions visually in the picture, describes shapes such as unconsciousness and language so that others can experience their desires consistently and meaningfully. Therefore, the attempt to pursue in desire's painting seems to constitute a meaning that symbolizes the desire of others hidden by images, like unconscious language, in the existing space where certain effects of semantic behavior occur. / Writing. Contemporary art critic Choi Chul-joo (Media Artist & Doctor of Cultural Design)

Choi Chul-joo, a contemptual abstract  artist