개념미술가 최철주｜현대개념미술평론 현대개념미술가평론 이미지개념설치작품평론 8 Contemporary conceptual artwork

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개념미술가 최철주｜현대개념미술평론 현대개념미술가평론 이미지개념설치작품평론Contemporary conceptual artwork criticism: Contemporary conceptual art Criticism [8]  Abstract conceptual art = Louis Chul-joo Choi, morning glory window 2024-7-the gaze, 222X218cm, acrylic and composite materials on cloth, 2024 & Korean News Cartoon Culture Column in Cartoon Review [188] Trump gets attacked during the campaign, (2024-7-14)  / Reporter Choi Chul-joo’s Cartoon Review  

Louis Chul-joo Choi, morning glory window 2024-7-the gaze, 222X218cm, acrylic and composite materials on cloth, 2024

나팔꽃 윈도우 2024-6-시선

추상적 관점에서 회화의 관점은 추상적 공간 개념을 현상적 이미지 속의 부분적 표상으로 바라본다.

여기서 "나팔꽃 창"의 시선은 현실을 넘어 추상적 공간에 현상적 이미지로서의 개념적 대상을 병치시킴으로써 실제적 이미지를 유도하고자 한다.

여기서 '나팔꽃 창'의 시선은 현실을 넘어선 추상적 공간에 하나의 주체로서 현상적 이미지로 병치하여 현실을 유도하고자 한다.
 추상화는 현실과 추상화를 욕망의 이미지로 통합시켜 현실적 대상으로서의 욕망의 추상화를 현실과 동일한 범위의 시선으로 제한한다.
 이는 현실과 추상을 동일한 이미지의 대상으로 연결하는 관점이다.

시선은 실제로 주체로서 움직이지않는(immobile) 대상을 추상적 이동성(porfability)과 응시로 그려냄으로써 동일시한다. 즉 현실의 대상은 시선의 추상적 이동성과 함께 대상과 동일한 형태로 원근적 추상의 대상으로 전이된다. 여기서의 대상은 주체를 대표하는 대상의 존재를 지칭하는 것이지 다다의 레디메이드(readymade)처럼 다른 개념의 대상은 아니다. 이는 욕망의 개념으로 추상화된 실재의 이미지이다. 그 이미지는 언어적 무의식에서 이미지로 합성하는 초현실주의 개념과 유사하지만 <나팔꽃>의 오브제와 동일한 이미지로서 실재이다.     

<나팔꽃 윈도우 2024-6-시선>에서 나팔꽃은 욕망의 지위를 취득하는 오브제다.  

현실과 욕망의 개념으로 구성되며, 보는 사람을 그림 이미지로 하는 욕망의 개념은 언어적 의존성을 따른다. 즉, 현실과 욕망의 개념의 관계로서 언어적 욕망의 개념 의존성에 의해 이미지가 결정된다.
 이는 타의적 욕구를 이미지화하여 타의적 추상성으로 언어적 개념을 지닌 현실적 대상이다.     

<나팔꽃> 욕망의 무의식적 오브제는 천위에 가역적 빛의 음영으로 실재를 현상하여서 실재와 추상의 경계를 소거한다. 즉 현상적 욕망 이미지를 시간성으로 실재 이미지로 지각한다. 

추상적 욕망 관점으로 인식되는 시선은 빛을 욕망구조로 보는 평면적 구조의 추상화와 현실을 부분 평면으로 하는 욕망 관점의 추상화를 응시하게 한다. 그 이미지는 언어적 욕망 개념에서 추상화된 실체로서의 욕망 개념을 추상화한 것으로 현실의 부분적 이미지인 "나팔꽃 창 2024-6-그 시선"을 평면적 부분의 실재 이미지를 의미하도록 하는 추상화이다. 이는 최철주의 욕망 공식에서 적용되는 욕망 예술 개념의 추상화 과정이다.

그 상상적 욕망(imaginary desire) 구조는 욕망의 시선으로 추상 공간을 만들고 비실재의 추상을 평면 구조한 실재와 동일시하여서 실재는 선 구조를 확장하여서 그 실재를 이미지로 전도된다. 그 실재애서 순간적으로 일어나는 욕망 개념을 실재 이미지로서 응시하는 생각을 추상의 상태로 한정한다. 

따라서 <나팔꽃창 2024-6-시선>은 욕망 개념으로 실재와 추상의 동의 없이 동일한 이미지로 수용한다.

이렇게 욕망 개념을 실재 이미지로 표출하고 그 개념을 추상과 동일시하는 이율배반적(antinomical) 미적 구조로 조형한다. 즉 실재 이미지로서 욕망 개념을 추상화하는 최철주의 욕망 개념 추상화는 실재와 추상이 서로 양립할 수 없는 개념을 실재 이미지로 동일함으로서 이율배반적 추상으로 개념된다.

이것은 언어적 욕망 개념을 이율배반적인 개념과 실재를 병치 구조로 한 응시로서 하나의 이미지로 보인다.

여기서 하나의 개념을 말하는 대상을 그 개념의 실재 이미지로 추상화하는 최철주의 욕망 개념 추상미술은 이율배반적 개념으로서 실재 이미지의 추상화를 말한다.

추상화로 고정된 자리는 무의식 욕망에서 출현한 실재가 분열된 추상의 주체에 병치하려고 나팔꽃 디자인을 연쇄한다. 

그 나팔꽃은 실재가 분열하여서 추상을 비유하는 것이 아니라 하나의 실재 이미지가 욕망 개념으로 대치되면서 원래의 실재이미지가 추상화되어서 응시하는 자에게 추상 개념으로 병치된 실재로 보인다.

여기서 뒤집을 수 있는 빛의 그늘이 만들어내는 "나팔꽃"은 이미지로서의 공간을 공유한다. 의자와 겹쳐진 또 다른 설치 이미지는 오브제이다. 욕망의 화보적 설치 이미지가 비재현적 이미지라고 가정하면, 현실을 추상적으로 재현한 가상 여명홀 체육관 이미지 전체에 현실이 실제 이미지로 존재한다.
 
 욕망의 대상은 특히 형이상학적 구조에서 부피와 그림자를 제거함으로써 물리적 구조를 선명하게 드러낸다. 이는 눈에 보이지 않는 '시선'으로서의 대상에 대한 분석으로 시각적 표상의 형태를 서로 다른 관점에서 인지적 표상의 형태로 본다.

피카소의 그림에 나타난 변칙적 이미지로서의 대상은 최철주의 욕망 개념의 대상처럼 보이는 비뚤어진 이미지이다. 이는 욕망의 대상으로서 그림의 비실재적 시각 이미지의 차원을 넘어선다. 그 이미지는 선으로부터 드러나는 형태로 다면체 위의 빛의 그림자 속에서 생성되는 이미지이다. 그것은 순간적인 시점에서 구성된 것으로서 시간성과 존재성을 지닌다. 평면이든 입체이든 상관없이 시선 영역의 욕망 구성 체계 속에서 타인의 욕망에 의해 생성되는 이미지이기 때문이다.
 광선에 의해 타자의 욕망이 통합된 빛의 음영 영상을 선택하여 하나의 광원 시점에 형성되는 투시 밀도와 감각이 없다. 여기서 객체는 추상적 콜라주와 같은 부분 영상이 동시에 시선에 의해 드러나는 형태로 공간에 존재하는 것을 말한다.

그러나 형상은 의미 있게 보이지 않고 순간적으로 가역적인 여러 그림자를 영상의 배경으로 맴돈다. 이는 구름, 비, 눈이 나타나는 것처럼 시간성의 위치, 즉 하늘의 상이 한 순간에 빛의 고정된 자극으로 나타나는 상이다. 이는 시간성의 통로로 이루어진 무한하고 연속적인 시선으로 빛을 바라보는 대상의 실존적 위치이다.
 이것은 구체가 공존하는 추상적 현상이 존재하는 가역적 시각구조이다. 작가가 그림을 그릴 때 이미지에 대한 의미적 욕망 인식을 획득하는 이미지에 대한 시간적 욕망의 구조이다.

욕망의 시선으로 바라본 대상은 구체가 공존하는 추상적 실재 이미지로 존재하는 가역적 시각구조이다. 작가가 그림을 그릴 때 이미지에 대한 의미적 욕망 인식을 획득하는 이미지에 대한 시간적 욕망의 구조이다.

따라서 시각적 가역반응은 나팔꽃의 시각적 가역반응과 그 자리에 따른 순간의 실제 구조가 욕망의 시선을 가진 예술가에 의해 다양한 색으로 중첩되어 검게 변하거나 빛을 가리는 이미지 구조이다.
 

구조물의 이미지는 타인의 욕망에 대한 이미지가 만들어내는 욕망의 풍경으로, 일상의 그림자 형상이 지난 시간의 '나팔꽃'과 교차하는 순간에 위치할 때의 시선으로 응시된다.

이 장식된 형상의 빛과 대비되는 어두운 여백 공간은 욕망의 시선이 머무는 풍경 속에서 생성된 그림자이다. 여기서 실제 대상적 존재로서 색채는 시선으로 응시하는 정제된 관습의 단상 이미지이다.
 시선의 가시적 이미지는 모방된 꽃을 의미하는 상징적 언어이며, 이미지 설치미술 '나팔꽃'은 욕망의 의미의 결과로 비현실적인 공간에서 상징화된 타인의 시선을 은폐하는 숨겨진 미적 구조이다. 그리고 욕망 개념의 의미로 사물의 조각으로 응시한다.     

욕망 개념적 관점에서 바라본 시각문화로서 구체적 효과가 발생하는 시선영역은 풍경 속에서 시선을 사로잡는 기능을 하는 타인의 욕망을 순간적으로 볼 수 있는 이미지이다. 그 이미지로서 '나팔꽃'은 최철주의 욕망의 공식에서 현실에 없는 것을 인식하고 적용하는 시각적 아이디어이다. 그 아이디어는 무의식과 언어를 동일한 형태로 묘사한 실제 이미지이다.
 여기서 보여주는 '나팔꽃'은 욕망의 시선을 통해 한 가지 색으로 납작해진 대상을 바라보는 구조이다. 이는 가역적인 빛에 의해 전달되는 조각 구조의 평탄성으로 나팔꽃의 이미지는 추상적으로 일치하는 것으로 보인다. 그리고 나팔꽃은 반사되는 현실과 동일하지만 배경의 형태는 현실과 동일하지 않다.

욕망화의 시도로서 <나팔꽃>은 하나의 나팔꽃 줄기를 빛으로 지움으로써 욕망의 의미에 대한 구체적인 시선 효과로 타인의 욕망이 발생하는 억압된 미적 공간 중 하나로 그림 속 대상의 존재가 그 의미를 환원하는 기괴한 시선 패턴을 의미한다.
 이는 회화를 통해 욕망의 영역을 응시하는 이미지에 따른 실재감과 비실재성의 예술적 의미이다. 대상을 재현하는 가시적 이미지, 즉 대상을 실제 대상으로 표현하는 회화적 이미지를 비실재성으로서의 이미지로 파악하였다. 이에 대상에서 실재감을 응시하는 방법은 욕망의 대상과 유사한 비뚤어진 이미지로 타인의 욕망을 드러내는 것이다. 즉 언어적 무의식에서 깨어나 동시대적인 타인의 욕망을 시선 이미지로 그려냄으로써 추상화의 시각적 의미를 보여준다.

시각적 추상화의 의미는 모방된 꽃을 상징하는 상징적인 가시적 언어적 이미지이다. 여기서 나팔꽃의 이미지는 욕망의 언어적 의미의 결과로 비현실적인 공간에 있는 것으로 상징되며, 은폐된 미적 구조의 의미로서 추상적 언어 구조의 파편이다.
 따라서 <나팔꽃>은 언어적 추상성 속에 그려진 실제 그림으로, 비실재적 그림의 위치는 직물의 작은 구멍에 반사된 빛을 지닌 욕망의 이미지로 확장된다. 그 이미지의 형식의 의미는 나팔꽃이 직면한 전통적 보편성의 현실을 가역적인 빛의 색을 지닌 실제 그림의 공간으로 꾸미려는 욕망을 추상화한다.

그리고 그 욕망의 의미가 추상으로 고정되는 무의식적 욕망에서 실재가 분열하고 그 욕망의 주체가 실재 이미지가 추상 개념을 대리하여서 실재로서  추상화는 사실적 이미지와의 어긋난 만남을 이룬다.  /글. 미술평론가 최철주 (전 서울시립미술관 큐레이터 & 문화디자인박사) 

Louis Chul-joo Choi, morning glory window 2024-7-the gaze, 222X218cm, acrylic and composite materials on cloth, 2024

Morning glory window 2024- 6-the gaze

From an abstract point of view, the perspective of painting looks at the abstract concept of space as a partial representation in the phenomenal image.

Here, the gaze of the "Morning glory window" attempts to induce a real image by juxtaposing a conceptual object as a phenomenal image in an abstract space beyond reality. 

Here, the gaze of the 'morning glory window' attempts to induce reality by juxtaposing it as a phenomenal image as a subject in an abstract space beyond reality.

Abstraction integrates reality and abstraction into images of desire, limiting the abstraction of desire as a realistic object to the same range of gaze as reality.

This is a perspective that connects reality and abstraction to the object of the same image.

The gaze identifies the object that is actually immobile as the subject by drawing it as abstract mobility and staring. In other words, the object of reality is transferred to the object of perspective abstraction in the same form as the object as the abstract mobility of the gaze.     

The object here refers to the existence of an object representing the subject, but it is not an object of a different concept like Dada's Readymade. This is an image of reality that is abstracted as a concept of desire.

The image is similar to the concept of surrealism that synthesizes from the linguistic unconscious into an image, but it is real as the same image as the object of "morning glory".     

In <morning glory window 2024-6-the gaze>, morning glory is an object that acquires the status of desire.

It consists of the concept of reality and desire, and the concept of desire with the viewer as a picture image follows linguistic dependence. In other words, as the relationship between reality and the concept of desire, the image is determined by the dependence of the concept of linguistic desire.

This is a realistic object with a linguistic concept as involuntary abstraction, imaging the desires of others.

The gaze, perceived as an abstract desire perspective, makes us stare at the abstraction of a flat structure that sees light as a desire structure and the abstraction of a desire perspective that uses reality as a partial plane. An image is an abstraction of the concept of desire as an abstracted entity from the concept of verbal desire, and an abstraction that makes the partial image of reality, "morning glory window 2024-6-the  gaze," meaning a real image in a flat part. This is the process of abstracting the concept of desire art applied in Choi Chul-joo's desire formula.     

The imaginary desire structure creates an abstract space with the gaze of desire and equates the abstraction of non-real with a flat structure, so the reality expands the linear structure and converts the reality into an image.

The idea of staring at the concept of desire that occurs momentarily in reality as a real image is limited to a state of abstraction.

Therefore, <morning glory window 2024-6-the gaze> is a concept of desire and is accepted as the same image without the consent of reality and abstraction.

In this way, the concept of desire is expressed as a real image, and the concept is embodied as an antinomical aesthetic structure that identifies with abstraction. In other words, Choi Chul-joo's abstraction of the concept of desire, which abstracts the concept of desire into a real image, is conceptualized as an antinomical abstraction by identifying a concept in which reality and abstract are incompatible with each other as a real image.

This is seen as an image as a gaze that juxtaposes the concept of linguistic desire with an antinomical concept and reality.

Here, Choi Chul-joo's antinomical concept of desire, which abstracts an object that refers to a concept into a real image of the concept, refers to the abstraction of a real image that is desire.

As a contradictory abstraction, abstraction, which is a linguistic concept of desire with desire as the subject, is a new abstraction <morning glory window 2024-6-the gaze> of contemporary art that develops abstract objects into real images with Choi Chul-joo's concept of desire abstract art movement.

The position fixed by abstraction repeats the morning glory design, juxtaposing the reality from unconscious desire as the subject of divided abstraction. 

The morning glory does not compare abstractions because reality is divided, but as one reality is replaced by the concept of desire, the original reality is abstracted and seems to be juxtaposed with the abstract concept to the viewer.

Here, "morning glory", created by a reversible shade of light, shares its space as an image. Another installation image overlapping with chairs is an object. Assuming that the pictorial installation image of desire is a non-reproducive image, reality exists as a real image in the entire virtual Yeomyeong Hall Gym image that abstractly reproduces reality.

The object of desire clearly reveals the physical structure, especially by eliminating volume and shadow from the morphological structure. This is an analysis of an object as an invisible 'gaze', and the form of visual representation is viewed as the form of cognitive representation from different points of view.     

The object as an anamorphosis image in Picasso's painting is a crooked image that looks like an object of Choi Chul-joo's concept of desire. This is an object of desire and goes beyond the dimension of the non-realistic visual image of painting. 

The image is an image created in the shadow of light on a multi-faceted object in a form revealed from the line. It has temporality and existence as composed at the instantaneous point of time. This is because it is an image created by the desire of others in a system of composition of desires in a gaze area regardless of whether it is flat or stereoscopic.

There is no perspective density and sense formed at a single light source point of view by choosing a shaded image of light in which the desires of the other are integrated by light lines. Here, the object refers to that partial images, such as abstract collage, exist in space in the form of being revealed by gaze at the same time.     

However, the shape hovers in the background of the image with several shades that are instantly reversible without being seen as meaningful. This is an image in which the position of temporality, that is, the image of the sky, appears as a fixed stimulus of light at one moment in time, just as clouds, rain, and snow appear. This is the existential position of the object that the light is viewed through an infinite and continuous gaze made up of the passage of temporality.

It is a reversible visual structure in which abstract phenomena in which spheres coexist exist. It is a structure of temporal desire for the image that obtains semantic desire recognition of the image when the artist paints.

The object viewed through the gaze of desire is a reversible visual structure that exists as an abstract real image in which spheres coexist. It is a structure of temporal desire for an image that acquires a semantic desire perception for an image when the artist draws a picture.

Therefore, the visual reversible reaction is an image structure in which the visual reversible reaction of morning glory and the actual structure of the moment according to its place are overlapped with various colors by an artist with the gaze of desire, turning black or obscuring light.

The image of the structure is a landscape of desire created by the image of the desire of others, and it is seen as a gaze when the shadowy shape of everyday life is located at the moment of intersection with the 'morning glory' of the past time.

The dark blank space contrasting with the light of this decorated shape is a shadow created in the landscape where the gaze of desire stays. Here, as a real object being, color is a single-phase image of a refined custom stared at with the gaze. 

The visible image of the gaze is a symbolic language that means an imitated flower, and the image installation art ' morning glory' is a hidden aesthetic structure that conceals the gaze of others symbolized in an unrealistic space as a result of the meaning of desire. And it is stared at as a piece of an object as the meaning of the concept of desire.

Desire As a visual culture viewed from the conceptual point of view, the gaze area in which a concrete effect occurs is an image that can momentarily see the desires of others who function to capture the attention in the landscape. As that image, "morning glory" is a visual idea that recognizes and applies what is not in reality in Choi Cheol-joo's formula of desire. The idea is a real image that depicts the unconscious and language in the same form.

The "morning glory" shown here is a structure that sees an object flattened in one color through the gaze of desire. This is the flatness of the sculptural structure transmitted by reversible light, and the image of morning glory seems to be abstractly consistent. And morning glory is the same as the reflected reality, but the shape of the background is not the same as the reality.

As an attempt at desire painting, <morning glory> refers to a bizarre gaze pattern in which the existence of an object in the painting returns the meaning of the painting to one of the repressed aesthetic spaces in which the desire of others is generated as a concrete gaze effect of the meaning of desire by erasing one morning glory stem with light.

This is the artistic meaning of reality and non-realism according to the image of staring at the realm of desire through painting. The visible image that reproduces the object, that is, the pictorial image that expresses the object as a real object, was grasped as an image as a non-realistic. Therefore, the method of staring for finding reality in an object is to reveal the desires of others with a crooked image similar to the object of desire. In other words, it shows the visual meaning of abstraction by waking up from the verbal unconscious and drawing the desires of contemporary others as a gaze image.     

The meaning of visual abstraction is a symbolic visible linguistic image symbolizing an imitated flower. Here, the image of the morning glory is symbolized as being in an unrealistic space as a result of the linguistic meaning of desire, and it is a fragment of the abstract language structure as the meaning of the concealed aesthetic structure.

Therefore, "morning glory" is a real painting drawn in linguistic abstraction, and the position of a non-realistic painting extends to an image of desire with light reflected in a small hole in the fabric. The formal meaning of the image abstracts the desire to decorate the reality of traditional universality faced by morning glory into a space of real paintings with reversible light colors.

And in the unconscious desire in which the meaning of the desire is fixed in abstraction, reality divides, and the subject of the desire represents the abstract concept, so abstraction as reality forms a conflict with the realistic image. / Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)

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

Louis Choi Chul-joo, Trump gets attacked during the campaign, a hand-painted picture on a computer 

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning gnlory 2021-e-1" 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.

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Louis Choi Chul-joo, morning glory p115-7, a hand-painted picture on a computer 

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

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

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

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

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

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

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

Louis Choi Chul-joo, Trump gets attacked during the campaign 4 , a hand-painted picture on a computer

News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [188] Trump gets attacked during the campaign, (2024-7-14)  / Reporter Choi Chul-joo’s Cartoon Review  

. Trump gets attacked during the campaign

. Trump se fait attaquer pendant la campagne

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 179-Trump gets attacked during the campaign: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest Forest d179-Trump gets attacked during the campaign: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Forest d179-Trump gets attacked during the campaign-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Louis Choi chuljoo, morning glory p115-7, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p115-7-Trump gets attacked during the campaign: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p115-7> 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 <Trump gets attacked during the campaign> 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 p115-7-Trump gets attacked during the campaign> becomes a non-real abstraction of reality.

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

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p115-7-Trump gets attacked during the campaign" 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. 

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Bamboo Forest Forest d179-Trump gets attacked during the campaign" 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

Louis Choi chuljoo, Trump gets attacked during the campaign 13-pond [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korean News Cartoon Culture Column in Cartoon Review [188] Trump gets attacked during the campaign, (2024-7-14)  / Reporter Choi Chul-joo’s Cartoon Review / Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons. ■ Choi Chul-joo's Concept of Desire Formul: 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. ▶during the campaign _ pendant la campagne