현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [29] Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contempor

현대미술 디자이너 최철주 Contemporary Art Designer Choi Chul-joo [29] Contemporary Art Design, Contemporary Art work Design, Contemporary Art Cultural Design｜Contemporary Art Design Artist Choi Chul-joo's Contemporary Art Today Choi Chul-joo Art Criticism, Contemporary Art Design Criticism, Contemporary Art Cultural Design Criticism and Contemporary Art Today Choi Chul-joo's Art Works (https://opensea.io/Louisland ) Criticism: The abstract design work of the concept of desire applies Choi Cheol-joo's concept of desire design process, and the realistic design process of the concept of desire repeatedly applies Choi's desire formula./ Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire & Newsmanwha K-pop Song Illustrator [7] Monsta X <I Will Be Your Fantasy> Online Live. (2020-5-27) / Reporter Choi Chul-joo review cartoon / newsmanwha K-Pop Song illustratoin [18] Chungha, shows outstanding performance. ACN ・ 2020. 7. 13. 23:25/ Reporter Choi Chul-joo’s Cartoon Review

Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

현재의 욕망을 반영한 연못 스케치

최철주의 욕망 이미지는 하나의 대상이며, 욕망을 명시하는 시사 뉴스의 통시적 욕망으로서 추상적 욕망 개념의 언어적 의미를 나타내는 이미지로 연못에 비친다.

그 연못에서 비친 오브제가 스스로의 욕망에 지배되어서 그 욕망의 주체를 잃어버린 실재로 명시된 물리적 구조는 연속되는 욕망의 현상적 주체 이미지로서 통시적(diachronic) 욕망을 대리한다.

최철주 욕망 공식을 통해 통시적 욕망에서 미적 구조를 디자인하고 적용함으로써 현상적 주체, 즉 존재로서의 실체적 객체가 형성되는 과정을 기표 이미지로 보여준다. 통시적 욕망의 경로는 욕망 공식을 적용하여 욕망 구조의 추상적 디자인부터 실제 이미지의 설치까지다.

이것은 시각영역에서 존재로서 욕망 이미지를 실재 이미지로 인지하여서 타자의 무의식의 욕망적 관점에서 오브제로서 사건 이미지를 뉴스로 전달하고, 그 오브제를 존재로서 현상적 이미지로 인지한다.

여기서 거울 구조의 연못에서 현상적 이미지의 주체를 추상화하는 존재는 언어적 의미에서 기표 이미지로 분열해서 사회적 가시성이 결핍된 욕망의 이미지를 만들어낸다. 그 이미지는 지속적인 욕망의 조각이 사회 구조에 반영된 연못에서 구성된다. 그 연못의 수면은 거울처럼 현실의 이미지를 반영한다. 이는 이상적인 미적 구조로 타자의 욕망을 추상화하여 재현하고자 하는 현대 사실주의 회화의 이미지로 인식한다. 이것은 연못에서 사건과 공연의 현장을 반영하고 타인의 욕망을 현실과 함께 보는 주체로서의 자아의 욕망 상호작용에 의해 만들어진 이미지다.

따라서 욕망을 연결하는 욕망 개념의 추상적 디자인 과정과 미적 구조로서의 현상적 이미지의 설계를 통해 최철주의 추상적 디자인 과정을 적용하여 욕망의 개념을 실제 이미지로, 타자의 욕망 속에서 드러나는 왜곡된 이미지를 동일한 욕망 개념으로 표현한다.

근대까지 종교적 제약에 중첩된 르네상스 시대의 과학적 사고에서의 레온 바티스타 알베르티 (Leon Battista Alberti)의 회화론 즉 원근법적 구성으로 한 피사체의 비례와 개념에서 연속된 동시대의 추상적 욕망 개념을 다자인한 것이 최철주의 욕망 공식이다. 이것은 현대 이상적 추상과는 다르게 욕망 개념의 언어적 의미를 그의 추상 디자인 프로세스를 통해서 가역적 빛의 음영으로 알베르티의 원근법을 회귀하여서 욕망 구조를 실재 이미지로 구현한다.

욕망 구조의 실재 이미지는 타자의 욕망에서 응시하는 추상적 공간에서 사건 이미지를 오브제로 응시영역에서 순간적으로 욕망 구조와 동일시됨으로써 인지하게 된다. 이것은 은폐된 타자의 무의식에 억압된 욕망이 표출한 것이다. 이렇게 인지하게 되는 오브제의 시각적 특성은 존재성과 추상성이다.

Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X164cm, acrylic and composite materials on cloth, 2024

응시적 이미지로서 오브제의 연속적인 형태와 욕망의 구조의 불변성은 시간이 지남에 따라 동일한 욕망의 개념으로 인식될 때 순간적인 이미지로 응시된다. 그 욕망의 오브제는 시간이 지남에 따라 다른 배경으로 나타나지만 그 실체는 변하지 않고 응시하는 시점이 왜곡된 이미지로 보이도록 전이된다. 최철주의 추상적 디자인 과정은 빛의 가역적 그림자 속에서 만들어진 욕망의 오브제을 타인의 욕망으로 바라보고자 하는 욕망의 개념에서 비롯된 시선으로 보는 왜곡된 이미지로 이를 실현한다.

여기서 왜상적 이미지로서 <나팔꽃>은 욕망의 배경으로서 욕망의 구조를 말한다. 따라서 그림의 배경이 아니라 욕망의 한 조각으로서 레오나르도 다빈치의 데생 <아르노 풍경>처럼 풍경을 하나의 주체로서 <나팔꽃>은 실제로 보이는 욕망을 나타내는 배경이다. 이 개념적 추상화는 욕망의 시선에 집중하기 위해 오브제를 평평한 구조의 실제 공간과 정렬하여 평면적으로 왜곡한다. 그 욕망 개념의 언어적 의미에서 사건과 공연의 이미지는 만화 이미지로서의 '나팔꽃'과 가역적인 빛의 그림자 속 사건 이미지로 동일한 평면 구조로 그려지고, 이를 사건 이미지와 겹칩니다. 또한 현존재하는 욕망의 이미지에 비친 연못을 가역적인 빛의 음영으로 장식하여 주체로서의 욕망의 자리를 꾸민다.

연못에 비친 이미지를 주체로 형성하는 존재 속의 욕망 개념은 기존 공간 구조에서 오브제로서의 욕망 개념과 직접적으로 관련된 헤겔의 존재(Existenz)로서의 추상적인 부존재를 실현하는 주체로서의 비자발적 부지불식간의 욕망 구조 이미지다.

추상적 비존재로부터 인지적 시선을 인식하는 과정을 통해 욕망의 개념은 사건의 이미지를 시각적 디자인으로 디자인하고 시선 지각을 통해 존재하는 대상의 형성적 미적 가치를 형성하는 대상으로 인식됩니다. 이렇게 형성된 이미지는 현대의 미적 가치를 드러내고 타인의 욕망이라는 개념을 통해 이미지의 실체를 해석한다. 이는 욕망 구조의 영역에서 타자의 시선에 의해 오브제를 생성하는 과정을 추상적인 디자인에 적용하고, 그 결과 오브제와 욕망 오브제의 현실에서 분리된 타자로서의 욕망 이미지를 왜곡하는 것이다. 따라서 타자의 욕망 구조를 드러내는 으브제를 형성하고 인식 가능한 다른 기존 이미지로 전이한다. 여기서 시간성은 현존재의 시각적 구조를 형성하는 실제 이미지를 가역적인 빛의 음영으로 이끌어 가역적인 공간 구조를 확보한다.

새로운 수학적 도형 구조는 욕망 개념의 결과로 미적 구조를 디자인하려는 추상적인 최철주의 욕망 공식이다 그 추상적 욕망의 개념은 사건의 이미지 속에서 타인의 욕망에 대한 미적 의미를 가질 때 욕망을 실현하는 추상적인 개념으로 타인의 욕망 구조를 의미한다.

현재의 욕망을 반영하는 연못 랜더링

욕망의 미적 구조로서 주체는 오브제로서 사건 이미지와 동일한 욕망 개념을 무의식과 실재 이미지로 분열하여서 무의식적 욕망를 존재적 실재로서 모델링한 팝아트적 이미지다.

따라서 언어적 의미를 말하는 주체는 뉴스에서 방송한 사건과 이미지로 발화행위(enunciation)로서 구어체 언어와 사건 영상 방송의 시청 효과를 뉴스에 의존하는 요소들을 특정하는 하나의 발화(發話)행위의 언표적 미적 구조로서 욕망 개념의 진릿값인 추상화를 실재로 표상한다.

따라서 언어적 의미를 실재를 말하는 주체는 추상화, 즉 욕망 개념의 진릿값을 나타내며, 이는 구어체와 사건 비디오 방송의 시청 효과를 뉴스에 의존하는 발화 행위(enunciation)로 명시하는 표상적 미적 구조다. 이것은 시각적 이미지의 욕망 개념은 개방계로서 수많은 시각이미지를 다원적인 시각체계를 통해 타자들에게 전달되기 때문이다. 욕망 개념의 진릿값인 추상적 이미지는 타자의 욕망에서 표출된 실재 이미지로 보편성을 가지고 있기 때문에 주목을 받게 된다. 즉 타자의 추상적 욕망에서 드러난 오브제는 예술 작품으로 적용되는 팝아트의 통시적 기능을 통해서 타자의 욕망 개념과 동일한 미적 이미지를 교환하는 욕망 기능을 한다.

욕망 개념의 추상적 이미지와 현실이 동일한 언어적 의미에서의 해석은 욕망의 구조를 나타내는 것으로, 추상적인 욕망 개념의 현실이 욕망의 인과 구조인 현실 이미지로서 모순적 욕망과 의미적 관계를 형성함으로써 욕망의 구조를 연출한다.

칸트처럼 근대 미술까지 이원적 구조로서 신화적 대상을 인간과 동일한 구조로 이율배반을 하나의 구조로 포괄한다.

따라서 이성적 주체의 시선을 통해 욕망 구조의 언어적 의미와 동일한 합리적 오브제인 사건 이미지로서의 오브제는 주체가 볼 수 없는 실제 이미지로 인식된다.

그리고 욕망의 결핍을 채우려는 실재 이미지는 계속적으로 다른 욕망의 오브제를 대리한다. 추상적 욕망에 오브제로서 현재의 욕망을 반영하는 연못은 실재로서 욕망 구조를 제시해서 추상적 욕망에 오브제지만 실재 이미지를 통해 결여에서 분리된 욕망 구조를 은폐되어서 어긋난 사회적 가시성에 욕망 구조가 예속된 욕망이 결핍된 불완전한 추상성에서 벗어나서 실재 이미지로서 욕망의 원인을 사건 이미지로서의 오브제로 귀환한다.

또한 다른 욕망의 오브제는 욕망의 결핍을 채우려는 실제 이미지로 지속적으로 표현된다. 추상적 욕망의 오브제로서 현재의 욕망을 반영하는 연못은 추상적 욕망의 오브제인 현실로서의 욕망 구조를 제시하지만, 욕망이 결여된 불완전한 추상에서 벗어나 실제 이미지로서의 욕망의 원인을 사건 이미지로서의 오브제로 되돌립니다. 즉, 결핍과 분열된 욕망의 구조는 추상적인 욕망의 실제 이미지를 통해 숨겨져 있으며, 일탈된 사회적 가시성에 종속된 모순된 욕망이 욕망의 원인이 되어 실제 이미지의 오브제가 된다.

욕망 개념의 객체 렌더링 프로세스

욕망 개념의 오브제 랜더링은 1. 오브제로서 사건 이미지와 동일한 욕망 개념을 무의식과 실재 이미지로 분열하여서 무의식적 욕망를 존재적 실재로서 랜더링한 팝아트적 이미지다.

따라서 언어적 의미를 말하는 욕망 구조의 오브제는 뉴스에서 방송한 사건과 이미지로 발화행위(enunciation)로서 구어체 언어와 사건 영상 방송의 시청 효과를 뉴스에 의존하는 요소들을 특정하는 하나의 발화(發話)행위의 언표적 미적 구조로서 욕망 개념의 오브제의 진릿값인 추상화를 실재로 표상한다. 2. 욕망 개념의 진릿값으로서 언어적 의미를 실재를 말하는 추상화, 즉 욕망 개념의 진릿값을 나타내며, 이는 구어체와 사건 비디오 방송의 시청 효과를 뉴스에 의존하는 발화 행위(enunciation)로 명시하는 표상적 미적 구조다. 이것은 시각적 이미지의 욕망 개념은 개방계로서 수많은 시각이미지를 다원적인 시각체계를 통해 타자들에게 전달되기 때문이다. 욕망 개념의 진릿값인 추상적 이미지는 타자의 욕망에서 표출된 실재 이미지로 보편성을 가지고 있기 때문에 주목을 받게 된다. 즉 타자의 추상적 욕망에서 드러난 욕망 개념의 진릿값인 오브제는 예술 작품으로 적용되는 팝아트의 통시적 기능을 통해서 타자의 욕망 개념과 동일한 미적 이미지를 교환하는 욕망 기능을 한다. 3. 욕망 개념의 추상적 이미지와 현실이 동일한 언어적 의미에서의 욕망 개념의 진릿값은 욕망의 구조를 나타내는 것으로, 추상적인 욕망 개념의 현실이 욕망의 인과 구조인 현실 이미지로서 모순적 욕망과 의미적 관계를 형성함으로써 욕망의 구조를 연출한다. 이것은 칸트처럼 근대 미술까지 이원적 구조로서 신화적 대상을 인간과 동일한 구조로 이율배반을 하나의 구조로 포괄한다. 4. 욕망 개념의 오브제 렌더링은 이성적 주체의 시선을 통해 욕망 구조의 언어적 의미와 동일한 합리적 오브제인 사건 이미지로서의 오브제는 주체가 볼 수 없는 실제 이미지로 렌더링한다. 그리고 욕망의 결핍을 채우려는 실재 이미지는 계속적으로 다른 욕망의 오브제를 대리하는 추상적 욕망에 오브제로서 현재의 욕망을 반영하는 거울 구조의 연못에서 가역적 빛의 음영으로 욕망 구조를 반복해서 렌더링한다. 그 렌더링은 이미지의 실재로서 욕망 구조를 제시해서 추상적 욕망에 오브제지만 실재 이미지를 통해 결여에서 분리된 욕망 구조를 은폐되어서 어긋난 사회적 가시성에 욕망 구조가 예속된 욕망이 결핍된 불완전한 추상성에서 벗어나서 실재 이미지로서 욕망의 원인을 사건 이미지로서의 오브제로 귀환한다. 또한 다른 욕망의 오브제 렌더링은 욕망의 결핍을 채우려는 실제 이미지로 지속적으로 표현된다. 추상적 욕망의 오브제로서 현재의 욕망을 반영하는 오브제의 렌더링은 추상적 욕망의 오브제인 현실로서의 욕망 구조를 제시하지만, 욕망이 결여된 불완전한 추상에서 벗어나 실제 이미지로서의 욕망의 원인을 사건 이미지로서의 오브제로 되돌립니다. 즉, 결핍과 분열된 욕망의 구조는 추상적인 욕망의 실제 이미지를 통해 숨겨져 있으며, 일탈된 사회적 가시성에 종속된 모순된 욕망이 욕망의 원인이 되어 실제 이미지로서 추상화로 귀착된다.

현재의 욕망을 반영한 연못 렌더링

새로운 수학적 구조는 욕망 개념의 결과로 미적 구조를 설계하려는 최철주의 욕망 공식입니다

현재의 욕망을 반영한 연못의 오브제로서 사건 이미지에서 타자와의 욕망을 직시해서 미적 의미를 가질때에 추상적 욕망 개념을 실재화한 추상화로 차자의 욕망 구조로 대리한다.

욕망의 연못에서 미적 구조로서 주체는 오브제로서 사건 이미지와 동일한 욕망 개념을 무의식과 실재 이미지로 분열하여서 무의식적 욕망를 존재적 실재로서 모델링한 팝아트적 이미지다.

현재의 욕망에서 연못의 형태가 갖는 절대적인 욕망 개념은 추상화에서 보이는 기호적 은유로써 그 욕망 개념은 타자의 욕망을 추상하지만 모방적 그림의 범주를 넘지 못한다. .

추상적 욕망에서 실재 이미지와의 차이를 언어적 개념의 의미로 받아들이면서 욕망과 관계 구조를 이루는 추상과 마주하는 욕망의 언어적 의미가 만드는 실재 구조를 추상화한다. 이것은 종교적 관습에서 수용할 수 있는 사회적 제약(制約)에서 벗어나 그림 속 욕망의 조형적 현실을 숨기고 실재의 뉴스에 근거로한 사건 이미지를 추상하는 최철주의 욕망 개념 추상화다.

욕망 개념의 추상적 실체와 현실이 동일한 언어적 의미에서의 욕망 개념 해석은 욕망과 의미적 관계를 형성함으로써 욕망의 구조를 나타냅니다. 이 이미지에서 욕망의 추상적 실체는 욕망의 인과 구조입니다. 즉 이율배반적 동등성이 추상적 욕망 개념의 실재성을 아포리아 이미지에서 욕망의 원인적 구조로 한 실재 이미지로 욕망과의 의미 관계를 맺어서 욕망의 구조를 대리한다.

욕망 구조로서의 실재 이미지의 추상화는 보이는 은유의 형태적 이미지가 추상적 언어 의미가 실재로 전이된다. 그 추상화는 실재적 형상인 이미지로서 형상의 욕망 구조가 음폐된 추상적 기의로서의 환유적 고착이다. 즉 추상화에서 사회적 사건 이미지로서의 타자의 욕망으로 실체화된 형상적 의미를 추가적인 형태로 자리바꿈을 한다.

이것은 칸트처럼 근대 미술까지 이원적 구조로서 신화적 대상을 인간과 동일한 구조로 이율배반을 하나의 구조로 포괄한다.

따라서 욕망 구조를 이성적 주체의 시선으로 통찰한 언어적 의미와 동일한 이성적인 대상인 사건 이미지로서의 오브제는 주체가 볼 수 없는 이율배반적 자리에서 응시한 실재 이미지로 인식한다.

최철주의 욕망 개념으로 본 마네의 <풀밭위의 점심식사>에서 정장한 남자는 유아로서 주체성을 인식하면서 자신의 이미지와 동일시하는 상징계이다. 정장한 남자는 복장을 갖추고 이성적 도덕관을 표명한 시대에서부터 19세기까지 계속적인 사회적 규정에 의해 유아가 갖는 인식의 구조이다. 연못과 동일한 거울 구조에 비친 외부에 노출된 개방된 공간에서 여자와 남자가 옷을 벗고 있는 것은 잘못된 것임을 인식하고 정장을 하고 있으며, 누드의 여인과는 다르게 정장을 한 남자가 이미지의 주체임을 인식한다.

이것은 욕망 구조가 시대착오적인 사회성에 종속되어 욕망이 결여된 불완전한 추상화에서 벗어나 욕망 구조를 렌더링함으로써 욕망 개념의 원인을 오브제로 되돌리는 거울 구조의 실제 이미지다.

이와 같이 연못 이미지를 거울 구조로 렌더링하는 것은 추상적인 욕망의 개념에서 현실이 될 평평한 기호이며, 사건 이미지는 타인의 욕망 개념을 표현하는 추상적인 욕망을 가역적인 빛의 음영으로 조각하여 시각적 범위에 투영된 이미지의 차원으로 가린다.

연못 이미지에서 욕망의 주체는 추상의 회화적 의미를 거부하고 유체 고정에 의한 추상적 구조가 아닌 현실의 이미지로 드러내어 기존 이성에 숨겨진 환상의 실체를 드러냅니다. 이는 보이지 않는 욕망의 실체로서의 실제 이미지를 드러내며 '현재의 욕망을 반영한 연못 렌더링'에서 현대의 절대적 환상의 고착을 파괴합니다.

욕망 구조가 거울을 대리하는 추상적 욕망 개념을 실재의 공간의 자리를 나타내는 욕망의 불안정한 자아를 실재로 확정하여서 연못에 비친 욕망 이미지를 구성한다.

이것은 욕망의 개념의 상징적 의미를 표면에 반영하는 무의식적인 욕망을 실제 이미지와 대조하여 욕망 이미지를 가역적인 빛의 음영 대비 구조로 실현한 것입니다.

여기서 연못은 욕망의 구조를 거울 구조로 나누고, 욕망의 개념을 실제 이미지로 표면에 반영하여 타인의 욕망을 자아와 동일시합니다.

욕망은 하나의 오브제이며, 사건 이미지와 언어적 의미는 연결된 구조입니다. 디자인을 나열한 후 욕망을 추상화하는 대신, 욕망 개념의 주체로서의 언어적 의미는 실제 이미지로 향합니다.

이렇게 연못에 비친 타인의 욕망 이미지를 식별하는 주체는 현실에서 자아의 무의식적 욕망 개념을 상징하는 구조의 언어적 의미를 드러내고, 욕망과 시선의 이미지를 그림자 속에 남겨둡니다.

따라서 연못에 비친 실제 이미지가 그림자 구조 속에 욕망이 숨겨져 있는 현실의 실제 규칙에 가깝기 위해서는 최철주의 추상적인 디자인 프로세스를 통해 욕망의 개념을 연결하고 수면 위 빛의 다중 반사에 따라 물체의 질감 높이를 스케치합니다.

욕망의 배경과 객체 스펙트럼 렌더링은 현재의 욕망을 반영하는 연못 스케치에 비추었을 때 여러 개의 빛을 같은 장소에 중첩하여 수행됩니다.

이는 물체의 질감 색상이 조명 색상에 따라 변성이 되거나 다른 색상이 가역적인 빛에 반사되어 인식될 때 응시할 수 있는 예측 값으로서 실제 욕망 이미지로서의 욕망 개념을 고정시킵니다.

욕망 개념의 고정한 스케치 이미지는 언어적 의미가 소급적 효과에 의해 욕망 구조가 연못 수면에 완성된다.

연못 수면에 다반사하는 가역적 빛으로 스테치한 욕망의 오브제를 실재의 고유색으로 구성한다. 그리고 가역적 빛이 욕망의 오브제에 투사되어서 실재의 음영에 조각되고 반사되어 응시되는 실재 이미지로 귀결한다.

따라서 원근감 시각 시스템과 달리 현재의 욕망을 반영하는 폰드 렌더링은 욕망 구조의 시간성에 따라 표면과 뒷면이 겹치는 상징적 현실 이미지를 반복적으로 디자인하고, 동일한 표면에 여러 개의 가역적인 빛으로 욕망의 질감을 만들어 단일 이미지와 동일한 구조를 구현한다./글. 현대 미술평론가 최철주 (문화디자인박사)

Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 2, 113X164cm, acrylic and composite materials on cloth, 2024

Pond Sketch Reflecting Current Desire

Choi Chul-joo's image of desire is an object, and it is reflected in the pond as an image representing the linguistic meaning of the concept of abstract desire as a diachronic desire of current affairs news that specifies desire.

The physical structure specified as a reality in which the object reflected in the pond is dominated by its own desire and the subject of that desire has been lost represents diachronic desire as a phenomenal subject image of continuous desire.

It shows the process of being formed as a phenomenal subject, that is, a real object as a being, as a signifier image by designing and applying an aesthetic structure from diachronic desire through the Choi Chul-joo Desire Formula. The path of diachronic desire is from applying the desire formula to the abstract design of the desire structure to the installation of a real image.

This recognizes the image of desire as a being in the visual domain as a real image, delivers the event image as an object to the news from the perspective of unconscious desire, and recognizes the object as a phenomenal image as the presence.

Here, the existence of abstracting the subject of a phenomenal image in a pond with a mirror structure divides into signifier images in a linguistic sense, creating an image of desire that lacks social visibility. The image is formed in a pond where a continuous sculpture of desire is reflected in the social structure.

The surface of the pond reflects the image of reality like a mirror. This is an ideal aesthetic structure, and the desire of others is abstracted and recognized as an image of modern realism painting to reproduce. This is an image created by the desire interaction of the self as a subject who reflects the scene of events and performances on the pond and sees the desire of others with reality.

Therefore, through the abstract design process of the concept of desire connecting desires and the design of phenomenal images as an aesthetic structure, Choi Chul-joo's abstract design process is applied to appear the concept of desire as a real image and a distorted image revealed in the desire of others as the same concept of desire.

Choi Chul-joo's desire formula is a multilateral version of Leon Battista Alberti's concept of contemporary abstract desire from the proportion and concept of a subject as a perspective composition in Renaissance scientific thinking overlapped with religious constraints until modern times. Unlike modern ideal abstraction, this embodies the structure of desire as a real image by regressing Alberti's perspective with a shade of reversible light through his abstract design process.

The real image of the desire structure is recognized by instantaneously identifying the event image with the desire structure in the gaze area as an object in the abstract space staring at the other's desire. This is expressed by the desire suppressed by the unconsciousness of the other person. The visual characteristics of the object that are perceived in this way are existence and abstraction.

As a gaze image, the continuous shape of an object and the immutability of the structure of desire are stared at as a momentary image when it is perceived as the same concept of desire over time. The object of desire appears in a different background as time passes, but its reality does not change, but the point of time when it stares at it is transferred to make it appear as a distorted image. Choi Chul-joo's abstract design process realizes this as a distorted image seen as a gaze from the concept of desire to gaze at the object of desire created in a reversible shadow of light as the desire of others.

Here, as a distorted image, "morning glory" refers to the structure of desire as the background of desire. Therefore, not as a background of the painting, but as a piece of desire, "morning glory" as a subject of the landscape, like Leonardo da Vinci's De saint "Arno Landscape", is a background that represents visible desire in real. This conceptual abstraction distorts objects flatly by aligning them with real space in a flat structure to focus on the gaze of desire. In the linguistic sense of the concept of desire, the image of events and performances is drawn in the same flat structure, that is, "morning glory" as a cartoon image in a reversible shadow of light, and overlaps it with an event image. In addition, the pond reflected in the image of desire in the presence is decorated with a reversible shadow of light to create a place of desire as a subject.

The concept of desire in the presence, which forms the image reflected in the pond as the subject, is an image of an involuntary desire structure as a object who realizes the abstract non-existence as Hegel's Existenz, who directly relates to the concept of desire as an object in the existing spatial structure.

Through the process of perception of cognitive gaze from abstract non-existence, the concept of desire is recognized as an object that designed the image of an event as a visual design and forms the formative aesthetic value of the object that exists through gaze perception. The image formed in this way reveals the aesthetic value of the contemporary time and understands the reality of the image through the concept of desire of others.

This is to apply the process of creating an object by the gaze of the other in the area of the desire structure to abstract design in the process of forming the other's desire as an object, and as a result, form an object as a distorts desire image as another being separated from the reality of the object and the desire object. Therefore, it forms an object that reveals the desire structure of the other and transitions to another recognizable existing image.

Here, temporality secures a reversible spatial structure by leading real images that form the visual structure of existence to reversible shadows of light.

The new mathematical figure structure is abstract Choi Chul-joo's Desire Formula, an abstract formulation for designing aesthetic structures as a result of the concept of desire.

The concept of abstract desire represents the desire structure of others as an abstraction that actualizes desire when it has an aesthetic meaning for the desires of others in the image of an event.

Pond Rendering Reflects Current Desire

As an aesthetic structure of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.

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.

This is because 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.

Like Kant, the mythical object of the same structure as humans and the logical facts within one structure are included in one structure as contradictory antinomic relationships that are compatible on equal grounds.

The interpretation of the concept of desire in a linguistic sense in which the abstract image and reality of the concept of desire are the same represents the structure of desire by forming a semantic relationship with antinomic desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire.

Therefore, 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.

Object rendering process of the concept of 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.

Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

Pond Rendering Reflects Current Desire

A new mathematical structure is Choi Chul-Joo's Desire Formula to design an aesthetic structure as a result of the concept of desire.

As an object of a pond reflecting the present desire, when it has an aesthetic meaning by facing the desire of the other in the image of the event, it represents the concept of abstract desire as an actual abstraction and the structure of the desire of the other.

As an aesthetic structure in the pond of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.

The concept of absolute desire in the form of a pond in the present desire is a symbolic metaphor seen in abstraction, and the concept of desire abstracts the desire of others, but does not exceed the category of imitative painting.

While accepting the difference from the actual image in abstract desire as the meaning of the linguistic concept, it abstracts the actual structure created by the linguistic meaning of desire facing the abstraction that constitutes the structure of desire and relationship with desire. This is Choi Chul-joo's conceptual abstraction of desire, which is free from the social constraints (制約) that can be accepted in religious customs and hides the formative reality of desire in painting and abstracts the event image based on the news of reality.

Therefore, the subject that speaks linguistic meaning is an act of speech (enunciation) that specifies the elements that depend on the news for the viewing effect of colloquial language and event video broadcasting as an expressive aesthetic structure of enunciation, and represents abstraction, the true value of the concept of desire.

The interpretation of the concept of desire in a linguistic sense in which the abstract and reality of the concept of desire are the same represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire. In other words, antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aporia image.

In the abstraction of real image as a desire structure, the morphological image of visible metaphor is transferred to abstract language meaning. The abstraction is a transitional fixation as an abstract meaning in which the desire structure of the shape is obscured as a real image. In other words, in abstraction, the actual form meaning is transformed into an additional form by the desire of others as an image of social events.

Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans and includes antinomic distribution as a single structure.

Therefore, through the gaze of the rational subject, the object as an event image, which is the same rational object as the linguistic meaning of the desire structure, is recognized as a real image that cannot be seen by the subject staring from an antinomic position.

In Manet's "Lunch on the Grass", seen as the concept of Choi Chul-joo's desire, the man in a suit is a symbolic world that identifies his image while recognizing subjectivity as a toddler. A man in a suit is a structure of perception of an infant by continuous social regulations from the time when he dressed up and expressed a rational view of morality to the 19th century. It recognizes that it is wrong for women and men to take off their clothes in an open space exposed to the outside reflected in the same mirror structure as a pond, and recognizes that a man in a suit is the subject of the image, unlike a nude woman.

This is a real image of a mirror structure that deviates from incomplete abstraction lacking desire due to the subordination of the desire structure to diachronic sociality and returns the cause of the desire concept to the object by rendering the desire structure.

In this way, the rendering of the pond image as a mirror structure is a flat sign that will be real in the concept of abstract desire, and the event image carves the abstract desire that expresses the concept of desire of others into reversible light shades and obscures it into the dimension of the image projected in the visual range.

In the pond image, the subject of desire rejects the pictorial meaning of abstraction and reveals the reality of the illusion hidden in conventional reason by revealing it as an image of reality rather than an abstract structure by fluid fixation. This reveals the real image as a reality of invisible desire, destroying the fixation of the contemporary absolute illusion in "Pond Rendering Reflecting Current Desire".

The abstract concept of desire, in which the desire structure represents a mirror, is confirmed as reality the unstable self of desire, which represents the place of the real space, and the image of desire reflected in the pond is composed.

This is a realization of the desire image as a shaded contrast structure of reversible light by contrasting the involuntary desire that reflects the symbolic meaning of the concept of desire on the surface with the real image.

Here, the pond divides the desire structure as a mirror structure and equates the desire of the other with the self by reflecting the concept of desire on the surface as a real image.

The desire is an object, and the event image and linguistic meaning are connected structures, and instead of abstracting desire after serializing design, the linguistic meaning as the subject of the concept of desire is directed as a real image.

In this way, the subject that identifies the image of another's desire reflected in the pond reveals the linguistic meaning of the structure that symbolizes the concept of unconscious desire of the self in reality, and leaves the image of desire and gaze in the shadow.

Therefore, in order for the actual image reflected in the pond to be close to the actual rule of reality in which desire is hidden in the shadow structure, Choi Chul-joo's abstract design process connects the concept of desire and sketches the height of the texture of the object according to the multi-reflection of light on the water surface.

The background of desire and the object spectral rendering are performed by superimposing multiple lights in the same place when illuminated on a pond sketch reflecting the present desire.

This fixes the concept of desire as an actual desire image as a predictive value that can be stared at when the texture color of an object becomes metamorphism depending on the illumination color or is perceived as a different color is reflected in reversible light.

In the fixed sketch image of the concept of desire, the linguistic meaning is retroactive, and the desire structure is completed on the surface of the pond.

The object of desire stitched by reversible light that reflects the surface of the pond is composed of the unique colors of reality.

And a reversible light is projected onto an object of desire, sculpted and reflected in the shadow of reality, resulting in a real image that is stared at.

Thus, unlike perspective visual systems, Pond rendering, which reflects current desires, repeatedly designs symbolic reality images with overlapping surfaces and backs depending on the temporality of the desire structure to outline them, and creates the texture of desire with multiple reversible lights on the same surface to achieve the same structure as a single image. / Writing. Choi Chul-joo, a contemporary art critic (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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Choi Chul-joo, MONSTA X's "Let me be your fantasy" 5, Conceptual Artwork Criticism: Louis Chul-joo Choi, newsmanwha K-Pop Song illustratoin [7] MONSTA X <Let me be your fantasy> Online Live. (2020-5-27) / Reporter Choi Chul-joo’s Cartoon Review

■ Art Critic Choi Chul-joo's Visual Culture Column: To weave pink cloth in waves in a dark place as if it were your last life. = The temporality of light brightened by overlapping light is real in a realistic structure that removes real images and expresses them as shadows.

In addition, Choi Chul-joo's theory of desire art, which interprets reality as a realistic abstract, is embodied in a shade covered with a bamboo forest depicting the subject of "morning glory" the background of desire.

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' 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, Kim Yon-ja's bling bling 20

Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction.

- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.

- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 236-Let me be your fantasy, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest i236-Let me be your fantasy: 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest i236-Let me be your fantasy-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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i236-Let me be your fantasy-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, 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

Louis Chul-joo Choi, morning glory p132-2=Pond Rendering Reflects Current Desire, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p132-2=Pond Rendering Reflects Current 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: 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 p132-2=Pond Rendering Reflects Current Desire> 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 p132, a hand-painted picture on a computer> 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 Chul-joo, morning glory p132-2=Pond Rendering Reflects Current Desire, a hand-painted picture on a computer> becomes a non-real abstraction of reality.

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

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi Chul-joo, morning glory p132-2=Pond Rendering Reflects Current Desire, a hand-painted picture on a computer" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "In front of the bamboo forest Bamboo Forest Bamboo Forest i236-Let me be your fantasy-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 236, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p132, a hand-painted picture on a computer

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

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

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

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

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

By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.

In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.

Final image superimposed on the artist's work:: Louis Chul-joo Choi, the Missing pond, 112X249cm, acrylic and composite materials on cloth, 2024:

The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.

In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.

Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".

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

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.

Louis Choi Chul-joo, I Will Be Your Fantasy 20/ 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./ [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Newsmanwha K-pop Song Illustrator [7] Monsta X <I Will Be Your Fantasy> Online Live. (2020-5-27) / Reporter Choi Chul-joo review cartoon / 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.

Louis Chul-joo Choi, morning glory p132-3, a hand-painted picture on a computer

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

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

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

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

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

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 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.

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

Louis Chul-joo Choi, Chungha, shows outstanding performance, a hand-painted picture on a computer,/ Cartoon, Korea News Cartoon Review with Contemporary Art Critic Choi Chul-joo's newsmanwha K-Pop Song illustratoin [18] Chungha, shows outstanding performance. ACN ・ 2020. 7. 13. 23:25/ Reporter Choi Chul-joo’s Cartoon Review

- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 237-Chungha, shows outstanding performance: 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 Chul-joo Choi, Bamboo Forest b237-Chungha, shows outstanding performance: 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 b237-Chungha, shows outstanding performance-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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest b237-Chungha, shows outstanding performance-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, 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.

Louis Chul-joo Choi, morning glory p132-3-Chungha, shows outstanding performance, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p132-3-Chungha, shows outstanding performance: 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 p132-3-Chungha, shows outstanding performance> 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, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025> 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 p132-3-Chungha, shows outstanding performance> becomes a non-real abstraction of reality.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, morning glory p132-3-Chungha, shows outstanding performance" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Bamboo Forest b237-Chungha, shows outstanding performance-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

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

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 237, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p132, a hand-painted picture on a computer

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

By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

Final image superimposed on the artist's work:: Louis Chul-joo Choi, the Missing pond, 112X249cm, acrylic and composite materials on cloth, 2024: The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.

Louis Chul-joo Choi, Chungha, shows outstanding performance 9 ː l’interprétation du mot dans une nouvelle caricature] ■ newsmanwha K-Pop Song illustratoin [18] Chungha, shows outstanding performance. ACN ・ 2020. 7. 13. 23:25/ Reporter Choi Chul-joo’s Cartoon Review/ The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture. ■ Choi Chul-joo's Concept of Desire Formul: 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.

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