현대 개념 추상화가 최철주｜현대개념추상미술평론, 현대개념추상미술가평론, 현대개념추상미술작품평론 [2] Contemporary Conceptual Abstract Painter Artwork Criticism & Contemporary art critic Louis Choi Chul-joo is a contemporary art critic who examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of a work with the theory of visual art. Picture-speaking language structure is a gaze reality image in which the image of abstract desire seems to be the semantic structure of the concept of desire. Art critic Choi Chul-joo approaches the aesthetic value, process, and artistry of contemporary art criticism with the concept of desire abstract design along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of a work in the language structure and criticizes the reality of the concept of desire./ Contemporary Conceptual abstract Painter Review with Visual Art of the Story of Contemporary Art Critic Louis Choi Chul-joo & A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art: 가역적 하얀 빛에 반사된 연못 내 오브제의 욕망 구조 Louis Chul-joo Choi, morning glory 2025-2-Desire structure of objects in a pond reflected by reversible white light, 113X165cm, acrylic and composite materials on cloth, 2025
Louis Chul-joo Choi, morning glory 2025-2-Desire structure of objects in a pond reflected by reversible white light, 113X165cm, acrylic and composite materials on cloth, 2025
오브제로서의 언어적 표현 이미지는 문법적 문장 해석과 무관한 단어를 이벤트 이미지로 나타내는 추상적인 의미를 나타낸다. 그러나 문법은 추상적인 비언어적 행동에 논리적 의미를 부여한다.
따라서 욕망의 개념을 문법적 언어 구조로 해석하려면 언어적 의미의 추상적 기호를 반복적으로 디자인해야 한다.
그 욕망의 개념과 동일한 이미지는 의식과 개념 설계를 통해 명확하게 정의될 때 오브제의 존재로서 이미지를 생성한다.
최철주의 욕망 개념인 "나팔꽃"은 형이상학적 철학적 관점에서 강조된 언어적 의미의 개념과 충돌하며, 결핍된 욕망의 주제를 표현하기 위해 극적인 사건 이미지를 생성하고, 이미지를 가역적인 하얀 빛의 음영으로 비춥니다. 그는 추상적 욕망 개념의 언어적 문법적 의미를 이미지로 반영하여 중첩된 시간성과 가역적인 하얀 빛의 음영을 공유하는 여러 사건 이미지의 공간을 형성한다. 이것은 18세기 회화의 유물론과 달리, 사건 이미지는 물리적 인식보다는 타자의 욕망이라는 추상적 자아를 넘어 욕망의 결핍이라는 주체로 해석된다.
추상적 욕망 개념의 언어적 문법적 의미는 실제 이미지를 사건으로 간주하는 이원론적 오브제로, 결핍된 욕망의 구조를 공간 구성의 원리와 동일시한다. 그리고 시간이 지남에 따라 빛의 지점에서 가역적인 빛으로서, 그 오브제는 물체로서의 실제 이미지로 만들어진다.
따라서 사건의 이미지를 반영하는 연못 속 추상적 욕망의 개념은 현실 세계에서 다른 사람들의 욕망을 반영하는 실제 이미지로 표출된다.
연못에서 최철주의 욕망 개념은 실재 이미지와의 인과를 전제하지 않고 무의식에 소외된 욕망이 분열된 추상적 개념에서 욕망의 대상을 개념적 주체로 한 디자인으로 상징화하여서 실재 이미지의 상관 관계로서의 욕망 개념으로 추상한 실재 이미지로 귀결한다.
언어적 추상에서 실재 이미지로서 추상의 의미를 귀납적으로 추론하여서 상징적 존재의 의미를 취한다. 그리고 그 존재의 이미지를 바라보는 시선은 실재의 외면으로 욕망 개념을 추상화하여서 그 욕망 개념으로 실재의 상관물로서 실재 이미지가 추상의 대상이 된다. 이것은 최철주 욕망 개념 디자인 프로세스1 이다.
추상적 욕망의 대상을 개념적 주체로 한 디자인으로 상징화된 실재 이미지를 음영으로 한 크기를 생략하고 빛으로 보이는 범위로 자리에 이미지를 평면화한다. 그리고 그 이미지가 언어적 의미로서 말하는 욕망 개념의 상징 구조로서 표상한다.이렇게 표상된 상징 구조의 실재가 하나의 단상으로서 자리에 조응된 미적 가치를 갖도록 그 자리를 풍습에 어울리는 보편적 실재의 색으로 대상을 꾸미는 것이 최철주의 욕망 개념 디자인 프로세스2 이다.
욕망 개념으로 디자인한 이미지에 은폐된 미적 구조는 구름으로 구분되어 가려진 음영으로 욕망 개념과 이미지로 대립된 방향으로 여러개의 방향에서 욕망 개념을 이미지로 시각화하여서 그 이미지를 추상화로 인지하도록 사회적 환경에서 생성된 욕망 구조의 피사체를 과거에 존재물로 대리한다. 그리고 그 존재물을 그린 주체가 욕망 개념을 기호화한 실재를 대리자로 집행하여서 추상적 욕망을 이미지의 정신적 현상으로 무의식의 이미지를 실제화한다. 그리고 무의식에서 추상적 욕망 대상의 이미지의 선택은 욕망의 주체가 바라는 상상에 의해 생성된 것이 최철주의 욕망 개념 추상화다. 그 추상화 이미지로서 무의식 구조로서 선과 색이 조합된 이미지가 생각속에 있지만 의식되지않는 것을 무의식적 행위로 한 욕망을 반복해서 디자인하여서 실재의 이미지로 생성하는 것이 욕망 개념 디자인 프로세스3 이다.
무의식적으로 추상하는 욕망 개념은 실재의 대상이 가역적 빛의 음영으로 보이지 않는 실재의 조각 이미지로 실재를 그림자로 감추고서 또 다른 실재 이미지를 보인다. 그 이미지는 실재 이미지와 욕망의 주체가 바라는 상상에 의해 유지하는 무의식으로서 그 이미지로 자각할 수 없는 생각이다. 그 생각의 이미지는 실재에서 조각난 평면적인 단색화가 의식 운동을 통해서 가역적 빛의 구조로 조합하여 자리한 욕망의 공간 구성을 디자인하는 것이 욕망 개념 디자인 프로세스4. 이다.
따라서 가역적 빛에 따른 언어적 이미지의 시간성은 아리스토텔레스의 시간처럼 실존론적-존재론적 해석으로 한 존재로서의 실재 이미지를 현전한다. 여기서 욕망 개념을 현전하려고 언어적 의미를 표상하는 것이 최철주 욕망 개념 추상 디자인 프로세스5 다. 이것은 경과된 시간의 상관적 구조로서 실재 이미지를 회귀하면서 이미지의 특정되는 면을 단순화 하여서 추상한다.
따라서 추상 구조를 특정하는 실재 이미지를 단순화하여서 단면의 명암을 가역적 빛의 음영으로 소거하여 추상의 본질을 단면으로 평면화한다. 이것은 실존하는 현재와 동일한 대상을 시간성으로서 은폐된 언어적 의미의 추상의 본질을 회귀한 이미지다. 이렇게 최철주의 욕망 개념 디자인은 그의 욕망 개념 디자인 프로세스를 통해서 언어적 의미가 원근법적 시각체계에서 또 다른 추상적 실재로서 욕망 오브제를 출현한다.
가역적 하얀 빛에 반사된 연못 내 오브제의 욕망 구조
욕망 개념의 오브제로서, 사건 이미지의 표면 색상 대비 효과와 겹치는 가역적인 빛으로서의 빛 변색은 연못에 투사된 가역적인 빛 속에 숨겨진 욕망을 숨기는 사건 이미지를 반영하며, 욕망 구조의 음영 색을 보인다.
타자의 욕망으로 한 추상적 욕망 개념이 상징적 구조로 결핍된 욕망의 주체를 이룬다.
이것은 주체가 지향하는 이미지를 만들고자 최철주의 욕망 공식에 따라 디자인을 반복하여 상징적 존재에서 분열된 결과로서 사건 이미지를 결핍된 욕망 개념을 주체로서 실재 이미지를 출현한다.
최철주의 욕망 구조에서 반전 가능한 빛의 그림자 속에서 실재의 그림자는 사건 이미지의 시선 방향으로 선 공간에서 상대방의 무의식적인 욕망을 나타내는 현상적 이미지를 귀결된다.
이것은 타자의 욕망 개념의 원형 오브제가 빛에 가려져 있기 때문에 오브제 뒤에 생성된 그림자입니다.
가역적인 하얀 빛에 의해 반사된 연못 속 물체의 욕망 구조에서 결핍된 욕망의 주체는 연못에 비친 사건 이미지를 결핍된 욕망의 주체로 구성하려는 추상적 욕망의 개념과 상상적으로 동일시한다.
연못에 비친 사건 이미지는 결핍된 욕망의 개념을 의식적인 움직임으로 표현함으로써 동일한 의미를 지닌 실제 이미지를 생성한다.
여기서 욕망 구조에서 그림자는 타자의 욕망 구조에 결핍된 구성으로 사건 이미지의 조각되어서 음폐된다.
이것은 무의식적 욕망 구조로서 실재의 이미지에서 욕망의 불투명한 원인에서 유발된 행위에 막혀 생성된 그림자다.
최철주의 욕망 개념에서 고도와 방향이 명시되지 않은 가역적 빛은 시간성에 따른 존재로서의 현실을 보여준다.
사건 이미지의 외상적 이미지를 가역적인 하얀 빛에 반사된 연못 속 물체의 욕망 구조로 식별하는 가역적인 빛의 존재로서의 실제 이미지를 말한다.
이것은 욕망 개념의 언어적 의미를 나타내는 현실을 가역적인 빛의 음영 이미지로 표현하여 추상적인 욕망을 실현하는 욕망 오브제다.
그 오브제는 사건의 이미지를 식별하는 의식적 움직임과 욕망의 부재를 상징하는 현실을 반복하여 디자인을 통해 욕망 개념의 언어적 의미를 실제 이미지로 표출한다.
그리고 실제 이미지와 욕망의 주체 사이의 관계를 판단하는 동안 주체는 욕망의 개념을 상상할 수 없도록 실제 이미지로 전이한다. 주체가 욕망의 대상으로서의 욕망 개념으로 돌아갈 수 없는 실제 이미지에서 사건 이미지로서의 욕망 현상을 일으키는 원인을 제공한다.
여기서 욕망의 현상을 일으키는 오브제는 최철주의 욕망 공식으로 디자인을 연쇄하여서 추상적 욕망 개념의 언어적 의미로서의 실재 이미지를 만들고 그 이미지가 결핍된 욕망이 말하는 의미를 추상한다.
그 음영적 이미지는 지나가는 시간에 멈춰선 존재로서의 하얀 빛이 욕망 배경인 "나팔꽃"의 음영 구조색과 동일한 청색과 녹색 그리고 황색이 배경에 흡수되면서 오브제를 적색으로 연출한다. 여기서 시각체계에서 응시로 보이는 대비효과는 광변된 오브제에서 반사된 색이 연못에 투사된 흡수 스펙트럼 색이다.
이것은 추상적 욕망이 오브제의 고유색에서 욕망 개념이 언어적 의미로서 실재색으로의 변화로서 가역적 하얀 빛의 화학적 반응처럼 나팔꽃의 음영이 욕망색으로서 하얀 빛을 오브제를 특정하여서 욕망을 정의하고 태양 빛처럼 음영의 크기를 왜곡하지않고 평행하다.
따라서 빛의 방향에 관계없도록 평평한 적색으로 표상한다. 그 표상은 빛이 회절한 밝은 그림자는 오브제의 모양으로 왜곡되고 않고 전체 형태를 가역적 빛의 음영으로 구성된다. 이것은 쓰레드 페인팅으로서 수묵기법의 태양 빛을 조명으로 표현한 그림이다.
가역적 하얀 빛에 반사된 연못 내 오브제의 욕망 구조의 오브제로서 사건 이미지가 결핍된 욕망이 말하는 의미를 추상하여서 가역적 태양 빛의 음영으로 이룬 실재가 추상적 욕망을 지탱한다. 그리고 결핍된 욕망 개념을 언어적 의식운동으로서 욕망의 자리를 특정하는 선공간에 존재하는 실재를 꾸민다./글. 현대 미술평론가 최철주 (문화디자인박사)
Louis Chul-joo Choi, morning glory 2025-2-Desire structure of objects in a pond reflected by reversible white light, 113X165cm, acrylic and composite materials on cloth, 2025
Linguistic representation images as objects represent abstract meanings that represent words unrelated to grammatical sentence interpretation as event images. However, grammar gives logical meaning to abstract nonverbal behavior.
Thus, interpreting the concept of desire as a grammatical linguistic structure requires the design of abstract symbols in linguistic meaning repeatedly.
Images identical to the concept of desire produce images as the presence of objects when clearly defined through consciousness and conceptual design.
Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century.
The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object.
Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world.
Desire structure of objects in a pond reflected by reversible white light,
As an object of the concept of desire, the light discoloration as a reversible light overlapping the surface color contrast effect of the event image reflects the event image hiding the desire hidden in the reversible light projected into the pond, representing the shadow color of the desire structure like a spectrum.
The concept of abstract desire through the desire of the other constitutes the subject of desire lacking as a symbolic structure.
This is the result of being divided from symbolic existence by repeating the design according to Choi Chul-joo's desire formula to create the image that the subject aims for, and the real image appears as the subject with the concept of desire lacking the event image.
In Choi Chul-joo's desire structure, the shadow of reality in the shadow of reversible light results in a phenomenal image as a sign of the unconscious desire of the other in the line space in the direction of the gaze of the event image.
This is the shade created after the object because the circular object of the concept of the other's desire is hidden by light.
In the object's desire structure in the pond reflected by reversible white light, the subject of deficient desire imaginatively equates the event image reflected in the pond with the concept of abstract desire to constitute the subject of deficient desire.
The event image reflected in the pond creates a real image with the same meaning by stating the concept of insufficient desire as a conscious movement.
Here, in the desire structure, the shadow is a composition lacking in the other's desire structure, and the event image is carved and obscured.
This is a shadow created by being blocked by actions induced by the opaque cause of desire in the image of reality as a structure of unconscious desire.
In the concept of Choi Chul-joo's desire, reversible light, whose altitude and direction are not specified, shows reality as a being according to temporality.
It refers to the real image as the existence of reversible light that identifies the traumatic image of the event image as the structure of the desire of the object in the pond reflected by the reversible white light.
This is a desire object that realizes abstract desire by representing reality that represents the linguistic meaning of the concept of desire as a shaded image of reversible light.
The object repeatedly expresses the linguistic meaning of the concept of desire as a real image by repeating the design through conscious movement that identifies the image of the event and the reality that symbolizes the lack of desire.
And while determining the relationship between the real image and the subject of desire, the subject transitions to the real image so that the subject cannot imagine the concept of desire. It provides the cause of causing the phenomenon of desire as an event image, from the real image that the subject cannot return to the concept of desire as an object of desire.
Here, the object that causes the phenomenon of desire is Choi Chul-joo's desire formula, repeating the design to create a real image as a linguistic meaning of the concept of abstract desire, and abstracting the meaning of desire lacking the image.
In the shaded image, the object turns red as the white light as a being that has stopped in time is absorbed into the background, and the blue, green, and yellow colors that are absorbed into the morning glory background are the same shaded structural colors as the desire background of the 'morning glory'. Here, the contrast effect visible from the visual system is the color of the absorption spectrum in which the color reflected from the object changing light is projected onto the pond.
This means that abstract desire changes from the natural real color of a real object to the concept of desire as a linguistic meaning, and like the chemical reaction of reversible white light, the shadow of the morning glory defines desire by designating white light as the color of desire, and is parallel without distorting the size of the shadow like the sun light.
Therefore, it is expressed in flat red regardless of the direction of the light. A bright shadow diffracted by light consists of an overall reversible shade of light, which is not distorted into the shape of an object. This painting is actually painted using the light of the sun as a light, just like an ink-and-wash painting.
Abstracting the meaning of desire that lacks an event image as an object of the desire structure of an object in a pond reflected by reversible white light, the reality in the shadow of reversible sunlight supports abstract desire. Additionally, the concept of lack of desire is linguistic consciousness, creating a reality that exists in the line space that specifies the place of desire./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Louis Chul-joo Choi, morning glory p134-3, 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.
Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.
"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.
And by expressing the absence of the concept of desire in reversible temporality as a phenomenal image, "morning glory" expresses the mirror image reflected in the "pond" to abstract the structure of reality from the desire hidden in the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract color and planar structure.
■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.
Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.
In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.
Louis Chul-joo Choi, morning glory p134-2-1-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer
Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction.
- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.
- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 242-Desire structure of objects in a pond reflected-Mona Lisa: 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 h242-Desire structure of objects in a pond reflected-Mona Lisa: 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 h242-Desire structure of objects in a pond reflected-Mona Lisa-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 h242-Desire structure of objects in a pond reflected-Mona Lisa-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
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 243-Desire structure of objects in a pond reflected-Mona Lisa: 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 i243-Desire structure of objects in a pond reflected-Mona Lisa: 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 i243-Desire structure of objects in a pond reflected-Mona Lisa-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 i243-Desire structure of objects in a pond reflected-Mona Lisa-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 p134-2-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa, : By repeatedly applying the concpept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p134-2-Desire structure of objects in a pond reflected-Mona Lisa> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis 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 p134-2-Desire structure of objects in a pond reflected-Mona Lisa,> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Louis Chul-joo Choi, morning glory p134-3-1-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p134-3-1-Desire structure of objects in a pond reflected-Mona Lisa, : By repeatedly applying the concpept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p134-3-1-Desire structure of objects in a pond reflected-Mona Lisa> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis 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 p134-3-1-Desire structure of objects in a pond reflected-Mona Lisa,> 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 chuljoo, morning glory p134-3-1-Desire structure of objects in a pond reflected-Mona Lisa," 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 "i243-Desire structure of objects in a pond reflected-Mona Lisa-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.
Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.
Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 243, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p134, a hand-painted picture on a computer
Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century.
The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object.
Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world.
Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p134-2, a hand-painted picture on a computer
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:: Background image of an artist's artwork: Louis Chul-joo Choi, morning glory window 2024-5-Mona Lisa, 17.5X24cm, acrylic and composite materials on cloth, 2024
In Renaissance art, which opened up the image of contemporary art, "Mona Lisa" refers to the aesthetic desire that spread from aristocrats to merchants. This is where the desire of the other to monopolize the artistic value of contemporary art is established.
The concept of desire is humanism, which deviates from religious creativity.
"Morning glory Window Mona Lisa" abstracts the mysterious image saved by Da Vinci's sfumato technique as the outline of reality as an image beyond the mysterious atmospheric effect of the color of the morning glory, which is the background of desire.
Abstraction is established as an aesthetic effect of safe desire with two morning glory on the face of the Mona Lisa and two morning glory on the left.
From the letters, the image of desire mediated by morning glory and Mona Lisa is repeated, showing an abstract reverberation effect in the shadow of reversible light.
As a reverberation effect, blue and black tree trunks were properly placed behind the morning glory so that the gaze could lead from the morning glory to the Mona Lisa, the background of desire, and the gaze was focused on the morning glory and connected to the face of the Mona Lisa as the subject of desire.
And by creating a position facing the Mona Lisa in the morning glory, the gaze is directed to the Mona Lisa, the subject of desire.
The metaphor for the concept of desire The Mona Lisa is replaced with a desire image in the morning glory, and the morning glory is demarcated into the background of desire. Here, the gaze of desire focuses on the Mona Lisa with a red window structured into a frame.
As a Renaissance thinking, it has a desired meaning with the object of desire, <morning glory> as an allegory. The "morning glory" is an abstraction that shows the real world of desire as a subject by linking the image of desire with a sensus allegoricus that explains other meanings beyond the literal meaning, and the morning glory window interprets the demarcation problem between objects and desires as a symbolic metaphor in the meaning of the text.
Unlike the conceptual art of Dadaism, which transforms the image of the object as meaning, this materializes the object of desire and realizes the subject's desire structure in the shadow of reversible light.
As a reality, the desire structure is the subject, and the Mona Lisa becomes the object of the cause of creating the desire structure as an image symbolized in the morning glory through the relationship of symbolic expression made by the Mona Lisa as a morning glory.
The simultaneous function of the desire structure and the real image reveals the underlying image in which the meaning of the concept is integrated into the desire image as a retroactive effect, and the Mona Lisa, who metaphorized the image, hides in the desire concept.
As a fundamental image, the Mona Lisa is disclosed as the first concept of desire and reaches a symbolic image as a deliberate abstraction. / Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p134-2-1-Desire structure of objects in a pond reflected-Mona Lisa, a hand-painted picture on a computer / The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture. ■ Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world. ■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire, mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality. ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. ■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.
