현대 개념 추상화가 최철주｜현대개념추상미술평론, 현대개념추상미술가평론, 현대개념추상미술작품평론 Contemporary Conceptual Abstract Painter Artwork Criticism [3] 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: Louis Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025
Louis Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025
가역적 빛의 음영이 만든 기호적 표현 문법
욕망 개념에 미적 표현의 결핍은 다른 사람들의 무의식적인 욕망 개념에 표현이 존재하는 것과 달리 많은 실제 대상과 공시성을 가진다.
따라서, 빛의 가역적 그림자에 의해 만들어진 문법적으로 표현된 추상화에서 상대방의 무의식적인 욕망을 동시에 표현하는 것과 달리, 언어적 표현으로서 미적 구조를 추구하는 추상적 표현은 실제 이미지에서 드러난다.
이것은 기호적인 문법적 오브제에 따른 의도적인 표현이며, 타자가 참여할 수 있도록 하는 추상적인 경험으로 표현된다.
욕망의 개념을 상징하는 표현 이미지, 즉 회화적 표현은 무의식적인 언어적 의미와 추상적 현실 사이의 표현 움직임을 나타내는 실재 이미지에서 욕망의 개념이 결여되었을 때 빛의 가역적인 그림자에 의해 기호적인 미적 구조로 만들어진 추상적 표현이다.
최철주의 욕망 구조에서, 가역적인 빛의 음영 속에서 기호적 문법은 현상적 이미지의 원인을 사건 이미지의 시선 방향에 있는 선 공간에서 타자의 무의식적인 욕망의 징후로서 반복하는 언어적 이미지입니다.
이것은 타자의 욕망 개념의 원형적 오브제에 의해 빛에 의해 오브제가 가려진 후 생성되는 음영적 욕망 이미지입니다. 그 이미지는 상상계에서 언어적 의미와 추상 논리를 문법적 표현으로 분석하는 수학적 함수로 나뉩니다. 이는 이원적 관계이며, 욕망의 개념은 실제 이미지에 해당하는 기호적 오브제에 표현적 욕망 값을 적용하여 실제 이미지와 동일시한다. 따라서 언어적 의미와 추상 논리를 상상계의 문법적 표현으로 분석하는 수학적 함수로서, 표현적 욕망 가치는 실제 이미지에 해당하는 기호적 오브제에 적용되며, 기호적 변수로서의 욕망 가치는 추상적 욕망 체계에서 욕망 기호의 실제 이미지 연쇄로 디자인된 표현적 의미이다..
표현적 의미로서 조선시대 소외된 여인의 춘화는 풍속화에서 욕망값이 큰 구성으로 버드나무 등 사계절의 자연을 배경으로 한 신윤복 건곤일회첩(乾坤一會帖) 화풍의 에로틱한 이미지다. 이것은 병인양요(丙寅洋擾) 때에 프랑스 군대가 강화도 외교장각에서 약탈한 자료를 보관중인 프랑스 국립도서관에 있었던 조선시대 춘화를 모방했다. 따라서 정조 임금과 친화적인 김홍도의 그림일 수도 있다. 그의 그렸던 "춘화"와는 화풍이 다르지만 그의 작품 "호랑이"처럼 실체적 교감을 자아낸다. 그것은 성적 행위를 상상하는 표현적 추상성에 대한 이중적 관계로서 윤리적 풍속화를 넘어서 또 다른 상징으로 분열한 모방적 욕망 디자인을 결합한 본질적 이미지로서의 성적 표현 즉 결핍된 욕망을 보인다.
따라서 표현적 이미지는 사건 이미지의 조각된 욕망이 타자의 욕망 구조에서 가려지기 때문에 현실의 이미지를 무의식적인 욕망 구조로 구성하여 욕망의 불투명한 원인으로 인한 욕망 행동에 의해 차단되어 만들어진 그림자입니다.
치마에 겹쳐진 부분을 생략한 기호 이미지가 표현적 이미지로서 실재 이미지를 대리할때 사실적 구조로서 추상화를 이룬다. 이것은 표현적 이미지가 욕망 개념을 추상한 이미지와 동일한 이미지의 문법적 의미구조를 사용했기 때문이다.
최철주 욕망 개념에서 빛의 고도와 방향이 명시되지 않는 가역적 빛은 시간성에 따른 존재로서 문법처럼 실재를 구성하는 문법적 이미지를 만드는 원인이 된다. 표현의 문법적 실재의 오브제로서 사건 이미지의 외상적 이미지는 가역적 빛을 존재로서 실재 이미지로 대치되면서 욕망 개념을 말한다. 이 같은 욕망의 공식 <D(I...I')d=I(D...D'i)i>을 통해 오브제로서 사건 이미지의 추상적 욕망 개념에서 분열한 주체로서 의미를 출현한다.
이것은 욕망 개념의 언어적 의미를 대리하는 실재를 이미지로 표상하여서 추상적 욕망을 실제화한 욕망 오브제다.
따라서 상징적 효과 이미지의 조합으로서 언어적 의미가 욕망을 나타내고, 공적 기능으로서 언어적 은유가 전체를 나타내는 표현적 이미지와 상징적 문법 기능으로서 욕망 구조를 구성하는 스케치에 의해 생성된 표현적 이미지가 욕망의 결과를 형성하는 장치가 최철주의 욕망 개념 추상디자인 프로세스 다.
표현적 기호 이미지는 문법적인 문장 해석과 무관한 단어를 상징하는 추상적 의미를 사건 이미지로 보인다. 그러나 문법은 추상적인 비언어적 행위의 논리적 의미를 부여한다. 따라서 욕망의 개념을 문법적 언어 구조로 해석하기 위해 언어적 의미의 추상적 상징 패턴을 반복적으로 디자인하고, 욕망의 개념과 동일한 이미지를 의식과 개념 디자인으로 나누는 언어적 의미와 상징적 이미지로 식별한다.
또한, 식별된 문법에서 욕망 개념의 언어적 의미와 상징적 이미지가 욕망 객체로 명확하게 정의될 때, 존재의 이미지는 놀랍게도 빛에 의해 드러난다.
시간성에서 빛의 광점에서부터 가역적 빛으로서 오브제로서 질료를 실재 이미지로 연출한다.
사건의 이미지를 반영하는 연못에서 추상적인 욕망의 개념은 현실 세계의 다른 사람들의 욕망을 거울처럼 반영하여 표현됩니다.
최철주의 욕망 개념, 즉 현대 미술이 등장하는데, 형이상학적 철학적 빛에서 강조된 언어적 의미의 개념과 충돌하는 그림이 인공 조명으로 극적인 사건 이미지를 만들어낸다.
사건의 이미지를 반영하는 연못에서 추상적인 욕망의 개념은 현실 세계의 다른 사람들의 욕망을 거울처럼 반영하여 표현된다. 최철주 작가의 추상적인 욕망 개념, 즉 형이상학적 철학적 관점에서 현대 미술이 등장하고 강조되는 언어적 의미 개념과 충돌하는 그림들은 인공 조명과 함께 극적인 사건 이미지를 만들어낸다. 그는 어두운 현존 공간에서 시간성에 중첩되는 가역적 빛의 음영으로 하얀 빛에서 흰색을 공유하는 공간의 오브제로서 여러개의 사건 이미지를 각각 몽타주처럼 조명한다.
이것은 회화에서 18세기 유물론과는 달리 물리적 지각이 아닌 욕망적 추상으로 자아를 넘어서 타자의 욕망을 오브제로서 사건 이미지를 결핍된 욕망의 주체로 해석한다.
이원론적 오브제의 상상적 기호표현으로서 표현적 욕망 개념과 표현 행위로서 사건 이미지의 간극을 언어적 의미로서 오브제의 주체와 실재를 동일시한다. 여기서 주체는 기호표현의 영향으로 욕망 개념의 오브제로서 공간 구성의 원리에 맞추어 실재로서 추상 이미지를 연출하여서 결핍된 욕망을 의미한다. 실재로서 이미지의 추상은 오브제의 색을 빛의 반사로 인식하지 않고 정해진 오브제의 상징색이 빛의 조명으로 음폐되어서 결핍된 구조에서의 오브제를 상징하는 언어적 의미에서 결핍된 이미지로서의 실재를 동일한 구조로 해석한다. 여기서 사물의 이미지가 말하는 욕망의 개념을 사건 이미지로 연출하는 것이 최철주의 욕망 개념 추상디자인 프로세스 다. 이것은 시각 정보가 추상적인 방식이 아닌 가역적인 빛의 그림자로 인식되는 오브제의 상징색을 무의식적으로 경험하면서 욕망의 개념을 구성이다. 따라서 경험의 방식으로 오브제의 언어적 의미에서 오브제의 상징색을 이미지 색으로 파악하기 위해 최철주 욕망 공식을 반복적으로 디자인한다.
오브제의 상징색은 대상의 구조를 언어적 의미로서 형이상적으로 인식하여서 실재를 구성하는 미적 역할을 한다. 실재를 미적 구조로 표현하는 것은 욕망 체계를 관리하는 추상적인 개념이 언어적 의미로 정의된 것으로 색상으로 색으로 표현하는 추상적 회화 방식이다,
여기서 특정 존재로서의 오브제는 추상적인 욕망을 추구하는 과정에서 실재를 상징하는 언어적 의미의 이미지이며, 색과 실존적 가치를 디자인하는 오브제의 욕망 구조가 결여된 개념을 충족시켜 욕망을 충족시키는 향유적 실재 이미지다.
향유적 실재 구조는 대상의 주체와 욕망의 개념 사이의 언어적 의미 관계를 나타내며, 주체는 가역적인 빛의 그림자처럼 실재 이미지의 영향을 받는다.
따라서 인식된 색상으로 욕망을 표현하는 특정 객체는 가역적인 빛의 음영으로 추상화된 합리적인 욕망의 실제 이미지로 일반화되는 추상화로 변환되며, 상대방의 욕망은 일관된 의미에서 쾌락을 경험하는 선 공간에 대한 욕망의 실재를 꾸민다./글. 현대 미술평론가 최철주 (문화디자인박사)
Louis Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025
Symbolic representation grammar generated by reversible shades of light
The lack of aesthetic expression in the concept of desire has many real objects and expressions, unlike the expression in other people's unconscious concept of desire.
Thus, unlike simultaneous expression of the other person's unconscious desire in grammatical expression abstractions created by reversible shadows of light, abstract expressions pursuing aesthetic structures as linguistic expressions are revealed in real images. This is an intentional representation according to symbolic grammatical objects, and is represented as an abstract experience that allows others to participate.
An expression image that symbolizes the concept of desire, or a pictorial representation, is an abstract expression made into a symbolic aesthetic structure by the reversible shadow of light when the concept of desire is lacking in the real image that represents the movement of expression between unconscious linguistic meaning and abstract reality.
In Choi Chul-joo's desire structure, symbolic grammar in a reversible shade of light is a verbal image that repeats the cause of the phenomenal image as a sign of the unconscious desire of the other in the line space in the gaze direction of the event image.
This is a shadowy desire image created after the object is hidden by light by the circular object of the concept of desire of the other.
The image is divided into a mathematical function that analyzes linguistic meaning and abstract logic as grammatical expressions in the imagination world. This is a binary relationship, and the concept of desire is the same as the real image by applying the expressive desire value to a symbolic object corresponding to the real image. Thus, as a mathematical function that analyzes linguistic meaning and abstract logic as grammatical expressions in imagination, expressive desire values are applied to symbolic objects corresponding to real images, and desire values as symbolic variables become expressive meanings designed as a chain of real images of desire symbols in abstract desire systems.
In an expressive sense, the pornography of a woman alienated from the Joseon Dynasty is an erotic image in the style of a book called Shin Yoon-bok's Gyeon-Gon-Il-Hoe (乾坤一會帖) against the backdrop of four seasons such as willow trees, It imitated the Joseon Dynasty's Spring Flower at the National Library of France, where the French army kept materials stolen from Ganghwa Island's "Oegyujanggak (外奎章閣)" during the reign of King Byeonginyangyo (丙寅洋擾). Hence, it may be the painting of Kim Hong-do, who is friendly to King Jeongjo. Although the painting style is different from that of his a pornographic painting (春画), it creates a connection just like his work Tiger.
The painting style is different from that of his painting(春画), but like his work, 'Tiger', the actual expression of sympathy creates a connection. And has a high desire value in genre painting. This is a dual relationship with expressive abstraction that imagines sexual behavior, and it shows sexual expression, that is, a lack of desire, as an essential image that combines imitative desire design divided into another symbol beyond ethical genre painting.
Therefore, the expressive image is a shadow created by being blocked by the desire behavior caused by the opaque cause of desire by constructing the image of reality as an unconscious desire structure because the sculpted desire of the event image is obscured from the desire structure of the other.
When a symbolic image in which the overlapping part of the skirt is omitted represents the real image as an expressive image, it forms an abstraction as a realistic structure. This is because the expressive image used the same grammatical semantic structure as the image that abstracted the concept of desire.
In Choi Chul-joo's concept of desire, reversible light, whose altitude and direction of light are not specified, is a being according to temporality and is the cause of creating a grammatical image that constitutes reality like grammar. The traumatic image of an event image as an object of the grammatical substance of an expression refers to the concept of desire to replace reversible light with real existence. Through Choi's desire formula <D(I am...)d=I(D...D'I)i>, meaning appears as the meaning of a separate subject in the abstract concept of desire as an object in the event image.
This is a desire object that realizes abstract desire by representing reality that represents the linguistic meaning of the concept of desire as an image.
Therefore, Choi Chul-joo's desire concept abstract design process is a device in which the expressive image, in which the verbal meaning represents desire as a combination of symbolic effect images and the verbal metaphor represents the whole as a public function, and the expressive image created by the sketch, which constitutes the desire structure as a symbolic grammatical function, forms the result of desire.
Representation images show abstract meanings that represent words that are not related to grammatical sentence interpretation as event images; however, grammar gives logical meaning of abstract nonverbal behavior.
Thus, to interpret the concept of desire as a grammatical linguistic structure, we repeatedly design abstract symbolic patterns of linguistic meaning, and identify images identical to the concept of desire as linguistic and symbolic images that divide them into consciousness and conceptual design.
In addition, when the linguistic meaning of the concept of desire and the symbolic image are clearly defined as desire objects in the identified grammar, the image of existence is surprisingly revealed by light.
As a reversible light from the point of light in temporality, the material is produced as a real image as an object.
In a pond reflecting the image of an event, the concept of abstract desire is expressed by reflecting the desires of others in the real world like a mirror.
Choi Chul-joo's concept of desire, modern art, emerges, in which a painting that collides with the concept of the linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting.
In a pond that reflects the image of an event, the concept of abstract desire is expressed by reflecting the desires of others in the real world like a mirror.
Paintings that conflict with Choi Chul-joo's abstract concept of desire, that is, the linguistic concept of meaning in which modern art emerges and is emphasized from a metaphysical philosophical point of view, produce dramatic event images with artificial lighting.
In dark conventional space, he illuminates several event images like montage as objects that share reversible shades of light and white light overlapping with temporality.
Unlike 18th-century materialism in painting, this interprets the desire of the other as an object beyond the self as a desire abstract rather than a physical perception.
As an imaginary symbolic expression of a dualistic object, the gap between the concept of expressive desire and the image of an event as an act of expression equates the subject and reality of the object as a linguistic meaning. Here, the subject refers to what is the lack of desire by directing an abstract image as a reality in accordance with the principle of spatial composition as an object of the concept of desire under the influence of symbolic expression.
To abstract an image into reality, the color of an object is not recognized as a reflection of light, and the symbolic color of the object is obscured by the illumination of light, so that it is interpreted in the same structure as the image that lacks the linguistic meaning that symbolizes the object. The abstract design process of Choi Chul-joo's concept of desire is to produce the concept of desire spoken by the image of an object as an event image.
This is the structure of the concept of desire as visual information unconsciously experienced the symbolic color of an object perceived as a reversible shadow of light rather than an abstract way. Therefore, in order to identify the symbolic color of the object as the image color in the linguistic sense of the object in a way of experience, the Choi Chul-joo Desire Formula is repeatedly designed.
symbolic colors of objects play an aesthetic role in constructing reality by recognizing the structure of objects in a linguistic sense. The expression of reality as an aesthetic structure is an abstract painting method in which the abstract concept of managing a system of desire is expressed in color as being defined in a linguistic sense,
Here, the object as a specific being is an image in a linguistic sense that symbolizes reality in the process of pursuing abstract desire, and it is a enjoyment reality image that satisfies desire by satisfying the concept that lacks the desire structure of the object that designs color and existential value.
The enjoyment reality structure represents the linguistic semantic relationship between the subject of the object and the concept of desire, and the subject is influenced by the real image, like a shadow of a reversible light.
As such, certain objects expressing desires in recognized colors are transformed into abstractions that are generalized as real images of rational desires abstracted into reversible shades of light, and the other's desires create the reality of desire for line space that experiences pleasure in a consistent sense./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)
Louis Chul-joo Choi, morning glory p133-1-17-Symbolic representation grammar generated by reversible shades of light a hand-painted picture on a computer
Choi Chul-joo's modern conceptual abstraction: 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 p135-1,Symbolic representation grammar generated by reversible shades of light 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.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 296-BTS New York Times Square Performance, 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
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Review of Korean News Cartoon [127] love of reality that is different from love of television drama
(2019.6.27) / Reporter Choi Chul-joo’s Cartoon Review/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work
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.
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 245-245-Symbolic representation grammar generated by reversible shades of light-love of reality that is different from love of television drama: 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 j 245-Symbolic representation grammar generated by reversible shades of light-love of reality that is different from love of television drama: 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 j 245-Symbolic representation grammar generated by reversible shades of light-love of reality that is different from love of television drama-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 j 245-Symbolic representation grammar generated by reversible shades of light-love of reality that is different from love of television drama-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 p133-1-17-Symbolic representation grammar generated by reversible shades of light a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, p133-1-17-Symbolic representation grammar generated by reversible shades of light: 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 meanin. 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 p133-1-17-Symbolic representation grammar generated by reversible shades of light> 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 p133-1-17-Symbolic representation grammar generated by reversible shades of light > 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 p135-1,Symbolic representation grammar generated by reversible shades of light a hand-painted picture on a computer
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, morning glory p135-1,Symbolic representation grammar generated by reversible shades of light " 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 j 245-Symbolic representation grammar generated by reversible shades of light-love of reality that is different from love of television drama-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.
Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 245, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p135, 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.
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.
Background image of an artist's artwork: Review of Korean News Cartoon [127] love of reality that is different from love of television drama 3 (2019.6.27) / 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, "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.
