Art Critic Louis Choi Chul-joo Criticism [76] Modern Art Critic Louis Choi

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Art Critic Louis Choi Chul-joo Criticism [72] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism:  Jean-Michel Basquiat <Untitled (Skull), 1981>

Jean-Michel Basquiat, Untitled (Skull), 1981, Collection: The Broad Museum of Art in Los Angeles  

Jean-Michel Basquiat,《Untitled (Skull), 1981》   

Basquiat's graffiti 'skull' image is a squeaky narrative image in a linguistic sense.

This is an image of an artistic language that expresses the emotion of the previous stage of the linguistic meaning as a skeleton, using the theme carved into the skull as a symbolic image as an excess of desire.

Therefore, the skull is a linguistic image in which the existence of death is divided. Jean Basquiat is pushing the boundaries between the inside and the other through linguistic grammar through the skull. 

'skull' is an image that symbolizes death in a symbolic world as a linguistic meaning, and is a structure of a subject that is separated from the absence of desire for division. This is an existential image according to image design in a linguistic sense, and is the result of repeatedly aiming for death as a symbolic structure in the pre-creation stage.

Therefore, his graffiti identifies skulls with skulls with structures of deficient desires that are alienated from the city's identity as vectors that aim for the image of the existential subject. 

In this way, his graffiti is a vector aimed at the image of an existential subject, identifying the structure of insufficient desire that is alienated from the identity of the city and the subject of the skull, and expressing the skull as an abstract realism picture in vector space as a result of ex post facto according to the existential orientation of the subject. 

This is a critical image of the linguistic meaning as a result of the violent structure as a structure of desire lacking and bursting the social identity of the city.

The skull as a critical image in a linguistic sense stops at the imaginary identification of the skull reflected in the mirror toward the critical image of the real face in the imagination world.      

In "Untied (Skull)," a skull is an unfinished human face, a "disruption of identity of mirror images" fragmented by death, which transformed a fragmented facial image from social identity into a skull.

This recognizes the self as a subject with the skull image reflected in the mirror as the same facial image as oneself. 

This is a semantic function that interprets the image reflected in the mirror as an expressive image of the other's desire structure in a linguistic sense. 

Therefore, his symbolic graffiti shows an excessive breakdown of meaning expressed as a signifier image of desire, and shows traces of sociality lacking as an armage in a linguistic sense.

In other words, graffiti images in the linguistic sense of racism and intense colors that reject sociality are graffiti images caused by mental suffering from urban violence.

As a subject, the skull structures the traces of desire as a linguistic grammatical structure, and the subject expresses the linguistic meaning as an image and structures the unconscious abstract as a language structure. In this way, the abstract is transferred to a specific object and interpreted as a meaning of language. In other words, according to causality, the skull as an abstract structure is interpreted as an image of death as a linguistic meaning, resulting in a grammatical causal relationship. 

This is a "post-colonial graffiti aesthetic" that resists dividing space into the eyes of slave structures by interpreting skulls as traditional African masks due to grammatical causality.

As such, Basquiat's skull becomes a specific object of abstract structure, which is interpreted in a linguistic sense. 

The design of the image interpreted in a linguistic sense connects the design (d) to the skull image (i) as an abstract structure according to Choi Chul-joo's desire formula. It repeatedly selects the insufficient death image as an image of a skull concept, and another skull image that has reached a fantastic abstract structure of what the object the other's desire structure wants. The choice (i/d) follows an abstract structure in which a specific linguistic meaning is supported by a desire structure that exists as an object image. 

This is a conceptual abstract realism image expressed in the previous stage of symbolic language as a non-verbal reality, and refers to the dissolution of an ego and the division by the other's desire as a desire signifier image based on the intense hue projected by the desire of the other and the anatomical distortion of the human body.

He constructs graffiti that combines skulls, texts, and symbols to express the inner resistance of black people who function as a symbolic system of similarities. 

It symbolically implies life and death, human identity and social struggle through social repression, and it symbolizes an image that lacks the linguistic meaning of the concept of desire and dissolution as an ego of desire. And the graffiti of symbolic characters reconstructs the reality image of non-verbal conceptual abstraction through the collapse of linguistic meaning as an excessive signifier image. 

His graffiti is an image that records the event image itself as a picture. It serves as a visual device to express realistic images by blurring the line between reality and abstract optical illusions due to reversible shades of light that make up the linguistic meaning of event images.      

Therefore, his work functions as a phenomenal event image beyond the painterly meaning. Here, the fantastic boundary between reality and reality constitutes the boundary where light and darkness intersect through the eyes and mouth of the skull as a place of conflict with desire. In addition, the linguistic semantic structure of the concept of desire overlaps the division of gaze and the structure of desire in a reversible shadow of light. The act as a linguistic meaning, in which the skull image is a semantic structure in the conscious structure in the linguistic sense, is a linguistic semantic structure of the concept of desire in the same temporal sense, and is a death image replicated by a black-style trickster graffiti aesthetic structure in both dimensions of consciousness in the social context and the unconsciousness that contends the fundamental death of human existence./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, a Contemporary art critic

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 73

Art Critic Louis Choi Chul-joo Criticism [73] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Louis Choi Chul-joo, 2025-Mona Lisa-a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025  & the 2025-Mona Lisa reflected in the pond

Louis Choi Chul-joo, 2025-Mona Lisa-a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025             

In Renaissance art, which opened up the image of contemporary art, "2025-Mona Lisa" In Renaissance art, which opened up the image of contemporary art, "Mona Lisa (La Joconde)" 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.

Leonardo di ser Piero da Vinci, Mona Lisa, 77×53cm, Collection: Louvre Museum      

"Mona Lisa" abstracts the mysterious image saved by Da Vinci(Leonardo di ser Piero da Vinci)'s sfumato technique as the outline of reality as an image beyond the mysterious atmospheric effect of the color of the object, which is the background of desire.

Abstraction is established as an aesthetic effect of safe desire with object on the face of the Mona Lisa and a background on the left.

From the background, the image of desire mediated by object and Mona Lisa is repeated, showing an abstract reverberation effect in the shadow of reversible light. 

As a reverberation effect, the background of desire were properly placed behind the object so that the gaze could lead from the object to the Mona Lisa, the background of desire, and the gaze was focused on the object 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 obect, 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 object, and the object 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, as an allegory. 

The object 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 object 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 object, and the "2025-Mona Lisa-a portrait of a mirror reflecting its desire on the window" becomes the object of the cause of creating the desire structure as an image symbolized in the object through the relationship of symbolic expression‎ made by the Mona Lisa as a object. 

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 conceptual abstract realism image as a deliberate abstraction.

Louis Choi Chul-joo, the 2025-Mona Lisa reflected in the pond, 113X165cm, acrylic and composite materials on cloth, 2025

the 2025-Mona Lisa reflected in the pond  

The Mona Lisa reflected in the pond is a structure of desire that elicited realism according to its artistry, another structure of gaze away from the visual system, and an image as a realism of another abstract object that reveals an image to reality. 

As a perspective visual structure, the instantaneous desire in contact with the water surface is a structure of light that deviates from the border of a pond where water is buried on the surface's tangent, and constitutes the same realism image as the image of desire reflected on the water surface.

Perspective objectivity as a structure of light that deviates from the concept of instantaneous desire by the shadow of reversible light in the pond distorts reality as the range of the sky and the size of the perspective, where the realist image is superimposed on the surface as another gaze structure.  

In "The Mona Lisa Reflected in the Pond", abstract realism is a desire structure that conveys an abstract image as an effect of the dual structure of reality and the Mona Lisa's realism abstraction, in which the real sense that gave movement to the flow of the water by moving the fish with abstract traces in the pond and the flat abstract view of the lotus flower contrast. The image simplifies the real image, which recognizes the object of the reversible viewpoint in a linguistic sense according to the temporality of the abstract viewpoint, from abstract thinking to a phenomenal pond structure. 

It is a German style that abstracts the rhythms of objects into flat, digital forms, but expresses them in reversible light, just like the hand-painted Arnouveau (Jugendstil). So that abstraction and art are distinguished by the existence of matter as reality and the existence of images formed from each other's abstract perspectives as virtual beings. 

The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations, and it is a sketch that passes through an allegory that images objects and events into reality. Therefore, it is not an impressionistic image that captures the moment of the Mona Lisa reflected in the pond as an impression, but a realist image that linguistically interprets the abstract meaning of the Mona Lisa reflected in the pond in explicit temporality as a shade of reversible light. 

This defines that by repeating sketches, Choi Chul-joo's conceptual abstract realism image, which connects an existential image seen as a structure of gaze to another realistic image separated from reality, can reconstruct the realist image as a concept of abstract desire through cartoon sketches and picture images.

The definition is a abstract realism that evades the unconscious surreal formative structure as an error in abstract perception that brought concepts and abstractions to existential realism, or reversible perspectives, through abstraction of modern conceptual abstract realism such as modern media art images or abstraction. 

This abstracts the present image by expressing the present image verbally and the present image as a reversible shadow of light that embodies the concept of desire in the present place. The abstraction is an abstract realism object, and the abstract object revealed as a point of light in the eyes of others is Choi Chul-joo's aesthetic structure revealed in the gaze system of desire, and the abstract realism object gaze, which has different abstract meanings as a philosophical device, is produced according to temporality. 

Therefore, the temporality of a verbal image according to reversible light presents reality as an image as a being through existential theoretical interpretation, just like Aristotle's time. 

This image coincides with images in realist space and abstract linguistic meaning, so an abstract and invisible object appears in the path of gaze viewed from the conceptual point of view of desire.

Here, Choi Chul-joo's conceptual abstraction of realism shows an image in a linguistic sense that appears as the concept of desire. This simplifies a specific surface of the image and brings abstract realism back to its real image as a correlative structure of time elapsed. In the linguistic meaning of the conceptual abstract realism of the image, it intersects the image as an object that contains the desires of others as a fictional element of human limited by causal relations, and the realist image is structured as a linguistic meaning of unconscious abstract realism. 

Thus, by simplifying realist images that specify abstract structures and erasing the contrast in the cross-section into reversible shades of light, the essence of abstraction is flattened into the cross-section. This is a conceptual abstract realist abstraction that erases abstract images of linguistic meaning from abstract objects that are identical to current images that exist according to temporality.

As a result, the conceptual abstract realism abstraction design process is an abstraction that derives realism according to its artistry, and another abstract object that reveals the image to reality as a structure of gaze that deviates from the visual system is the image of realism. 

In realism abstraction design, the effective way to convey the dual message of abstraction and reality is to express concepts and abstractions realistically through modern conceptual abstract realism abstractions, such as modern media art and painting images or abstractions. Therefore, the process of designing conceptual abstract realism abstraction design is as follows. 

1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others. 

2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality. 

It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.

3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism.

4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning.  And  to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images.     

The background image of abstract realism abstraction refers to a place in realist space formed by reversible shades of light that fit the philosophical logic of returning to temporality, replacing the abstract space that exists in the linguistic sense. The image interprets the desire image (i) design (d) as a realistic image in the linguistic sense, and the condition (i/d) in which the image of the abstract object is realized through the grammatical interpretation of the other's desire in the linguistic sense in order to obtain the abstract object specified in Choi Chul-joo's desire formula. As a subject of abstraction, the subject of desire selects a specific object that asks itself what abstract realism wants and reaches conceptual abstraction <D(I...I')d=I(D...D'i)i> as a reality. 

Here, the abstraction as a linguistic meaning is that the image formed in the structure of the text is tailored to art while approaching philosophical logic, forming a realist structure. This is a realist image that stopped from the concept of abstract desire, which was realized by abstracting the abstract structure that divides abstract places that humans cannot experience into linguistic semantic systems as objects of conceptual abstraction.  

Like the the theological formation structure of the Renaissance Church, which attributed philosophical logic to religion, Choi Chul-joo's abstract concept of desire has a linguistic meaning that abstracts the concept of abstract desire to see the Mona Lisa as an abstract structural and practical image. Therefore, in order to reproduce the abstract limitations of the nature and perception of human existence as a real image, Choi's conceptual abstraction design abstracts philosophical images and uses abstract perception as a device to convey philosophical and linguistic meanings as symbolic images to reproduce them as realism images.     

The Renaissance, which opened the image of conceptual abstract realism, establishes the aesthetic desires that spread from aristocrats to merchants and the desires of others whose artistic value of contemporary art is obscured. Conceptually, the artistic inspiration of early conceptual art of Dadism cannot be ignored, but Choi Chul-joo's conceptual abstraction as a new modern art with existential conceptual abstraction away from religion builds a realist image as a flat installation in line with conceptual abstraction with literal concepts and linguistic meanings, as if sketching Mona Lisa reflected in a pond.

The installation is a linguistic meaning that expresses abstract concepts as real images, and conceptual art is interpreted as an abstract crystal of philosophical thinking by transferring the structure of Idea to the structure of reality and showing the real image as an event and performance image. This is a realist abstraction that deviates from the realist image in the linguistic sense, that is, the religious creationism of abstract concepts, at the peak of abstract images. 

In this way, desire as a being in the "2025-Mona Lisa reflected in the pond" is an essential image of linguistic meaning and is abstracted as a realist image tailored to the correlation conditions with the past experiences of the unconscious. This connects the realism object with the concept of gaze and at the same time abstracts the "mirror image reflecting the desire of others" that evokes the sense that the viewer is being stared at. 

The abstraction establishes itself as an aesthetic effect of abstract desire between the pond background and the Mona Lisa's face. Here, an overlapping image of meaningful desire hidden in temporality appears in the pond as an image of reality, but Mona Lisa is an abstract composition that deviates from the perspective visual system. By simplifying the abstract image by flattening its shape, it transfers the existence of unconscious desire to the existence of objective reality image to realism abstraction. 

Unlike the Sfumato technique, this led to abstraction by tracing the temporality of the Mona Lisa smile. Da Vinci's spumato technique is an ambiguous expression‎ that blurs the contour, but Choi Chul-joo visualizes the feelings of a smile based on temporality as a trace of temporality, revealing the 'trace of the temporality of Mona Lisa's smile' through painting technique. 

As the subject of the trace, the desire structure is divided into background and actor, and the image reflected in the pond is expressed as the actor of desire, and the abstract realism image is expressed as the objective correlation of the concept of desire.

It also becomes a realistic abstraction as a correlation in which the Mona Lisa mimics abstraction as the subject of the cause that made the desire structure an abstract image as the subject of the 'Mona Lisa reflected in the pond'. In other words, abstraction as a realistic structure directs the abstract impression that is perceived as a real meaning into a conceptual abstract realism abstraction./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)     

Choi Chul-joo, conceptual abstract realism painter

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 74

Art Critic Louis Choi Chul-joo Criticism [74] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Pablo Picasso, Weeping Woman, 1937

Pablo Picasso, Weeping Woman, 60.8×50cm, oil on canvas, 1937, Tate Gallery, London

Pablo Picasso, Weeping Woman

Painting that transitions from the modern to the contemporary is the art of using images as the theme or in the linguistic sense of a painting. Therefore, Pablo Picasso's The Weeping Woman (1881-1973) as the flat image is a three-dimensional structure and an ontological structure visualized by collages of divided sides. 

This is a contemporary visualization of not only the sorrow that Picasso expressed, but also the fundamental suffering of realism as a human being. 

Abstracting realistic images into other people's desire structures is not irrelevant to flat crooked images. 

Beyond the dimensions of "The Woman Is Weeping," an unrealistic visual image of abstraction, it transitions from each other's desires to areas of gaze that don't matter whether it's flat or three-dimensional, to divided realism images. 

It interprets from a psychological point of view to perceive the continuity of the realist image as a gaze according to the temporality included in "Weeping Woman".

The motion of an object changes the spatial structure of the background by continuity over time. 

The abstract background is an aestheticization of historical events, depicting emotions in historical paintings and portraits. 

Thus, the abstract background of "The Weeping Woman" determines the space that exists in the Spanish Civil War, the place of aesthetic facial movement according to time, and the space that exists in the passage of time, that is, the spatiality of the crooked image.

 Pablo Picasso, Weeping Woman, 60.8×50cm, oil on canvas, 1937, Tate Gallery, London      

The tears of a woman who can't hold back her sadness are connected in a straight line between her eyes and an ellipse to tell her where she is away from her eyes. As a situation that continues to show the traces of water flowing down at the end of the eye, the woman's face shows the side and the front at the same time, and the movement of the woman crying makes her feel sad at first glance.

The line that marks the direction of the crying woman's tears forms the process of time and the space in which it exists. 

This is because the dwarf image in the form revealed from the line is composed at the momentary point of time, and as a temporality, it reveals in three dimensions the suppressed social structure of an emotion through a woman's inner sensibility and existence. 

In this way, the picture of a woman crying in the social structure does not have a perspective density and a sense formed from a single light source point of view by choosing a crooked image integrated with lines. Here, the crying woman's face is a partial crooked image like a collage. This means that each partial image exists in space as a crooked shape revealed at the same time. 

Through the crying woman, he expressed the complexity of emotions with his face and hands through the distortion of the cubist form, allowing him to stare at the intensity of his emotions with a strong contrast of primary colors to radiate the energy of sadness from his head.

The energy released in this way gathers the gaze of the viewer of the sad face that existed in the space.      

Pablo Picasso, Weeping Woman, 60.8×50cm, oil on canvas, 1937, Tate Gallery, London

Picasso offers a new direction of gaze by reconstructing the eyes, eyebrows, and ears in various directions in the painting. It also reveals the up and down positions that connect the eyes and tears. He shapes his face into geometric shapes to represent the sobbing head of a crying woman and the movement of her flowing tears in segmented realist images. 

Additionally, his cubist representation visualized the complex emotions of pain by decomposing and recombining the woman's face into various angles, and the crying woman's movement while showing the side and the front at the same time makes one feel sad at first glance. The line that marks the direction of the crying woman's tears makes one aware of the process of time and the linguistic meaning of the image of sadness in which it existed. 

The direction of the moving tears expressed here constituted a fragmented form of realism from a psychological point of view that recognizes the linguistic meaning of the subject generated from the observer's gaze. Here, the symbolic image represents the sadness of a woman who lost her family to war. 

In this way, Picasso's three-dimensional sculpture creates a geometric shape as a new architectural space structure in a different dimension from the existing perspective. Instead of the perspective of the previous painting, he superimposes an object on the same screen from various perspectives. This superimposed sense of volume is transferred to the sense of movement that the object is trying to express, creating a dynamic space. 

His three-dimensional structure simultaneously decomposes a cross-section of an object and superimposes the decomposed cross-section on another object, placing it in the position of his choice like a collage. As a result, several forms from different perspectives are overlapped on the same monochromatic plane. The result is a distorted plane image that was not seen in perspective images. 

This is interpreted as an abstract portrait in which simultaneously decomposed cross-sections go beyond the sadness of a crying woman and perceive it as the pain of the whole human race.

In addition, Paul Cézanne's flat screen composition is a cross-sectional form and is close to a realistic image. This cross-sectional expression‎ method is the principle of the simultaneity of cubism and coincides with the simultaneous vision that divides an object into several viewpoints and puts it in the same canvas. This simultaneity and distortion of his cubist form abstracts "Weeping Woman" as a symbolic structure by expressing the complexity of emotions.

As a new attempt to reject the mannerism of previous painters, he flattened the distorted image of the face revealed as an object as a reality of temporality, or a multidimensional gaze, on canvas. 

In "Weeping Woman" a woman's face is a distorted image, and space for an object is made into a face by temporality, and another space is created in the form of crying. In such a space, multiple viewpoints are dismantled, and two eyes with different viewpoints are overlapped on a canvas as a single face image. In other words, the object is dismantled with the other person's gaze and collected on the canvas as a cubist image.

In this way, the perspective visual structure is a language structure revealed by the unconscious desire that has disappeared and is composed of an image as a gaze space. This is a cubist process and has an artistic meaning as an abstraction. By combining distorted images carved from the reality of unconscious desire and gaze images using collage techniques, Picasso constructs sadness. It also makes us recognize that realismimages of the segmented plane of grief are abstracted into multi-faceted conceptual abstract realism images as formative structures./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, a art Critic

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 75

Art Critic Louis Choi Chul-joo Criticism [75] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Paul Cézanne, Lunch on the Grass 

Paul Cézanne, Lunch on the Grass (Le Dejeuner Sur L'herbe), Oil on canvas, 35 x 21 cm, 1876-1877, Orangery Museum (Musée de l'Orangerie)     

Paul Cézanne, Lunch on the Grass 

In "Lunch on the Grass", Cézanne simplified the character with various colors, deviating from impressionistic objectivity with a dull touch on the arrangement and form of the character. This is a metaphor seen in painting and does not exceed the category of imitative painting. 

Therefore, in order to enter the symbolic world as a pictorial genre painting due to sociality, he tries to match the scenery of lunch in an indefinite time that looks like a painting width in a simple form. This is a category of imitation that puts folk paintings on canvas and removes the social constraints (restrictions) that are accepted by the religious customs of painting until modern times. In other words, the visual image of the essence of painting is explored by destroying the symbolism of invisible reality as the desire of others to escape from the religiously established subject that revealed the stage of contrast and conventional subjectivity.      

Beyond simple visual representation, he reduces the essence of the object to a geometric form, bringing "Lunch on the Grass" into line with "autonomy of realism painting," which focuses on the structure of objects and the order of space rather than the character's narrative. 

The landscape on the grass matches the sky and the color of the person in the same way and puts it in the blank space of the tree in the sky light.

This does not actually stop the form, but rather places a mind on the symbolism of the simplified form. It's like giving a direction to a floating cloud and looking at the whole sky.

As a linguistic meaning, the concept of realism objects with the creativity and autonomy of the sky structure is determined as another existence of conceptual abstract realism objects through unconsciousness suppressed by other people's desires. 

The landscape is a shading perspective with a distorted side from the geometric structure of tree and  human, making the object's meaning found in the order in the landscape. 

<Lunch on the grass> is an entertainment painting that depicts the relationship between nature and human beings, interpreted as a geometric order of scenery, and is not a simple description of scenery, but a place of thought as a background structure, which visually dismantles and reconstructs the essence of nature.

In addition, as a structure of the background, a luncheon image that connects the landscape with an allegory on the grass is sketched and formed as a virtual being, and it is connected with another reality separated from the real image, that is, an existential image that looks like a structure of a gaze according to a direction tailored to the multi-view, to visualize temporality and variability by capturing several perspectives on a single screen of conceptual abstraction. 

This is a unique modern art interpretation that has passed the Choi Chul-joo abstract design process that explores conceptual abstract realism, visualizing it as a realism image that ignores the linguistic semantic structure and abstract form specificity. 

Accordingly, he hides the figurative reality in a painting through shading perspective and is symbolized as a realism image based on the story of daily scenery. In symbolic nature as an invisible reality, the morphological signifiers of visible metaphors nature are transferred to images in symbolic meaning. 

In the imagination world, socially forbidden illusions have a symbolic meaning, but images of morphological and linguistic meanings do not differ. Therefore, he adheres fantastically as a meaning of illogical symbols as an image that is a real form. In other words, in painting, the imaginary meaning as a social constraint transforms into an image of linguistic meaning embodied by Cézanne's desire. 

Paul Cézanne, Lunch on the Grass (Le Dejeuner Sur L'herbe), Oil on canvas, 35 x 21 cm, 1876-1877, Orangery Museum (Musée de l'Orangerie)

On the lawn, a structure formed by a series of trees and figures in landscape images, lunch stops at the leisure of time.

The sky at rest at that time is a structure in which clouds and trees are on the same side, and they appear easily in terms of light and darkness, making them pay attention to the phenomenal significance of the phenomenon. 

In order to recognize the subjectivity of objects that are the same as the sky through the structure of the sky according to temporality, the phenomenal image of the sky in an open space exposed to reality in contemporary social regulations is recognized as the subject in the same linguistic sense as the object. 

This fixed the cloud's gaze, making the image of the sky look different like the moment it was transformed into temporality, but its meaning appears to be a real sky that does not change. 

The sky matches the abstract linguistic image of the realist space in which the abstract meaning revealed in the abstract realism object's gaze system is different.

Thus, abstract and invisible images are structured in the linguistic meaning of unconscious abstract realism in the visual system.      

Cézanne structures the other person's desire to find a visual order, and "structures the other person's desire into a visual form," transforming several objects into a geometric form.

Thus, Cézanne forms a combination of clumsy geometric figures and trees that are out of perspective, and realizes the object's meaning in a simplified form to realize the object's linguistic meaning. 

By expressing the flatness of painting as a realization in a new linguistic sense, the exchange revealed through his desire shows the contemporary social reality and communicates with the substance, rejecting the illusory pictorial meaning and revealing the reality of conventional reason. 

In fact, the symbolic meaning of an object is distorted by the stage of dividing the light from the outline that appears sky blue, rather than modifying the picture to form a landscape. Then, to match the width of the picture in the real landscape, the displaced shape is divided into colors, and the cross-section of the object matches the subjective color of the object at the point where light and darkness intersect. In other words, it does not explain the characteristics of objects like Romanticism, but rather conceptualizes the nature of the landscape as it approaches the lawn in a simplified form tailored to the philosophical light and color of nature, visualizing the essence beyond the phenomenon of linking abstract realism with the sky like an iron fortress. 

Cézanne reveals the symbolism of an invisible reality as a reality in a linguistic sense. Unlike the way the object is expressed to the viewer realistically, this is a form of simply drawing perspective and form with the difference in brightness of color light to find out what social taboos and forms of visual desire meant at the time. 

Therefore, he does not modify the impression of the landscape viewed through the gaze of the object, but abstracts the semantic effects of objects that are similar in size to real objects that are not depicted in a specific space.

In this way, his painting is an image of a real object identified through a grammatical interpretation of the linguistic meaning. This is the conceptual image specified in Choi Chul-joo's conceptual abstraction of desire, which is the same as conceptual abstract realism painting.

However, Cézanne's "Lunch on the Grass" ignores the three-dimensional nature of bright colors. As a result, Manet's work takes over all the issues in the "salon des refuses" and he experiences his work being buried.

Nevertheless, he reduces the distorted images seen from the gaze to the geometric form of contemporary art, visualizing existential realities divided into color and abstract structures as linguistic realities of philosophical light. 

This is a genre painting depicting the relationship between realist nature and man as a dramatic event, interpreting it as the geometric order of the landscape and sublimating the pain of reality into a conceptual abstract structure like an artistic device.

Furthermore, the color of light reflected by the shape mimics the shape in a way that makes the entire space pictorial, and focuses on the color of light that is close to a similar shape. In other words, it is an impractical form that separates the visible form of light from the real space. 

Through the "linguistic transformation of realism painting," he composes the image of linguistic meaning into traces of formative order, and as a symbolic meaning of the image, color is a device that expresses the depth of the spatial structure and dismantles the visual structure to match the harmony of space.

Therefore, it embodies "cognitive image ethics of visual realism structure" as an act of asking questions to obtain the ontological reality of painting by dismantling perspective and recombining space.

Thus, it embodies the "cognitive image ethics of the structure of visual presence" as an act of questioning to obtain the ontological realism of painting by dismantling the perspective and recombining the space.

And Cézanne matches the color of abstract realism with shades of light to the conceptual reality form of the background expressed by the non-realistic imitative form and the multi-layeredness of cubist distorted emotions rather than the specificity of the form as a visual element of the work.

In this way, he explores the order beyond the semantic interpretation of objects with the same light in the space of people and backgrounds, creates a philosophical form for the color of light as an image of the linguistic meaning of painting, and visualizes the intuitive abstract sense before recognizing the object as a whole stage in the linguistic sense of necessity, and stands at the boundary between abstract meaning and reality as a temporal trace tarnished by the structure of abstract perception and reversible light shades./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, a art Critic

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Art Critic Louis Choi Chul-joo

Contemporary Art Review by Louis Choi 76

Art Critic Louis Choi Chul-joo Criticism [76] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism:  Morning glory and fish-Mona Lisa design

Louis Choi Chul-joo, Morning glory and fish-Mona Lisa design, 113X165cm, acrylic and composite materials on cloth, 2025

Morning glory and fish-Mona Lisa design

The more you think about the difference by looking at the shape of the "morning glory" and the fish, the more you understand the shape in one direction, so you abstractly conceive the meaning behind it. When speaking the same linguistic meaning even though the shapes are different, the abstraction as a symbolic structure is a similar color and size, that is, a structure with the same meaning is an abstraction of the realistic structure of non-real world as a conceptual form. 

In fact, the reversible abstraction of the structure cannot be limited to the abstract time corresponding to the reversible light as the structure of the branches and mouth of the morning glory, and it shows the meaning of an abstract form in which the morning glory and the fish are in harmony. It illuminates the fish and the Mona Lisa reflected by the reversible light to develop the position of the 'morning glory' into a pond with a reflective structure of desire.

Here, the pond is a symbolic space before forming an ego, acting as a mirror reflecting the desires of others, and the viewer looks at the pond and faces his unconscious desires and the fish reflected in it. 

Therefore, the reversible abstraction of the desire structure is the structure of morning glory flowers and branches, and the traces of abstract fish corresponding to reversible light explore the boundary between existence and absence reflecting the temporal structure in which reversible light and traces intersect. 

This is not a simple illumination reflected in the pond, but a symbolic device in which the fish and Mona Lisa, which represent the desire of the batter, reflect the desire structure of the batter. 

Viewers face the unconscious desire reflected in the pond, and 'morning glory' is an image method that shows morning glory in an unconscious abstract structure instead of morning glory, and the realistic spot of the morning glory is transferred to the shadow image of abstract fish and Mona Lisa as the image of light that is reflected reversibly is repeated. 

Abstracts that collide with the factual structure thus serve as objects representing lack of desire at the point where the materiality of the imaginary Mona Lisa and the real fish collide, and discover the form of the linguistic structure of conceptual abstraction. As an image of its linguistic form, the reflection of the pond waves and light forms a reversible shadow structure, and the fish and Mona Lisa visualize traces of time, leaving traces of desire self-consciousness, and viewers recognize their existence and absence as conceptual forms at the same time.      

In addition, abstraction as a meaning in various forms is a realistic image of conceptual abstraction that exists as an ideological informal being with various colors and sizes. Accordingly, a conceptual abstract realism design methodology related to "Morning glory and Fish-Mona Lisa" is presented 

1. Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image. 

Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others. 

Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image. 

As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner. 

Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression‎ abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time. 

As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject. 

2. Sketches that connect realism images into allegories as linguistic meanings distinguish fish as a reversible light structure that deviates the concept of instantaneous desire from an abstract pond to a reversible shade of light, distinguishing them from "morning glory" as a structure of desire, with the existence of objects formed from each other's abstract perspectives as reality and virtual beings. 

The structure of the morning glory and branch cannot be determined according to the temporality of the response to light, and shows the meaning of harmonizing with the morning glory.

Its meaning is developed as a pictorial linguistic structure in which fish and Mona Lisa move in the position of the pond abstracted by reversible temporality and in the position of the morning glory illuminated by the divided retroactive light. 

The movement of the fish is linked to the temporality of the Mona Lisa as a sign of necessity self-consciousness, reveals the sensory structure before the symbol translated into pictorial language, and becomes an abstract space pond that functions as a formative reality beyond the literary nature of early conceptual art. 

Perspective objectivity in abstract pond structures distorts the reality of Mona Lisa, which contrasts with fish, as the range of the sky and the size of the perspective, where reversible light is limited to objects superimposed with realism images as another gaze structure on the surface. 

In the symbolic abstract world, the Mona Lisa as a real visual image aimed at by repeating the image sketch as a linguistic meaning in the conceptual abstraction of flat formations and colors reveals its existence in the form of non-existent beings and imaginations reflected in the pond, and it is a sketch that passes through an allegory that images fish, Mona Lisa, and pond structure as reality. 

3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device. 

The sketch is a perspective visual structure, and the border of the pond, where water is buried on the surface's tangent line to the surface of the earth that touches the surface of the earth, is a method of sketching images that display abstraction morning glory as unconscious beings and geometric tangents in the shape of the surface of the water. The sketch is interpreted as a mirror image reflecting the desire of the other, and it is connected with the concept that the viewer is being stared at at at the same time, and the Mona Lisa's gaze creates an optical realism space that varies depending on the viewer's position. 

As the image of the reversible reaction that constitutes the space of realism abstracted by the concept of desire is repeated, the spot of the morning glory is abstracted. In other words, as the sequence increases according to the reversible temporality, the shadowy image of the morning glory staring at the reversible light is displayed on the fish- Mona Lisa. 

The Mona Lisa smile blurs an outline with da Vinci's spumato technique according to the temporality, visualizing ambiguous expressions as realistic images, and Choi Chul-joo's conceptual abstract realism design shows a "trace of time" embodied at the intersection of the same time as the effect and phenomenon structure of the stationary moment when the muscle of the movement meets the background of the stationary moment. 

4. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.   

<D(I...I')d=I(D...D'i)>The conceptual abstract realism image as a reality reaches abstraction by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants as the subject of desire. This indicates the meaning of symbolic action that characterizes the design of the fish- Mona Lisa image, which repeatedly combines pieces of distorted morning glory image in the process of abstraction. 

Here, the image is not a visual phenomenon of a fish, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual fish and Mona Lisa.

Thus, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting abstract places that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image. 

It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the formation and dismantling of the fish and Mona Lisa ego reflected in the pond, the conflict between the Mona Lisa's existential abstract structure and the linguistic meaning revealed in the gaze, and reinterprets the mirror images of abstract realism that passed the background "morning glory" and desire formula to abstract the fish- Mona Lisa.

As an image of linguistic meaning, it conceptualizes the abstract structure divided in religious savior as a lifelike fish and is imaged as an existential realism image.

In "Morning glory and Fish-Mona Lisa", fish is a form of existence of realism that expresses necessity and self-consciousness through traces of paint on the margins as time and abstract space. 

This form reveals the sensory structure before the perception of existential fish, that is, the previous stage image of linguistic meaning, and is a conceptual abstraction in which more diverse space-time and pictorial formality intersect through the eyes of viewers beyond the literary nature of modern conceptual art. 

Here, images from previous stages convey a protective color similar to their surroundings in a linguistic sense, such as the back of a fish to avoid bird attacks. As a result, the color of the fish in the pond changes to a protective color with a reversible shade of light in the realm of existence. And Choi Chul-joo's Desire Formula allows us to grasp the conflict between realism before language and abstract symbols before language so that we can approach it from the perspective of conceptual abstract realism as a symbolic structure of desire by directing free fish with the flow of waves.      

In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.

The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art. 

It is interpreted as a dynamic structure of reversible light in Choi Chul-joo's media art "Pond," as it sometimes contains traces of temporality and realism, depending on the symbolism of the medium.

As a way of dismantling multiple perspectives in conceptual abstraction, we implement a flat cross-sectional structure in which a fish is stationary from a dynamic image by segmenting it into a visual image. 

In this abstract design method applied to conceptual abstract realism painting, the shape of the fish acting as a sign of desire before linguistic meaning is an image as a signifier, and its meaning is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of the moving desire coexists while unconsciously synthesizing according to temporality.

Therefore, the color of the figurative image 'morning glory' as an unconscious linguistic meaning decorates the reality of customary universality faced by the object with reversible colors of light. The fish and the Mona Lisa are in a dark space, in contrast to the light reflected from this decorated desire structure. It is the shadow of desire created by the morning glory in the place where it stopped.

This is a piece of meaning symbolized in the non-existent space that abstracts the fish-mona Lisa imitating the morning glory as a desire structure. 

The sculpture functions as a pictorial event image and is a fragmented image of a fish-Mona Lisa in the spot of a morning glory combined with a shade of color generated by reversible light that explores the boundary between existence and absence.

Thus, the colors and shapes of objects that accelerate the separation of objects are revealed in dynamic images with intervals between objects produced by reversible light. However, the meaning of a fixed background collectively visualizes the segmental structure of sensory structures prior to speech In other words, a simplified abstraction as a landscape image with an abstract object and a conceptual theme is realized from a desire structure into an image of a fragmentary trace of desire through abstract division and transmutation, and it is a dimension of linguistic meaning that breaks away from stimulating visual effects. The realist structure and the conceptual abstract realism image of linguistic meaning that occur in the unconscious function together in both conscious and unconscious dimensions to obtain an existential realism according to artistry. 

Choi Chul-joo's conceptual abstract realism design shows a "trace of time" in which the effects of motion and the phenomenal structure intersect at the same time as the effects of motion and the phenomenal structure of motion meet the background at the moment the muscles of the motion are stationary. As a result, the conceptual abstract realism design methodology for abstractions related to dynamic realism objects and abstract background images is as follows. 

1, Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image. 

Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others. 

Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image. 

As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner. 

Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression‎ abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time. 

As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject. 

2. Sketches that connect realist images into allegories as linguistic meanings distinguish dynamic images as a structure of reversible light, which deviates from the concept of instantaneous desire from the background of abstract desire to the shadow of reversible light, from the background as a structure of desire as an existence as reality and an existence of objects formed from each other's abstract perspectives as virtual beings. 

The detailed structure of the background cannot be determined by the temporality of the response to light, and shows meaning in harmony with the fixed structure.

Its meaning is developed as a pictorial language structure in which dynamic images and abstract still structures move from positions in the background abstracted by reversible temporality and from positions in the stationary objects illuminated by the segmented retroactive reversible light. 

The movement of dynamic images is linked to the temporality of abstract structures as a sign of necessity self-consciousness, revealing sensory structures before symbols translated into pictorial languages and serving as formative realities beyond the literary nature of early conceptual art. 

In abstracted background structures, perspective objectivity distorts the phenomenal structure by the extent of the sky and the size of the perspective as opposed to dynamic images, where reversible light is limited to objects superimposed with realist images as another gaze structure on the surface. 

In the symbolic abstract world, abstract structure is a sketch that reveals existence in the form of existence and imagination reflected in a desire background by repeating image sketches as linguistic meanings in a conceptual abstraction of flat forms and colors, and passes through an allegory that realizes dynamic images, abstract structures, and background structures of desire. 

3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device. 

The sketch is a perspective visual structure, and the boundary between dynamic images and abstract structures in phenomenal structures is a method of sketching an abstract image as an unconscious being and an image that expresses a geometric tangent to the form of an abstract background. As a result, the sketch is interpreted as a mirror image that reflects the desire of the other, and it is connected to the concept that the viewer is staring at at the same time, creating an optical reality space where the abstract structure's gaze varies depending on the viewer's position. 

The position of the desire background is abstracted as the image of the reversible reaction that constitutes the realist space abstracted by the concept of desire is repeated. In other words, as the order increases with reversible temporality, the shadow image of the object staring at the reversible light is displayed in dynamic images and abstract structures. 

Choi Chul-joo's conceptual abstract realism design, which is visualized as an ambiguous realism image according to temporality, shows a "trace of time" implemented at the intersection of the same time by the static background image as the effect and phenomenon structure of the stationary moment when the dynamic image of the movement meets the background of the stationary moment. 

4. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.  

<D(I...I'd)=I(D...D'i)> Conceptual abstract realism images as reality reach abstraction by abstractly selecting a specific object, where the subject of desire asks what abstract realism wants from him. This dictates the meaning of the symbolic action that characterizes the design of dynamic and abstract structural images, which repeatedly combine pieces of distorted desire background images in the process of abstraction. 

Here, an image is not a visual phenomenon of a dynamic image, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual dynamic images and abstract structures.

Therefore, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting an abstract place that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image. 

It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the conflict between dynamic images and abstract self-formation, existential abstract structures as effects, and linguistic meanings revealed in the gaze, and reinterprets the mirror image of abstract realism to abstract dynamic images and abstract structures beyond phenomenal backgrounds and desire formulas as desire structures.  

This form reveals the sensory structure before the perception of existential fish, i.e., the previous stage image of linguistic meaning, and beyond the literary nature of modern conceptual art, it is a realism abstraction as a linguistic meaning where more diverse spatiotemporal and pictorial forms intersect through the viewer's eyes. 

In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.

The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art. 

This is a piece of meaning symbolized in a non-existent space, an abstract abstraction of an abstract structure that mimics the dynamic image and the structure of desire. 

Abstraction functions as a pictorial event image, and instead of desire, it explores the boundary between existence and absence by combining fragmentary sculptural images with shades of color produced by reversible light. 

In this abstract design method applied to conceptual abstract realism painting, the shape of a dynamic image that acts as a sign of desire before linguistic meaning is transferred to an image as a symbol, and the meaning of it is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of desire that moves while unconsciously synthesizing according to temporality coexists. 

As an image of linguistic meaning, it conceptualizes abstract structure as a living dynamic image and images it as an existential realist image, resulting in a conceptual abstract realism design that phenomenally expresses abstractness and self-consciousness as abstract spaces according to temporality through the traces of time. / Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)     

Choi Chul-joo, a conceptual abstract realism painter