|▲ 구르는 돌(Rolling Stone #521), Acrylic on canvas, 52.5×45㎝, 2018|
Ahn Junseop portrays fragmented thoughts of solitude and bitterness the agony of our contemporaries with composure and calmness, which can be interpreted as contradictory to his works of the past where he expressed these emotions in a relatively more realistic approach.
Absorbed in his passionate brush strokes lies the life of having to endure constant interaction with his peers, and tied in the deepest, central colors lies the acknowledgement of Ahn’s place in society.
This, more than one can expect, expresses the present time as intrinsic and metaphorical circumstances. In fact, Ahn’s fragment-ed thoughts revolving around the life of a member of society is very much present and noticeable in his older works.
The long endured ex-hibition after Ahn’s(서양화가 안준섭, 안준섭 작가,Ahn Junseop,Artist Ahn Junseop,painter Ahn Junseop) first solo exhibition in 1996, <Subway-In everyday life>, also demonstrated his viewpoint, followed by <To what Awaits us>, <The Ordinary>, and even <Closed Land>1) and <Consideration of the landfill>2), which all show the same perception of people and society that Ahn holds.
|▲ 구르는 돌(Rolling Stone #160), Acrylic on paper, 117.5×150.5㎝, 2018|
The monotone interior and exterior of a subway train, painted with achromatic colors, illustrate a moment from people’s daily lives that provokes a familiar yet curious feeling from its viewers.
The significance arises from the portrait that radiates an apathetic mood and demonstrates externalities between the subject and object, while also metaphorically addressing the ubiquitous alienation and exclusion people endure in intricately gridded relationships, all in a dry and neither furious nor enthusiastic manner.
The latter is dominated by bitter views about what is being lost under ‘development’ through the subject “landfill”3).
These tasks, which control narratives due to the disappearance of perspective, note that erasing and covering are not just tangible, and indicate that memory, anxiety and sense of loss are inherent among those covered under the guise of development. Of course, it is not without specific techniques that reflect the intentions of the work.
△Hong Kyunghan│Art critic
1) In <Closed Land>, ‘closed’ would be ‘close’ as an adjective.
2) Most of these works show partial expansion based on a bird’s-eye view.
3) A landfill is a place to cover existing land and expand its use. In the dictionary definition, it refers to land that is filled with stones or soil, but in reality it is also the grave of various incomplete elements, including underground and surface water pollution, which are carried out under the guise of the quality of human life. Although Ahn expects certain responsibilities along with social alienation, from what is interpreted from his work, he seems to be lonely writer in the real world.