|▲ 구르는 돌(Rolling Stone #320), Acrylic on paper, 70.5×199㎝, 2018|
For example, yellow soil and rough stones are objects that contain the devastation, dryness, and even desolate anxiety of our daily lives. Made as a wide panorama format, the canvas is a method to express vast land, and thickly applied martiers and colors are other words for the artist’s emotions obtained from the subject.
What’s notable is that the self-portrait of us living in our time (including the artist) reflects our lives walking through an era of loss, as demonstrated in the ‘Consideration of the landfill…’series.
|▲ 구르는 돌(Rolling Stone #331), Acrylic on paper, 99.5×70.5㎝, 2018|
Here Ahn communicates to the viewers about the unique role of art, through a very realistic theme, as well as about inclusion. Land that embraces even the pollution caused by land reclamation, lost in a society full of human resources, but also is the source of all things on earth, where life and death is not only unstoppable in its willingness to regenerate, but also does not abandon ‘nurture’ as a symbol of endless ‘healing and ‘hope.’
In particular, wild grass (anonymous grass) is a practical subject that proves its ‘encirclement’, or tendency to nurture. These grasses, which appear in each of Ahn’s(서양화가 안준섭, 안준섭 작가,Ahn Junseop,Artist Ahn Junseop,painter Ahn Junseop) works after his older paintings that include forests, are a direct sign of an individual’s will to endure even in barren environments (the level of attention to individuality was also very high in his “forests” work).
It represents the power of consideration and understanding, the power of engagement required in an altruistic life. Ultimately, it is a factor that generates potential through the vitality and energy of nature.
△Hong Kyunghan│Art critic