|▲ 구르는 돌(Rolling Stone #553), Acrylic on canvas, 162×130㎝, 2019|
What is interesting about the 2006 “A Situation” exhibition is that it is special and individual, and with the search for the meaning of existence emerging to the foreground5), it fundamentally addresses the subject matter of the ‘method of existence’.
This is especially noticeable due to the fact that it was a time when sensitive self-doubt about “Dasein” took place in a marginalized cage, and when the author’s philosophy or values were deeply permeated.
Perhaps that is why, even though they are not so much of a kind artwork as they are, we are able to understand the emotional exchange through the representational system more easily than ever before, and understand the consultation on the existence of a moment in succession through the capture of ideas in inverse proportion to nature.
Moreover, the trend of self-centered internalization, expressed as more metaphorical than before, is a cause of differentiation from the artist’s past work.
|▲ 구르는 돌(Rolling Stone #500), Watercolor on paper, 36×51㎝, 2019|
As seen in <A Situation-My Country>, <A Situation-Summer of the Year>, <A Situation-Artist>,<A Situation-Play>, <A Situation-Life>, and <A Situation-Self-Portrait>, various situations are continuously hidden and shown from the audience, which result in a complementary effect that ultimately becomes deeply rooted in the artworks.
They, together, are an implication of ‘a resolution’6), which might have been felt in the trail of a concentrated life, slowly dried up as if it were revealing billions of layers of days. Nevertheless, the core intentions of the artist’s work exploring what is natural and essential is valid.
As understood from the series ‘Consideration of the landfill…’, there is a message, that a modern man who dreams of a utopian society, hoping for infinite development through conquering nature and modifying social and humanitarian spirit, has lost his(서양화가 안준섭, 안준섭 작가,Ahn Junseop,Artist Ahn Junseop,painter Ahn Junseop) original self in a machine-represented civilization and public, and that there is a crisis hidden in the modern civilization. It is here that a unique rhythm, an unseen but unfeeling internal rate, can be recognized.
△Hong Kyunghan│Art critic
5) Therefore, a series of ed works published by Ahn has a feeling of betrayal as shown in Heidger’s “Das Mann,” or Sartre, or Camus’ novels, which are represented by “Gooto” and “The Incredible.” It struck me when looking at his signature postwar work centered on <Closed Land>, that Ahn may be presenting a small compass on his way to a question-and-answer path, with a lot of ponders about living the reality.
6) A resolution here may indicate the despair felt in reality, the gloom of reality, or the artist’s own identity. It may also be every moment that we human beings feel living in every event of collision in the world. But it is also something that cannot be texted or shaped.