|▲ 구르는 돌(Rolling Stone #105), Watercolor on paper, 24×32㎝, 2018|
From 2006 to 2014, Ahn has presented several individual exhibitions but does not completely remove his marks from ‘Consideration of the landfill….” Then, in 2019 his art meets again with the past of 2006.
However, it is not a complete twin with that of the past, but rather postscript. Ahn Junseop’s recent work has remarkable resonance, as his emotional and sensory centered development is evident in his movement toward expressionism7).
As can be seen in past expressionist paintings, resonance does not necessarily radiate only from the realm of reproduction. It is the result of numerous psychological actions, such as the projection of the self directly associated with life, and the emotion and will that bloom under the shadow of psychology. However, it is far from the illusions that are readily apparent in his paintings through the abstract and expressionist styles driven from the 20th century.
|▲ 구르는 돌(Rolling Stone #102) Watercolor on paper, 24×32㎝, 2018|
In fact, there are quotations of both deficiency and fulfillment in the real world, and also the meaning of ‘irregular and unorganized situations’8) that have been expressed through Ahn’s previous works, the desire to escape from anxiety, the boundary that designates the life of an artist, and the freedom that human life wishes to pursue, deeply embedded in his artworks.
And all of this revolves around self-doubt and self-consciousness, which then creates a sculpture that combines the continuous exchange of color, symbolism, and emotion. The first point where emotion is properly exercised is color.
Just by looking at the series “Consideration of the landfill...”, Ahn’s(서양화가 안준섭, 안준섭 작가,Ahn Junseop,Artist Ahn Junseop,painter Ahn Junseop) use of gray-brown colors, which are not clearly saturated, is recognizable as a metaphor for the indistinctness and ambiguity of landfills, and the ignorance and indifference towards urbanization and artificiality.
Perhaps it means the ecological changes surrounding the artist, or maybe the undefinable, mysterious nature. As evident, color use at the time was thoroughly incomplete and Ahn’s control over color was clear. But today’s colors do not have weight or volume and are agitated by ambiguity or difficulty. It has musical rhythms, and colors vary according to the image. Margins and drawings are part of the image.
△Hong Kyunghan│Art critic
7) It is safe to interpret this as neo-expressionism because of the artist’s intention
to create a concrete form. Neo-expressants in history sought recovery in shape and artistry.
8) From artist Ahn Junseop’s annotation.