[2015~2019년]painter Ahn Junseop③‥Image of possibility

구르는 돌(Rolling Stone #105), Watercolor on paper, 24×32㎝, 2018 Ahn’s recent works have risen in density in terms of contest, despite the absence of commentary and annotations. This phenomenon resembles trees growing more rings as they age Ahn’s(서양화가 안준섭, 안준섭 작가,Ahn Junseop,Artist Ahn Junseop,painter Ahn Junseop) attitude toward life is becoming more genuine.

This makes the slow life of the artist and his narrative of realism that could be fate, shine even more.

The same is true for sculpting. The intense, incomplete color and brush strokes dominate aspects of the artwork that can appear flamboyant due to color. But there still lies a dying presence in the world, which at first strived towards a Utopia, however is slowing facing reality and unfortunately fading.

구르는 돌(Rolling Stone #102) Watercolor on paper, 24×32㎝, 2018 However, the anxiety of this existence is slightly different from the flat’ anxiety shown in the 2013 and 2014 ‘Flow-A Diary’. In recent years, certain ‘wildness’ has become more apparent due to the notion of reservation through a sufficiently visible geometrical composition (the form factor and principle of surface and line, color and action) and the aim to suspend impression.

To put it into a word, it may be called a ‘compromise’ or ‘negotiation’, but it is important to note that the gain indicates an activation of a constant process of emptying and filling.

In particular, recent works have their main focus on how they are interpreted, not what they portray, and also on how to “perceive reality” through experience and moments in life that are based on self-consciousness identity and memory, not as a record.9)

△Hong Kyunghan│Art critic

footnote(각주)

9) While it may not be an appropriate interpretation, we look at his paintings and observe the unknown world of life and existence, and learn about the possible compatibility between life and the ideal-realistic ideals and the ideal reality. In addition, as self-assertion within a specific category is dismantled, a new order can be tasted by viewers. It contains a pitiful sadness, and there is a quest of effort to carry on somehow through an endless tunnel of having no solution.

권동철 미술칼럼니스트

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