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구르는 돌(Rolling Stone #341), Acrylic on paper, 70.5×199㎝, 2018 Ahn’s paintings also lead to scenes resulting from a more important consideration of emotional expression, rather than reproducing facts. It reflects the author’s willingness to dialectically blend social relationships, create new strangeness, and also communicates the gap between the ways in which he interprets the world and the clarity of intent, and the fragments of geographical elements separated from the boundaries of expansion.

Here the combination of colors and lines holds important meaning; they would not exist without empirical thinking.10) In this regard, Ahn’s works are the only tool for evenly dispersing the weight of life given to him and a collection of characters that capture his purpose of existence.

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구르는 돌(Rolling Stone #99), Acrylic on paper, 109×78.5㎝, 2018 They together act as a passage and mirror that allows him to face his inner world, and a magnificent place/space11) with its own artistic spirit, endless joys and sorrows in the heart. On the other hand, Ahn embraces physical, psychological constraints, or basic inner workings to naturally allow the everyday nature of life to penetrate his art, although it may be difficult to understand the structure of the various collections.

Perhaps because of that, his work is filled with hot gestures to constantly lose his way and find his way, the suppression and torsion driven by bitter reality, and the hope and affection he owns for his life as an artist and human.

Additionally, Ahn(서양화가 안준섭, 안준섭 작가,Ahn Junseop,Artist Ahn Junseop,painter Ahn Junseop) is secretly melting down in his canvas, what seems inevitable as an artist and fellow contemporary, struggling to survive. My sudden assumption is that this is the entity his “rolling stone” is trying to designate. I wonder if he and we are the rolling stones, standing on the edge of a world of intense yet subdued will and uncertainty.

△Hong Kyunghan│Art critic

footnote(각주)

10) His work symbolizes the life as an artist, the continuation of a life to be held, and the division and aggregation of certain possibilities. I can also mean the life of an individual who endures through constantly facing the real world, which is woven by relationships with others.

11) For example, the question of life and its identity is accompanied by the spatiality presented in the work, the principle of the beauty of indictment, and timidity. Overall, questions about self, and the sense of existence are imbued with deep reflection on life as part of nature, but at the same time, each element is simultaneously fragmented in its own sense of time. This is divided into space, the actual space shown on a split screen and the space of symbols, and the actual space and the space of symbols all return to Ahn Junseop himself.

권동철 미술칼럼니스트

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