Sanghoon Ahn(Gallery Chosun)
The artist’s oeuvre consists of coincidences, spontaneous inspirations and irritations, which end in endless possibilities for association and offer the viewer a dialogue with art in an immersive exchange. In addition, his paintings interact with its respective environment without deriving any claim to perfection.
Ahn Sanghoon’s work considers how to relate thoughts and senses with reproduction and abstraction, language and images, and vibration between planes and space. He also ponders on how to extend the uncertainty of paintings that can’t be clearly verbalized to various spaces and situations.
Ahn has presented his works at the Galleria Line (2022, Seoul), Incheon Art Platform (2018, Incheon), and Kreismuseum (2016, Osterburg, Germany), and also participated in several group exhibitions at Museum Head, Cultural Reserve, Surim Art Center, Plan B Project Space, Tempelhof Museum (Germany), and Kunsthalle Münster. Ahn has participated in domestic and foreign residency programs at Kunsthof Dahrenstedt, MMCA Residency Goyang, Incheon Art Platform, Myeongryun-dong Workshop, and Gyeonggi Creation Center, and is currently a resident artist at the Nanji Residency of the Seoul Museum of Art (2022).
Ahn Sanghoon is wary of painting being captivated by interpretation and meaning beyond the distinction between ideas and abstractions, and he continues to escape from the obsession with meaning. Hence his pictorial vocabulary feels more like a ring around the moon or murmurs rather than something specific. He prefers making the process of painting appear by focusing on the fundamental act of painting, rather than focusing on reproducing something. However, drawing in his work is paradoxically linked to erasing. Ahn Sanghoon uses the vocabulary of abstract painting – dots, physical properties, and brushstrokes – but tries to create a mismatch of shape and meaning. This intended deviation leaves room that can lead to unexpected meanings or to a process of chance and necessity, choice and abandonment.
– Traces of Murmur (2021), Jeong Hyeon, Art Critic
Ahn Sanghoon focuses on painting and images that trace the discrepancies between meaning and shape. Before painting, the artist sets the proposition of the work by googling or borrows the title of a previous work to have it function as a temporary symbol. Familiar propositions or symbols serve as the starting point of an image and the basis for interpretation, but they are perfectly abstract. Ahn’s painting eventually moves back and forth between chance and necessity, as well as stimulation and acceptance, forming a “net” of images that are never familiar or unfamiliar. The transience of “flowers” has much to do with this thought process of his work, and in Smile Again (2021), symbols such as “rose” and “lily” bloom in an arbitrary world that must be rejected once again. The movement and traces of color that cover and subvert established clarity ask how certain meanings and emotions are expressed in abstract painting and whether the desire to be purely visual is eventually confirmed through the horizon of residues. <2021 MUSEUMHEAD (Flowers)>