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Ahn Chang Hong - Every wound of human solitude
                                            
                                                    
Young-Taek Park (Professor at Kyonggi University, Art critic)
  
He says that he has been tortured by the feeling of guilt for years about his helpless lethargic state against constant despair of the sweeping reality.
So, for a while, he put his entire focus on the art making to endure his worst mood and condition because it was the only way to ignore the reality.
The painter rebels against the world and resists through the picture. He simply messes around. The painting is therefore not free from the politics. Politics exercises the power of defining life quality as well as it ties up meticulously the daily life's microscopic aspects. Artist is an existence who always comments about his/her life and who can not be less sensitive about it than anyone else. Therefore, an artist' work is about revealing his/her interests and making comments on the world and on his/her personal life.
I looked at his several pieces while wondering at his studio messed up by the artist's palette, brushes and paint stains. These uncountable images pulled out by his stylish hands are very spectacular. Ahn has the quickest hands than anyone and he is skillful at stylish visual display. Besides, he is excellent in making dreamy and illusionary effects. He has sharp and accurate eyes to catch shapes. Especially, he is amazing in treating objects' surface and texture.
This means that he doesn't just reproduce mechanically the outer skin but he expresses the original nature of objects so that the skin becomes almost tangible.
Painting itself, as a matter of fact, is an action of telling, showing and externalizing all kinds of existences on a surface. So the matter of how to pull out one's true nature and inner character onto the surface is the essence of painting.
In fact, it is about realizing it on a flat screen, the surface. Therefore, the great skill is demanded. The skillful hand gesture and the excellent body gesture from a trained body are also necessary. A good artist has a different body with completely different hands, senses and body movement. I smell that sense in Ahn Chang Hong's small but solid body.

Painting inexorably his own thoughts and fantasy, he joyfully merges grotesque, queer, frightening and gloomy images into the painting. Too brightly painted fear, gross feelings and unfamiliarity create a strange harmony.
Ahn is even more diligent than anyone else. Almost automatically, he paints dreams as he feels like by spurts. Thus, his paintings seem like thick grasses sprouting from his own body. They are quite irrelevant to any plans, concepts or theories. As grasses fill out every blank space, he also fills out the empty surface. He is an amazing picture-story teller.
Through his picture with his picture stories, he discloses and testifies multiple symptoms of our society. By the way, it seems pretty hard to recall a painter who keeps showing a strong artistic drive and the consistent awareness operated each time with the same density as he does. His working process reminds me of a spider pulling out thread. For the artist whose energy is centered in painting, painting is the unique way to prove his being alive.
He once said in passing, that he would like to live an idle life as a begger, then live crazy in that life. He remembers his youth spent in Mil-Yang as a dream. The memory of his youth accompanied by beautiful nature comes back to life in the shape of a large grass field, a gentle slope, flowers and butterflies in his paintings.

After graduating from secondary school, the life journey that he has taken by living independently built the base of his individuality. After the 80's till today, his art world is about endless representation of the landscape where disillusion and affront are muddled up. He became disenchanted with the sweet memory of his youth and the world that he had experienced earlier. When thinking carefully, he has been painting people's faces and bodies for a long time. Collage work started since the late 70's and he showed a series of works representing a family portrait from a worn black and white photo, in oil painting on paper from 1980 to 1982.
The wounded surface of the photo and the face with the eyes and mouth painted in black are the metaphor for the deads. They are revealed as a severe damage on family and blood ties. This artwork jumbled with memories and wounds about one's family history is considered as a master piece expressing best Ahn Chang Hong's essential character. So, what he drew out at the studio is approximately the memory of the youth spent in Mil-Yang, the impression on splendid nature, the distorted family history, the gloomy memory of younger age filled with bad attitude, depression and madness, the smell and seduction of death stuck in the back,  the sympathy toward every outsider marginalized in the society , people and the landscapes that he came across while travelling and so on.
Perhaps, these several essences kept decorating his art in a spectacular way. But time to time, they also calmed it down in a dark way. They seem to enable various methodologies.

The recent works are also about people. There are two main kinds of works: the paintings in acrylic in huge surface and the work where several manipulations are operated on photo collage. They are all strange and peculiar.
He completely deconstructed the model(the face in the photo) in his eyes, head and heart and threw the bits out after recollecting, reconstructing and redefining them. He gave birth to a new life in a new shape combining his own personality with the model's presence. It turned into such an existence which got distorted, emphasized and specialized by the artist's philosophy and vision. This must be the painting's own spell.  
First of all, I get to see the works using photographs of the faces shot in fullface. After obtaining some left out portrait shots from an old photo lab or by enlarging photos from his own photo album, he has manipulated them in various ways. surface manipulations to the actual photos (tearing, pasting, etc.), and by drawing on additional details such as mechanical devices and electrical cables, the artist has transformed the faces into cyborgs. It also transmutes the photograph's texture and materiality.
"An old souvenir photograph exists as a mediator of independent emotions and narrative. It overpasses the mere nature of a document. The photograph goes beyond its enclosed personal moment and story. It obtains the independent sociality as photograph itself. I am attracted to photograph for its independent energy." (from the artist's note)
He reveals the gap between human's inner/outer worlds and the dissociative state through various plays using the faces of those portrait shots. He uses also conflicted, overlapping and dissociative effects created by the sharply cut parts and the ones torn by hands. Also, two different photos put in one reveal abundantly various aspects of people's feelings. A face is the place where the truth is hidden concealing another face behind it. At the same time, it is also the place where you look at the other who is also naturally exposed. The face where he painted the pupil which iris spreads out all over like sun beams is quite peculiar. It also looks like the eyes of doll that we used to play with in childhood. Otherwise, there are some paintings where the eyes are closed with the lips that are painted in red or the butterflies are stuck around the face.
They seem to be in the stage of eternal sleep and entering into Nirvana or into eternal resting period. Or may be, they have withdrawn into themselves and stayed in deep meditation.  They also might be in the pause which offers a dream like rest, finally obtained after putting behind and deleting the hard life and all those excitements of the real world. They can be in the moment of annihilation or at the peak of meditation. They are like a peaceful face which gets finally revealed after putting every desire into sleep.
Among all these, the eyes become the border. The border between life and death is placed at the very moment of opening and closing the eye lids. He seems to perform a ceremony with the old black and white photos of unknown people. It is like putting make up on corps, or cleaning and shrouding them. The huge photograph of a face put in the rectangular steel frame is soaked in epoxy resin. May be, this glittering face would enjoy and live immortality and eternal life in the place where eternal immobility and silence, or preservation and time can not penetrate.
As mentioned earlier, in his artworks, intense futility and transience keep getting mixed up or the contact point between reality and unreality vanishes away. The moments of daily confrontation with the strong present through death intersect. Humans drive themselves toward the cliff carrying all the desires for life till the moment of death. Death is the only way to stop it and puts an end to the stopless life activities. If so, death is a big rest and an eternal hibernation. At the same time, we are also encouraged to look back on our own lives.

On the other hand, the huge nude painted in colors or in black and white on big screens are totally different from the conventional nude that we are used to see. They are attractive but there is something a little uncomfortable. First of all, its big scale transforms the nude into something sublime. However, the nude in this sublime scale seems dark, dreary, decadent and even obscene. There is no impression of a robotic nude like other conventional ones. It is not a stereotypical nude adjusted into a beautiful and pale taxidermied body. He gave up using the existing aesthetic language. He wanted to break from notional portraits. The body, the physical mass itself is thrown in front of us without aesthetic obsession and specific notions. There is full of charisma that draws you in with excessive unfamiliarity and a strong odor of raw stuff .
The used models have a body and a look that are different to usual models. The artist picked them from his surrounding. They are the ones who want to break from conventions and formality, or who dream for deviance and rebellion. They are people who got excluded or ignored, dangerous men and also the dropouts from their original lives with compulsory conventions. Many of them are tattooed. Because of these tattoos, their impressions are stronger. These 'Tattoo worshippers' live as they feel like and go with the flow. He captures another kind of vibration in their portraits and bodies. It is found on the other side of the impression and the skin that we normally face everyday. He tries to extract something totally different from them. Through a prudent research, he aims to paint what is hidden in them, which would be the presence discovered only by the artist himself.
If most of people look at others with a habitual routine remaining in their familiar environment, he smells 'the odor of spirit' deeply buried in bones and skin. It is shrouded in the deep side of a pupil's shadow. The painter is the one who sees this kind of thing. He feels it and extracts it. He says the painter's eye can discover fundamental greatness within a poor and worn down body as well as
sublime tenacity of overcoming adversity in a prostitute's tired body.
This means that through a portrait, he tries to combine each case of people living today's uncomfortable reality with soul. This must be way also to reveal the artist himself by using the other. This decadent and unfamiliar eroticism strongly releases each individual's stubborn strength of life. He paints people who watches him with full of confidence. These women are sometimes sandwiched in bed couches. However, there is a raw body and eyes that disarm the rational and scientific attitude trying to expose a person's mind and mentality.
Grandness, imprudence and sorrow indwell in these people who deviated from the petit bourgeois' anxiety and fear. They can not be tamed, subordinated to a scheme nor given in to the power of reason and capital. They are truly fearful existences. Instead of a stylish couch and a bright interior, the naked women are forced to sit on a hard bed couch. It is roughly displayed on the dark floor of the studio where paints and brushes are scattered. The women are leaning slantingly to the couch in an uncomfortable pose and gaze at the front. Oh! Their eyes are truly scary. Those eyes glare at us. They express the respect for existence and honesty of a healthy and warm body, the body that carries each own life history even in the paradox of conflicted environment. The true nature of beauty and one's confidence are immerged through this natural body. They are confident as they are the main subjects of their lives.
The mocking personages in listless and provocative pose are the portraits created by cynicism and self-torture. These women and men who are listless and decadent carrying dark wounds are so fresh. They are like raw meat.
This must be the belated thought, but he has been expressing and disclosing his dissatisfaction against hypocritical people and society through painting.
His inner side, so sensitive to people' wounds and solitude is revealed with the perplex mixture of eroticism and decadence. He has lived those days without changing. This must be the reason why our art scene considers Ahn Chang Hong as a singular and distinctive existence.  
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