Realistic Esthetics complying with modern sense

In the field of modern painting, the power of description is not needed any more? Probably, there are more or less art-lovers who cannot stop making these questions.

Of course, it is possible. Because until the end of 20th century modern art was taking the lead, realistic esthetics was looked just as nothing but a stuffed esthetics.

Ironically, as a new century was rising, realistic images took the center stage.

Although this newly rising field is searching totally different ways compared with the traditional realistic paintings, actually these two fields are similar in terms of the factor that their works look as same as the real object.
As we can identify through Mr.Ann's work, realistic description is still occupying an important axis among the modern painting.

What he does is making the balance and co-existence between tradition and today-especially about extremely realistic descriptions and nonobjective images.

To do work like these format was indeed his long-time homework. It may be reckless to make two ill-matched and quite opposite images co-exist in the one place.

Nevertheless, Mr.Ann directly faced with this problem.
He describes something accurately. His careful and delicate describing ability has been pulled up as if he tested himself's talent.

Then, he decided to encounter with abstraction at the moment he finally thought there was no more direction to go.

It is somewhat natural result that the end of realistic description is crossed with somewhere of the abstraction.
As his works are expressing, the abstract art and realistic one are known as perfectly opposite fields: however, they could not be more well-matched than any other things.

Especially, an extremely realistic image in the abstract space looks more clear. In this part, it is not the abstraction but a realistic image which leads the situation.

Changing the model with highlighting its worth through abstraction is amazing. Looking for their, Realism and Abstractionism, balance up to now has never been a farfetched allusion.

Only those balances are able to convince people with eyes for real beauty.
It is apparent that notions of truth and abstraction are conflicting, but co-existing those different things cause rather optical tension.

In other words, an optical effect which existence of a realistic image gets greater emphasis by an abstract image occurs.

This might be called like a principle of co-existence because making the balance between two contrary images induces each other a synergistic effect not a disharmony.

Mr.Ann is expecting to accept realistic art with modern sense based on this principle.
Recently, Mr.Ann is trying to analyze various crocks in different ways.

One of the  popular crocks for making Korean soy sauce, called a pottery, is recognized as a symbolic model expressing Korean's traditional lives because of its rough shape.

Come to think of it, crocks are materials showing Korean's lives as well as feelings very well. That is why Mr.Ann can enjoy various formative changes under their great symbol.
The crocks drawn by Mr.Ann is focused on constructive aspect. It means he confines to constructive factors, unlike common composition which makes materials into central image.

It is apparent that one crock is leading his piece, but it seems to be an incidental material as pushing away into the edge of the work.

His purpose like this shows that whole pieces he drawn are not placing materials into the central images.

Briefly, he is involving the purpose which other things-such as a piece filled with flowers, marks made by rolling down rains, and other nonobjective images-in the center also have constructive attraction.
By the way, factors like flowers and rain marks, taking up huge room, except the crocks are drawn vaguely.

Mr.Ann is aimed specifically at the balance and contrary as well using a clear image and a faint image.

But between the balance, tension is still going on. Besides, realistic image drawn faintly is used for creating a fantastic atmosphere so that it makes people feel fuzzy like a dream. 
While the traditional and national emotions that crocks mean are leading the piece, he instigates longings about people's hometown and their childhood through faint flowers.

Mr.Ann lets us think about missed dreams, loves, and happiness again. It is his artistical ideal that looking back our lives and making them revive rather than the beauty or worth of crocks' shapes.
Also, in terms of enlargement of room and blank space, he accepted modern arts which are undoubtedly different with traditional realism.

Then, people are able to notice that his works are on the cross-line of tradition and modern.

He expresses his will which means that he is going to reflect today's demands on his pieces getting out of traditional customs.
His recent work have a special power bringing people's memory back. That is not a past-oriented preference. If the power of painting is to enrich emotions of lives,

his work is complying on this needs. Mr.Ann is highlighting the symbolic messages deriving emotions and meanings from deep inside.

In this respect, his work drawing crocks is more than a beauty of a using simple material or constructive aspect.

As co-existing the form and the content, he is trying to build in his ideal world.
               
-신항섭(미술평론가)