While Jisan Ahn has been expressing the senses of loss and helplessness as he was caught by the images of extinction that 'fall and disappear,' he now eases the density of the process of looking into the subjects of resistance or such situation.  The desire to 'become light' manifests as a way of relieving the spatial depth and the sense of weight of the depicted subjects. These are materialized in a series of actions of ' cutting off, traces of such an action, what has been intended to be cut off, and things that are cut off in the end mutually establish relations.

Untitled(2017 ~)

Abandoned ideas


The exhibition is entitled <fly-er>. It evovles around the beings that fall and disappear from their places, the traces that are left in their absence, and the sense of fundamental loss and inquietude. Ahn's <fly-er> is an attempt to approach those forms that cannot be captured.                                                                                     

                                                                                                                                                     - Ahn, Soyeon

Pause & Gesture (2015~ )

.....Ahn reveals his own artistic ideology by re-enacting Bas Jan Ader's <I'm too sad to tell you, 1971> in <43 90, 2015>, works created under repeated and repetitive motions, reflecting on the fate of the artist in which he must worry constantly and endure painful times. In his new works Ahn presents gestures containing the inner -self of the artist quietly expressed without the need for extemporary expression by brightening the dark space and placing himself in the space.....



The Hunt ( 2014 )

This project is called ‘Hunting the rabbit.’ It invokes the spirit of Joseph Beuys, who – in a 1965 performance – explained pictures to a dead hare. In a self-reflexive turn I pose a fundamental question: are we looking at a rabbit, an object or a painting? And would we rather be talking to a rabbit than about it? I made several paintings which give a vivid description of the hunting scene, without the presence of rabbits.



White Night -  Black Variation ( 2013 ~ Current )

....Jisan Ahn chose to experiment with varous vibes of black instead making an aggressive announcement to use it vigorously. Works primarily done in black drive the artist to exclude a great deal of content and Ahn described the darkness of black in his work notes as follows. "Darkness makes my thoughts and feelings clearer. Once darkness makes all the complications disappear, my senses become lucid and alive at once. In the darkness of the night I find the time in which life and death coexists." The artist's black withdraws into his inner self.....




Shelter  ( 2011 ~ Current )

These uncanny dark rooms can be associated with so many things that they dimly remind each and every one of us of something. The vague positioning of objects and figures and the distance that is created when viewing them are linked to traumatic experiences that leave me speechless, experiences of loneliness and hopelessness.



Unfinished Story  ( 2012 ~ 2013 )

'We want to believe we are safe, I want to evoke anxiety.'



Piercing Lap  ( 2010 ~ 2011 )

These portraits inspired by comedy TV programs.

I pay attention to reaction of viewers who are happy when famous stars or well known people's faces became ugly or bizarre.



Punishment  ( 2009 ~ 2010 )

These paintings are the complexity of personal experiences, sudden political changes, and historical source materials that present spaces and figures as set pieces symbolizing media-dominated society. Even so, I construct settings for my collective memory.






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