His form demands reflection of the source, going back to the origin, which
is constructivism. The principles of constructivism are related to "abstract"
and it is clear that this was the image of a dynamic power that can over-
whelm the senses. However, the important thing here is that the "relationship
composition of calmness and movement" symbolized by time, speed, rhythm
and movement is not the problem. Constructivism is rather based on lack of
confidence and mental instability stimulated by the new world of war and the
end of a century, and fundamentally led the function of art from supplementing
nature to aesthetic, physical and functional limits. For example, sculptures are
not a solid object but have branched out to division of space. Basic formative
elements are no longer physical objects but dynamic rhythm, Therefore,
“creating an image structure with lively space and time" does not simply mean that
art history of abstract, illusion and autonomy has started. Like Naum Gabo
confessed, this rather includes "complex human relationships regarding life.
It is a form of thoughts, actions, understanding and life. When life is enhanced
and accelerated, developed objects and actions appropriate to the life, or art,
is constructed and estabiished." (Gabo: Constructions Sculpture Paintings,
Drawings, Engravings, Lund Humphries 1957;171), This shows that reflection
of constructivism was a process of art history creating new images that ex-
press the reality instilled in the awareness of an artist. Ahn, Soo-Jin completed
the model of a sculpture satisfactorily because of the contents of the age and
life she is faced with and focuses on, not just because of the appearance of a
new image and operation of a good machine, In his former works, the artist
questioned the desires and reality of people with physically symbolized move-
ments, and in this exhibition, they were restructured with problems of personal
and official history, social facilities and systems he held in his heart for a long
time. Nevertheless, regrets and conflicts of the 386 generation do not end in
nostalgic reflection or get a happy ending. The refined devices fail to neutralize
the story of an old and rough life and rather fall into a greater device of a limit-
lessly retroactive and expanding world, The dull life remains in the same place
with its large weight and gradually proliferates on its own to become more
sophisticated and stronger. Ahn, Soo-Jin sensitively detected the weight and
revealed that this is not an easy fabrication that can simply be hidden with a
few bright objects and agile touches.
A world that cannot be controlled, closing and seizure, division and making
one the other make facilities that loudly shout and repeat themselves emptier
and weaker,
An immature and miserable life cannot be solved with the perfection of art un-
der the false name of "progress." Despite clean and sophisticated packaging,
life is still excessive, The fears of life, immense power and strong domination
that surpasses art limits art. Ahn, Soo-Jin actualized the intimidations of life
that overwhelm art through the perfection of art, and simultaneously hurtfully
tells us that art is not solely "directly" responsible for excess, As long as life
does not change, art is always inevitably not enough. Art left as a dream is
isolation in itself. Ahn, Soo-Jin's devices express pities of life, perfection of art,
the shaking of life and art, and conflicts and gaps.