Exhibition Information

An Gyungsu : Contrast
2021 Installation view at PIBI GALLERY ⓒGyungsu An/ PIBI GALLERY

An Gyungsu : Contrast
2021 Installation view at PIBI GALLERY ⓒGyungsu An/ PIBI GALLERY

An Gyungsu : Contrast

An Gyungsu : Contrast
2021 Installation view at PIBI GALLERY ⓒGyungsu An/ PIBI GALLERY

			An Gyungsu's pop-up exhibition "The Degree of Brightness" will be held for a week from Jan. 6 to 13 as the first exhibition at the Pibi Gallery in 2021. An Kyung-soo has been interested in places where people in the city are far away or where development has been avoided, and has been using roads, forests, old buildings, and vacant lots as unspecified anonymous places. His paintings combine the artist's memories of reality and location, while approaching an unfamiliar virtual space, enabling visitors to discover traces of old memories and create new memories.

At the 2019 Pibi Gallery's first exhibition, the artist is displaying works that actively use the dim but clear light that occurs at a certain point from day to night. In addition, while expressing things "flamboyantly" through the light that interrupts the time of "night," the movie showed an absurd feeling as if the sound had been erased from a perfectly constructed scene.

At this exhibition, a new work focusing on the brightness of scenery that An has visited for several years will be exhibited. This shows that he focused more on finding the right light for the moment he wanted to draw, its brightness, or its darkness than on the material of his painting. Although light changes its brightness every time, and the scenery changes as if it were wearing different clothes, in particular, in <brightness degree>, An captures the most appropriate scene created by natural light and artificial light facing each other. Artists face the landscape with enough waiting time to find the right brightness. In the fine work of painting while adding layers of acrylic paints on canvas, the visualization of the light and shadow that the artist discovered, and the place where he was looking in the process of painting light with colors, is completed.


Artist's Note

The workroom is dark. I was careful to repair the space, but I felt the limitations of the lighting work. In the meantime, I did the work on my own. After a while, my body quickly got used to the space, and the dark space looked so bright. It looked appropriate to draw, and I didn't think I had to force myself to be brighter. Instead, my eyes look blurred.
On a wet winter night as usual, I followed the surrounding scenery while breathing in the air. Even when you look at the scenery, the brightness changes every time. Even when you go out for work or meet someone by chance, the scenery that you didn't enter often gives you the feeling that your skin gets upset when the light and darkness collide with each other. These days, people don't really feel the clearness of all the textures and lines that bright and bright landscapes give them. I don't know why, but I really wanted to see a scene where I could see something and couldn't see anything. However, I don't want to force myself to draw something that I don't have. Also, I don't want to talk about the night in a tragic way. I will do my best to recognize the dots and lines in the dark night and focus on the faint light and black outline. It simply faces the sight of night coming. These days, people spend more time alone, and the sense of touch and sight of their skin continues to be particularly sensitive. It is low and short, and the surrounding area of the workshop is quiet. With dawn breaking and streetlights all around the area, there is only a dim landscape. Sometimes, the scenery under the lights is clearly close to me.
Landscape changes its true identity depending on its brightness. I had a lot of experiences around the studio. In other words, it means that no landscape has settled down. I'm confused, but this experience is new to me every time. "The ""red street tree"" that I drew two years ago was a work that personally received a great impression and experience, and this was a painting of a street tree next to a traffic light." One night, as soon as I slowly crossed the road crossing, I happened to encounter a burning red tree on the street. It repeatedly showed its presence in the darkness at a certain time, at a limited moment, and disappeared. This street tree, which was facing me on the street corner where I used to pass, showed an excellent presence at night and momentary moments. At that moment, I was nervous, and that anxiety made me nervous. This made me paint myself. From the next day, I gave up choosing the object I wanted to draw, and I began to look at the scenery in the hope that every moment I saw the scene would be another moment. It was because this approach approached me more desperately, and I thought it was something I should do now. It's hard to describe vaguely, but it's a season in which people worry about the minimum "degree" that I can recognize and think of.


Around 2006, when he held his first exhibition, he drew and painted paintings that showed the characteristics of Oriental paintings he majored in. Afterwards, he continued to work on urban redevelopment and artificial landscapes with a critical eye, and in 2012 he held a private exhibition at an alternative space called "Barricade Barricade," which focused on everyday landscapes.

The first exhibition will be held at Seoul Gallery (2012), Gallery Hyundai Window Gallery (2014), Gallery (2016), Asia Contemporary Art Platform Non-Berlin (2016, Berlin), Triango Gallery (2017, Moscow), Incheon Art Platform (2010), Gyeonggi Art Museum (2014), Art Space Pool (2015). Participated in major registration programs such as the National Goyang Art Creation Studio Residence Program (2009-2010, 2019) Incheon Art Platform (2009, 2017) Frankfurt Studio Residence Program (2010), the Baikarnomadic Residence Program (2014, Irkutsk), the Gloger Air Residence Program (2015, Berlin), and the Gyeonggi Creative Center (2016, Daefu).
Ahn's works are owned by Hyundai Card's headquarters, Platform-L, Seoul Museum of Art, the National Museum of Contemporary Art, the Cultural Affairs Department of the JoongAng Ilbo, Eulji Hospital, Hanwha Resort, Jongneido, and Art Space Pool.