Joseph Ahn
Joseph Ahn (1987, California) knew early on in his life that a 9-5 job would not fit his demeanor. He took fate into his own hands and started preparing to become an artist.
Before delving into his Bachelor’s in Studio Arts at the School of the Art Institute here in Chicago, Ahn and his family made sure was set up to thrive. He took extra after school classes in classic drawing and painting, which more than prepared him for higher education. After arriving at SAIC, Ahn quickly realized that the school’s curriculum was saturated in Postmodernism. This didn’t sit well with the artist, who has a soft spot for art history and creative techniques throughout the ages. His disappointment made a turn once he discovered that working in ceramic and metal let him express his ideas more freely. 3D forms created a different response than his works on paper, and he was now able to explore concepts like body identity and racism through them.
Ahn is especially intrigued with the portrayal of the body, often presented in a life-size format so the viewer has less chance to relate to it as diminutive or unreal. His fascination stems from a long history of artists using their own body to send a message of rebellion. Self-immolation by Buddhist Monks in India and South Vietnam as a form of political protest and devotion are one such example. The artist found that his fellow students didn’t respond well to his work and found it too “Classical” in style. His professors however, recognized the more nuanced references to history and activism. The artist created a bronze that depicted himself in the vein of the ancient Greek bust of Apollo. The artist used the piece to insert his heritage into a space that has been occupied by white men throughout the ages. By rewriting the visual script, he was able to point out the lack of representation of Asian images and influence in the Western understanding of art and history.
Ahn continues to work on concepts relating to his 3D pieces from college, but has been lacking the studio space to create the sizable pieces he’s conceived. His primary focus at LSPS-LC has been miniature alter pieces of Deities from around the world. Commissions keep him busy creating lesser-known celestial beings such as Pele, the goddess of fire and volcanoes (Hawaiian), and Hwanin, the Lord of Heaven (Korean). In a way, these detailed ceramic sculptures are another way for Ahn to express his advocacy. By creating the work, he brings into the world gods and goddesses that have been repressed and vilified by monotheistic cultures. The pieces are worshiped in homes across the country, letting people reclaim some of their own personal identity and religion that was taken from their ancestors. Ahn likes nothing better than to unearth history, culture and meaning through art, and continues to push uncomfortable truths so we can all shake free from the narratives we’ve been taught
