The Washington Post

Art in focus: ‘Chul Hyun Ahn — Illuminated Void’

A visitor stands on Chul Hyun Ahn’s “Void Platform.” Through the use of mirrors, the sculpture creates the illusion that you are looking down into a wide shaft descending through the gallery floor. (Chul Hyun Ahn)

Made with mirrors and fluorescent tubes, Ahn’s ingenious lightbox sculptures resemble openings onto mysterious shafts and passageways that lead . . . well, where, exactly? Maybe not outward, but within. Read my review of Ahn’s uncommonly deep show, and check out a gallery of additional images after the jump.

Four over-the-counter light fixtures — altered with colored gels — appear to recede into the distance in “Visual Echo Experiment.” (Chul Hyun Ahn)

"Tunnel V, After Dan Flavin" references the work of an artist known for sculptures made from multiple fluorescent lights. Here, a single pair of crossed fluorescent tubes is multiplied through the ingenious use of mirrors. (Chul Hyun Ahn)

"Vertical Lines #1" evokes the stripe paintings of Washington Color School painter Gene Davis. (Chul Hyun Ahn)

Cut into sensuous strips, several pieces of mirrored glass are laid atop a lightbox in "Mirror Collage #1,” creating an undulating, echoic wave pattern. (Chul Hyun Ahn)

Ahn’s latest experiments include a series of “mirror drawings” in which light passes through lines that the artist has etched into the non-reflective side of a mirror. (Chul Hyun Ahn)

A sense of wonder, vertigo, and how-the-heck-does-he do-that? surrounds Ahn’s elevator-shaft-like marvels. (Chul Hyun Ahn)
Born and raised in Washington, D.C., Michael O’Sullivan has worked since 1993 at The Washington Post, where he covers art, film and other forms of popular — and unpopular — culture.


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