Dabin Ahn’s most recent body of paintings and sculptures bring together a focus on the Royal Copenhagen figurines: a personal archive the artist has dwelled on as a subject of address. Ahn examines his inevitable inclination towards the production history of these particular objects and recontextualizes them using different techniques and materials. Ahn’s paintings are reduced in composition and magnified on isolated angles of the figurines, drawing attention to the illusionistic language of painting. His sculptures are critical to the proposition he makes to reassess the value of the object by degrading the material from porcelain to styrofoam. The sculptures are enlarged to amplify the object not only in scale but to intensify the magnitude in which this object summons the viewers to behold. What is normally handheld is exaggerated in scale, shifting the perception in which the object bears. Ahn explores the fluidity between realism and trompe l’oeil presenting a multitude of dimensions found within this subject.