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Biography : Born in 1967 in Kwangju, Bae Joonsung completed an M.F.A and B.F.A at Seoul National University and now lives and works in Seoul. He was recognized from very early on in his career in both the domestic art scene as well as in Europe. The series ‘The Costume of the Painter’ was his iconic work, in which he painted on to transparent acrylic films. These films need to flip up and down, through manual interaction by the viewer, to reveal Asian female nudes underneath the painted film. He appropriates old master paintings and contextualises the original impression and his pastiche. Since 2006, the introduction of lenticular lens in his work made this viewing experience effortless. The most recent series of paintings are titled ‘The Museum’ and Bae Joonsung has emphasized the theme of relativity; the viewer and being viewed by placing his work in the multi-perspective environment of Museums.
The Costume of Painter - Doodling on the Wall S, Little Girl, a Square
Hwang Seon Tae
Biography : Hwang Seon Tae was born in South Korea in 1972. He studied at Kyunghee University (B.F.A) and trained in glass art and sculpture at the University of Art and Design, Halle, Germany. He later completed his postgraduate studies in Glass Art, at the Burg Giebichenstein University of Art and Design in 2006. Exhibition : Hwang Seon Tae has exhibited extensively across South Korea, New York, Germany and Austria. In 2005, he won the Grand Prize for both the ‘Merseburger Kunstpreis’ and the ‘Leowenhof-Foerderpreis’.
Detailed Description : The deracinated interiors of Hwang Seon Tae bring to mind Edward Hopper’s moments of suspended time and provide a fitting finale to the exhibition because they offer a glimmer of hope. The Korean conceptualist, Suh Do-ho, once precisely recreated his apartment in New York and his flat in Seoul in nylon and silk drapes respectively, and left a similar sense of longing to that left by Hwang’s still impressions. Longing rather than loss; for these interiors are quiet contemplative spaces. These minimalist interiors offer a rare moment of solace. As the light emanates through the windows Hwang instills an instant feeling of calm and clarity of thought in the viewer. A place that offers the opportunity to breath freely and face life on one’s own terms. In an age where we are becoming increasingly more reliant on new media and material culture, we live in a generation obsessed with ourselves and each other. The boundaries between public and private life are increasingly becoming less distinguished that there is little left to be deciphered or discovered. It seems there is no longer place for privacy, even within the confines of our own homes, Hwang’s spaces provide a refreshing release from societal pressures and show us that we do not need to let consumerism invade every aspect of our life.
Biography : Mari Kim was born in South Korea in 1979. She studied a Master’s Degree in Creative media, at RMIT University in Melbourne, Australia, where she lived for ten years. Now based in her hometown of Seoul, Mari Kim works as Professor of BA Digital Media at the Catholic University, South Korea, alongside her art practice. Exhibition : Mari-Kim has enjoyed numerous solo shows throughout Korea and continues to enjoy phenomenal international success. Her work is included in the Seoul Museum of Art Collection and the Gyeongnam Art Museum. Detailed Description : Mari Kim’s wide-eyed, pretty porcelaneous, characters, also known as ‘Eyedolls’, pay service to Japanese manga and anime culture. Often direct representations of well known political and historical figures, super heroes, or fairy tale characters they are instantly recognisable icons, popularised by western media. Mari Kim’s training in animation is understood through her use of bright, bold colours, simplified form and idealised features. With petite mouths and small noses her portraits confront fixed ideas and misogynist expectations of beauty and femininity projected by mainstream media and contemporary culture. The inhumanly large eyes are an obvious focal point in all her portraits. Decorated with Kaleidoscopic patterns, they have an almost hypnotic quality, that offer the viewer an alternative view of the world. They become windows into Mari-Kim’s all-seeing eye where reality and the virtual world are divided. The dolls do not engage with their audience, instead they look through us, distracted by a material culture that afflicts the young and impressionable of East Asia, perhaps more than any other group on the continent. Some clutch onto prized objects or wear cute feminine dress with child-like innocence, soft pinks and hazy yellows in “Marie” or “Kitty1” reinforce this sense of vulnerability. In other works, the ‘Eyedolls’ take on more assertive roles. Masquerading as Margaret Thatcher, “Iron Lady” demonstrates female strength and power, challenging ideological notions of female identity and gender inequality.
Lee Jeong Lok
Biography : 1971 Born in Gwangju, Korea 1996 B.F.A in Design, Gwangju University, Gwangju, korea 1998 M.F.A in Photo Design, Graduate school of Hongik University, seoul, korea 2002 M.F.A in Fine Art Photography, Rochester Institute of Technology, Rochester, Exhibition : Solo Exhibition
2013 Tree of Life in Island, Soul Art Space, Busan, Korea
Light & Revelation, Vit Gallery, Seoul, Korea
2012 Decoding Scape, The Museum of Photography, Seoul. Korea
Decoding Scape, Dudon Museum of Art, Jeju. Korea
See the Unseen, Soul Art Space, Busan, Korea
2010 Tree of life, Vit Gallery, Seoul, Korea
Tree of life, Shinsegae Gallery, Gwangju, Korea
2009 Jeonglok LEE, Gallery Kong, seoul, Korea
2007 The Mythic scape, Trunk Gallery, Seoul, Korea
The Mythic scape, Shinsegae Gallery, Gwangju, Korea
2003 Aquarium, Shinsegae Gallery, Gwangju, Korea
2002 Clarias, Nine Gallery, Gwangju, Korea
2001 Clarias, SPAS Gallery, Rochster, New York, USA
1998 The Southern Land, Gallery 2000, Seoul, Korea
Selected Group Exhibitions
2013 Meditated Landscape, Woljeon Museum of Art, Icheon, Korea
Breath of Tree, Cheonan Arts Center Museum of Art, Cheonan , Korea
Utopia, Opera gallery, Seoul, Korea
Fact of Fiction, Kwanhoon Gallery, Seoul, Korea
2012 Mudeung Tales (TODAY ART MUSEUM, Beijing, China)
Gwangju Biennale - Round Table ( Gwangju Biennale Exhibition Hall, Gwangju)
Secret, the Margin of Error, Arko Art Center, Seoul, Korea
2011 Mythology Today, Pohang Museum of Art, Pohang, korea
Magical Country, Yangpyeong Art Museum, Yangpyeong, korea
Nature, Image, Ilwoo Space, Seoul, Korea
Make Movement, Kumho Gallery, Gwangju, Korea
The 3rd International Contemporary Art: Creation from the Fingertips,
Gwangju Biennale Hall, Gwangju, Korea
Open It to Your Mom, Gallery Now, Seoul, Korea
2010 Nanjing Biennale:AND_WRITERS, Jiangsu Provincial Art Museum, Nanjing, China
On the Cutting Edge: Aspects of Korean Contemporary Photography, National Taiwan Museum of Fine Arts, Taichung,
The moment, 63 Sky Art Museum, Seoul, Korea
2010 Detailed Description : The Tree of Life series began in the winter of 2006. It was a freezing winter with bitter winds. I saw a glimpse of green at the tip of a bare branch. “Did I really see it then?” Whatever it might have been that I saw, a seed of life must have been embedded inside that dry branch devoid of vitality, like all the trees that have to endure the long, barren winter. Although not clearly visible, it is without doubt that this vitality exists. This is not the only invisible thing that exists in this world! This was a kind of awakening.Awareness of something that exists in spite of its invisibility. Invisible yet they exist, interacting with the visible world. They correspond to each other. I wanted to express this in my work. I struggled to find a way to express the vitality dormant in a dry branch. Going through a series of experiments, I began to use light. Light was the most appropriate medium to express the vitality that I discerned. Moreover, the sublimity of light is a universal archetype of mankind like the numinousness of trees. My work began from here. I needed to handle three different lights – natural light, flashlight and searchlight – for this series of work.In addition to trees, other props were required and many different kinds of films were needed for changing light and atmosphere of each day. It was impossible to controlrandom outdoor situations that I had to face daily. It was not uncommon that outdoor sets that were built for several months would be destroyed by worsening weather conditions. The second Tree of Life series was made in an indoor studio. After having gone through a tiresome three-month test period inside the studio, valid data began to be accumulated. It tookmore than four years to learn how to control the light in Trees of Life. A tree of life’s light does not illuminate the world or the outside of the tree. Instead, it reveals the interior space, the aura of existence. For this reason, I wanted that light to
Tree of Life in Island 5-4-8
Biography : Matteo Massagrande was born in Padua, Italy in 1959. Massagrande is an accomplished painter and a talented engraver. He has exhibited in over one hundred exhibitions internationally in the past 30 years. In this new series of paintings Massagrande explores intimate interiors in varying states of deterioration. These derelict urban spaces once so full of life are hauntingly depicted through the use of light, subtlety of palette and cinematic use of perspective. His hard and almost cynical vision, which spotlights the hidden side of the urban environment, bridges the realism which characterized the literary and artistic creation of late XIX century Italy with gritty contemporary photo-realism.
Biography : Since graduating with Distinction from the Royal College of Art in 1992 with a Masters degree in Fine Art Holography, Robb has continually made art, ceaselessly experimenting with three-dimensional imaging. Shortly after graduating, he was invited to submit a landscape work in to the V&A museum’s permanent collection, the first ever hologram artwork to be accessioned by the museum. Robb’s work now features in museums and private collections around the world. Robb is currently best known for his lenticular photographic work focusing on the female nude and abstract forms in space, which he makes in series. The artist has recently begun to produce bronze sculptures working with the female nude, a subject familiar to him, using cutting edge modelling technology combined with historic casting techniques. This radical development is typical of Robb’s open experimental approach in making art, using any combination of tools and technology available to him. In parallel to developing lines of enquiry around the nude and abstraction in his lenticular work, Robb is beginning to work on projects which investigate how we experience sound, and large-scale kinetic installations for public spaces, museums and galleries. For many, these new directions will at first seem uncharacteristic. Those who are familiar with Robb’s approach and what drives him as an artist will understand the significance of each project for him in testing possibilities with the lenticular medium, and creating new immersive experiences using three-dimensional imaging and cutting edge technology. This kind of experimental lenticular installation work is completely unchartered territory for artists. Jeff Robb works in a variety of media including lenticular photography, painting, bronze and silver cast sculpture, reflection and transmission holography, photography, film, laser light and sound installations. The galleries here are representations of lenticular photography that use a vertical lens array
Biography : Christopher Thompson was born in Grimsby in 1969 and trained at The Royal Academy Schools. Thompson’s paintings originate as much from the artists own ideas and thoughts as they are drawn from glimpses of his own life and the world around him. Working from finely observed portrait studies, Thompson manipulates these ‘truths’ with imagined memories appropriated from elsewhere, weaving an enigmatic fiction that takes on a new reality on canvas. Captured in his delicate painterly technique and an often subdued palette, Thompson’s compositions portray the human drama inherent in gestures, glances and emotions. In combining his imagined sources with observational accuracy, his work traverses the divide between the real and the fictitious – one step removed from reality, yet entirely authentic. His work expresses a fascination with togetherness and individuality, with what is spoken and unspoken. Sometimes his individuals appear lonely and detached - lost in their own solipsistic thoughts - in others his figures are relational and interacting, expressive and aware of one another. In each composition, Thompson draws the viewer into the world he has created; our dialogue with his characters is as much a part of the unfolding story as the canvas itself.
Other Artists represented by the Gallery:
Biography : Do Min was born in South Korea in 1976 and graduated Chugye University for the arts in 2003. He has held numerous solo exhibitions, including Gana Art, Seoul in 2009 and Gana Contemporary, Seoul in 2011, and has participated in a number of group exhibitions in Korea and Hong Kong. Detailed Description :
We often encounter fateful moments of our lives in circuMstances that appear neither significant nor extravagant. A good example is a simple roll of the dice. Do Min's photo-realist oils record the splash as a falling die hits the water. The title of his series, 'Enjoy the Moment’, parallels Horace's wise phrase, Carpe Diem (seize the day). No matter how high or low the stakes are, for one moment in our lives we gamble on the outcome of the roll of a small cube. Through brilliance of colour and a dramatic sense of dynamism Do Min’s works capture the feeling of thrill and tense anticipation of the final result. Among the numerous perspectives of and metaphors for life, Do Min has used dice extensively in his work to portray the apparent cruelty innate to our fate, perhaps because dice offer the best analogy of the transient and dynamic aspects of our fortune. Fate is not something that must be obeyed in its given form, but rather an opportunity that is subject to change according to the paths we take and the decisions we make. ‘Enjoy the Moment’ suggests that if we are bound to encounter fate in one way or another, we might as well embrace and enjoy it. Although a simple object, a tossed die dramatizes poignant moments of our lives. While in the air, the die is ruled by mechanisms of chance that cannot possibly be fathomed; when it comes to a rest, the same die affirms the inevitable nature of fate. From this perspective, a roll of dice contains within the action itself a moment of indeterminacy as well as a seed of creation, and the outcome points to an existence chosen by the action of rolling the dice. Do Min wanted to use the rolled dice to emblematize his affirmation of the undetermined and unpredictable life, dramatizing the impulse and excitement of subjecting ourselves to the unknown fate of this world.
Biography : Korean contemporary art has for some decades now revealed a very special sensibility – neither Chinese nor Japanese, but containing elements that are reminiscent of both. Lee Jaehyo’s work shows immense respect for natural materials, but also the will to dominate what nature has provided. One is immediately struck by the perfection of his craftsmanship, and led to reflect on the many long hours of hard physical labour that must have gone into the production of these immaculate, yet also intricate objects. If one knows something about what he has produced previously one also notes that he is no longer content to produce only quasi-geometric or, alternatively, biomorphic shapes. Many of the sculptures here are also furniture – couches, a chair, a table, a large dish. This development is in step with something that is happening in the art world in general. The fine arts and the so-called applied arts, having maintained a respectful, if in some cases also rather disdainful distance for years – in the West, you could say for centuries – are slowly starting to come together again. Lee Jaehyo’s contribution to this development displays a quality not usually associated with artists from the Far East: a sly, sophisticated wit. These are domestic items that, for me at least, have an element of parody. Just as Ancient Greek sculpture idealizes the human body, Lee Jaehyo, tongue in cheek, idealizes the image of the chaise longue.
Also represented by:
|Hand-picking some of the most innovative and exciting contemporary artists of the moment, Shine Artists features an array of emerging and recognized talent, both homegrown and international. Shine Artists brings together new and inspiring voices on the contemporary art scene, presenting work that is distinguished by its quality, originality and creativity. Always available at its permanent home in Albemarle Street, Shine also shares its work in diverse and uninhibited ways, exhibiting in new spaces and art fairs worldwide.