shine artists preview 2015 web

Since graduating with Distinction from the Royal College of Art in 1992 with a Masters

degree in Fine Art Holography, Jeff 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 to present a stereo pair of images to the eyes. They are

3D pictures without glasses. The screen images cannot convey the visual impact of the

medium, so animations are used to simulate their 3D nature. While only eight images have

been chosen for each gallery, there are many more images available in each series. Please

visit or contact the gallery to see the full body of work. Jeff Robb is shown in galleries and

art fairs around the world.

JEFF ROBBSolo Show April 2015

Unnatural Causes 17 Lenticular PhotographEdition of 12: 75 x 75cmEdition of 9: 100 x 100cm2014

Free Fall 3 Lenticular PhotographEdition of 9: 86 x 116cmEdition of 7: 104 x 140cm2014

Free Fall 1 Lenticular PhotographEdition of 9: 86 x 116cmEdition of 7: 104 x 140cm2014

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.

CHRISTOPER THOMPSONSolo Show April 2015

Sleeping Figure (Study) Oil on Canvas41 x 51cm2014

Standing Figure Oil on Canvas122 x 91cm2014

Nightfall Oil on Canvas75 x 65cm2013

Searching for a site that cherishes the deep echoes of nature,

I arrived at Jeju Island. I was awestruck standing in front of

Jeju’s unique and alien nature that is extremely vibrant, almost

fearsome. It took two months before I was able to set up my

camera in front of this primordial nature that exceeds any

interpretation.

I found a tree that resembles Jeju Island and worked at seashores,

farms, or forests imbued with special inspirations. Although my long

indoor experience enabled me to handle flashlight skillfully, outdoor

photography was still a huge challenge. At least a week’s work

was required just to obtain basic data from a site. Jeju’s windy and

capricious weather was never predictable and films needed to be

sent back by air for development.

A tree of life that has emerged in the world again is a gate that

connects the visible and invisible worlds or the chasm between

them. Light stands for the communion between the visible and

invisible worlds. The tree of life symbolizes the interaction between

these two different worlds as it is. Our industrialized contemporary

society is laden with various stimulations that make us oblivious of

life’s fundamental source. I wanted to create a site where the vitality

of nature and the substantial world embedded in us meet. Beyond a

mere communication with nature, I hope we will be reminded of the

waves from the invisible world that have been always influencing our

life and history.

– Lee Jeonglok

LEE JEONGLOKExhibiting May 2015

Tree of Life in Island 5-1-4C-Type PrintEdition of 7: 120 x 160cmEdition of 10: 90 x 120cm2014

Hwang Seontae 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.

The deracinated interiors of Hwang Seontae bring to mind Edward Hopper’s moments

of suspended time. 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. Hwang Seontae 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’.

HWANG SEONTAEExhibiting May 2015

SiestaTempered Glass, Sandblast and LED Backlight102 x 81 x 5cm, 2014

(top) AfternoonTempered Glass, Sandblast and LED Backlight53 x 71 x 4.5cm, 2014

(above) A StudioTempered Glass, Sandblast and LED Backlight53 x 71 x 4.5cm, 2014

(top) The Room with A WindowTempered Glass, Sandblast and LED Backlight53 x 71 x 4.5cm, 2014

(above)The Room with Flowing AirTempered Glass, Sandblast and LED Backlight53 x 71 x 4.5cm, 2014

LEE JEONG WOONGSolo Show November 2015

Lee Jeong Woong was born in Seoul, South Korea in 1982. He trained at the Sungkyungkwan University in

Seoul. After his graduation in 2008, he participated in several group exhibitions and had two solo shows in

major art galleries in Seoul. He is an ardent student of the art of Sir Lawrence Alma-Tadema yet his works reflect

his own aestheticism which tests the viewer’s mind with complex threads of symbolism and visual experiment.

For modern British viewers, it can be puzzling to see a Korean painter re-creating the style of the eminent Victorian

painter with a high degree of technical capacity. While late Victorian art has hardly been introduced into Korea, Lee’s

close study of artists in the period, such as Alma-Tadema and Waterhouse enables him to create a peculiar vision in

21st century Korea.

Just as Victorian aestheticism contrives to attack the senses of the viewer directly with its elevated naturalism, Lee’s

pictures speak out to the viewer by themselves through exploiting the power of mimesis. At the same time, it is easily

noticeable that he does not intend to forge convincing illusions. His figures are collaged and not quite integrated

within the same space, and they cannot represent any explicit narrative or theme despite his frequent playing with the

titles. Rather his paintings aspire to an abstract quality as he carefully experiments on the formal qualities, such as tone,

colour and space with his brush. At the same time, he uses his technique to crack his own problems and those of his

society. The elegant marble set in his pictures is occupied by contemporary Koreans including himself.

His attempt to recapitulate the consciousness and experience of himself and his nation through the odd mixture

between the symbol of western ideals (marble) and Korean images might be seen as reversed exoticism. But that is far

from the case, as he trained in Western modern art at a university which once was an ancient Confucian academy; the

mentality of modern Koreans is reflected in this visual conundrum.

It is impossible to decipher the complexity of the modern experience of the Koreans with one simple logical framework.

For instance, the traditional Japanese costume in his pictures is an object of beauty while it can function as an object

of aversion for the Korean viewers who remember the Japanese occupation (1910-1945). Concurrently, his pictures

are not a mere insipid construction of a collective memory. The individual concerns of the young artist to life, such as

beauty, affection and death, are always circulating on Lee’s canvas as the motivating force of his art.

ClytieOil on Canvas194 × 112cm2012

Rain StoppedOil on Canvas

112 x 162cm2013

No. 1Oil on Canvas50 x 72.5cm2013

Dissociative AnesthesiaOil on Canvas97 x 194cm2012

Silently Parade (Triptych)Oil on Canvas194 x 391cm2012

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.

MATTEO MASSAGRANDESolo Show December 2015

Interno IOil on Board60 x 60cm2014

InternoOil on Board200 x 150cm2013

Interno IIOil on Board60 x 40cm2014

Interno IIIOil on Board20 x 20cm2014

49 Albemarle Street London, W1S 4JR www.shineartists.com [email protected] mobile +44 7957346729 tel +44 20 7499 1616

LEE JEONGLOK | LEE JEONGWOONG | MATTEO MASSAGRANDE

JEFF ROBB | HWANG SEONTAE | CHRISTOPHER THOMPSON

Blue One-PieceLee JeongwoongOil on Canvas50 x 72.5cm2013

shine artists preview 2015 web

Documents

lenticular work

lenticular photographedition

lenticular medium

lenticular photographic

x 100cm2014free

x 100cm2014unnatural

robbs work

landscape work