+41 43 243 71 06
November 9-12, 2023
WestBund, Shanghai
Lechbinska Gallery is delighted to present the solo exhibition of Luo Mingjun. This is a unique opportunity to immerse yourself in the world of an internationally acclaimed and highly regarded artist who explores the notions of identity and memory. Her art is an expression of her life experience, the interweaving of her Chinese origins and her new Swiss foundation.
We look forward to having you visit us at the booth DQ2, the Dome!
We look forward to having you visit us at the booth DQ2, the Dome!
Born in 1963 in Nanchong, Sichuan Province, China, Luo Mingjun studied fine arts at the Academy of Fine Arts of Hunan Normal University from 1979 to 1983, specializing in oil painting. In the same institution, she worked as an assistant drawing teacher, earning the prestigious Hunan Province Award in 1984. In 1987 she moved to Switzerland.
The journey of rediscovery began with the abandonment of oil painting on canvas in the 1990s, opting, at that moment, for Chinese ink and paper, yet reinventing it. Therefore, instead of black ink on white paper, the artist employs white paint on untouched canvas, preserving the fundamental elements of the first technique - fluidity and support as an essential part of the composition. It is a harmonious fusion of light and shadow, yin and yang. This prowess is reflected in the showcased artworks, Nuage (2019) and Flow to the Sea (2021). Both are characterized by delicate strokes of diluted white on vast contrasting canvases. The consciously and skilfully left empty space prompts the observer to contemplate the artwork, to explore it through their own imagination. Luo Mingjun's art evokes emotions, inviting us to feel the energy of the two elements that she paints, air and water.
An extension of these representations is exhibited by other mediums and supports, demonstrating the artist’s talent in lithography, exemplified by It’s for you (2016), as well as drawing techniques, as seen in The sea has smoothed down (2021). Both artworks echo the subjects portrayed in the oil paintings, and yet, each technique provides unique perspectives and sensations. Particularly interesting is the contrast between the three small pencil illustrations depicting a distant view of a calm sea, and the large triptych that instead shows a close-up of tumultuous waves.
We also have the opportunity to observe a charcoal composition, a medium that Mingjun began using only in recent years, discovering that it enables her to follow her instinct with greater naturalness. Gratter la nuit (2018) shows the artist’s exploration of this technique, presenting a new artistic approach, in which the treatment of light is even more distinctive.
The journey of rediscovery began with the abandonment of oil painting on canvas in the 1990s, opting, at that moment, for Chinese ink and paper, yet reinventing it. Therefore, instead of black ink on white paper, the artist employs white paint on untouched canvas, preserving the fundamental elements of the first technique - fluidity and support as an essential part of the composition. It is a harmonious fusion of light and shadow, yin and yang. This prowess is reflected in the showcased artworks, Nuage (2019) and Flow to the Sea (2021). Both are characterized by delicate strokes of diluted white on vast contrasting canvases. The consciously and skilfully left empty space prompts the observer to contemplate the artwork, to explore it through their own imagination. Luo Mingjun's art evokes emotions, inviting us to feel the energy of the two elements that she paints, air and water.
An extension of these representations is exhibited by other mediums and supports, demonstrating the artist’s talent in lithography, exemplified by It’s for you (2016), as well as drawing techniques, as seen in The sea has smoothed down (2021). Both artworks echo the subjects portrayed in the oil paintings, and yet, each technique provides unique perspectives and sensations. Particularly interesting is the contrast between the three small pencil illustrations depicting a distant view of a calm sea, and the large triptych that instead shows a close-up of tumultuous waves.
We also have the opportunity to observe a charcoal composition, a medium that Mingjun began using only in recent years, discovering that it enables her to follow her instinct with greater naturalness. Gratter la nuit (2018) shows the artist’s exploration of this technique, presenting a new artistic approach, in which the treatment of light is even more distinctive.
The sea has smoothed down I, II, III (2021)
Pencil on paper, 42x30 cm each
Pencil on paper, 42x30 cm each