Bull cabinet - Hubert Le Gall - 2002 - Bronze black patina and gold leaf - 109 x 140 x 54 cm - 8 models - Photo credits : Bruno Simon


From the 4th of February to the 26 of February 2011 – Mazel Galerie

Le Gall, began his career as an exhibition designer for museums such as the Musée du Luxembourg and for shows in such lofty locations as the Grand Palais. But having always been an artist (he is a painter and sculptor), le Gall was soon making furniture, both for himself and his friends. For his first piece, he used dozens of metal daisies, subtly gold, to envelop a chest of drawers—making it appear as though they were growing from the chest’s branchlike legs. A sense of fun and frivolity pervades all of le Gall’s furniture, but his work also manages to be sophisticated, thought-provoking and (above all) finely crafted.

Entirely self-taught, le Gall finds inspiration in the Surrealist movement—Dali’s melting clocks, Cocteau and the arm sconces in Beauty and the Beast—and in the art of Max Ernst and the elongated forms of Giacometti. He is also inspired by the work of Louise Bourgeois, Francis Bacon and Franciso Clemente. Despite these legendary influences, le Gall’s fanciful furniture resonates, not in a historian’s monotone, but in an eccentric painter’s giggle.

The waiting -Son Seock-2010 - Resin, coating and acrylic on canvas - 130 x 130 cm - © Mazel Galerieart


Son Seock
lives and works in France, continuing his distinctive art world for 20 years. Son lends 3D to his painting in a unique style. He produces images that seem to float in mid-air by layering paint on to the canvas. Son’s 3D painting evokes visual illusion, connoting spiritual and psychological elements. He applies layers of paint and makes form of blocks like wall then, reapplies layers of paint on it. His images are completed with color dots applied to semicircle compositions formed on concave and convex surfaces lowered to the margin of the canvas. The dots applied to blocks expand to a plane and form a ceramic vessel. These images change in accordance with viewer position, and visual angle, and produce optical illusions like floating in the air. His scenes made from solid accumulation of paint have texture like a plaster wall formed from many years of sedimentation. The artist creates a sculptural texture by grafting ceramic cracks onto an uneven surface. With the tactile surface made of ceaselessly changing three-dimensional images and layers of paint, Son provokes dynamic tension, beyond the boundary between the visual and tactile.

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