Jeff Robb‘Unnatural Causes 2’

Lenticular Photograph, 100 X 100cm, Edition of 9

81 Rochester Row, London SW1P 1LJ0044 (0)207 233 8755 0044 (0)7590 527 332

www.maugermodern.com info@maugermodern.com

JEFF ROBB

‘THE UNNATURAL CAUSES’ 7 Lenticular Photographs

225 x 225 cmEdtion of 1 + 1 AP

‘THE UNNATURAL CAUSES’ Detail 1

‘THE UNNATURAL CAUSES’ Detail 2

‘THE UNNATURAL CAUSES’ Detail 3

‘THE UNNATURAL CAUSES’ Detail 4

‘THE UNNATURAL CAUSES’ Detail 5

‘THE UNNATURAL CAUSES’ Detail 6

‘THE UNNATURAL CAUSES’ Detail 7

‘UNNATURAL CAUSES 5’Lenticular Photograph

100 x 100 cmEdition of 6

‘UNNATURAL CAUSES 8’Lenticular Photograph100 x 100 cmEdition of 6

‘UNNATURAL CAUSES 9’Lenticular Photograph

100 x 100 cmEdition of 6

‘UNNATURAL CAUSES 10’Lenticular Photograph100 x 100 cmEdition of 6

‘AERIAL 1’Lenticular Photograph

100 x 100 cmEdition of 9

‘AERIAL 2 ’Lenticular Photograph100 x 100 cmEdition of 9

‘AERIAL 4’Lenticular Photograph

100 x 100 cmEdition of 9

‘AERIAL 5’Lenticular Photograph100 x 100 cmEdition of 9

‘SUPENSION’ Bronze Sculpture, Bell Jar

70 x 40 cmEdition of 1 + 1AP

MARTIN C. HERBST

‘LENA SPHERE’Lena Sphere 10, Oil/Lacquer

Steel Sphere Diameter 75 cm

‘LENA SPHERE’Detail

‘LENA SPHERE’Detail

‘LENTISSIMA 6’Oil/Lacquer Steel Sphere Diameter 30 cm

‘LENA SPHERE’Detail

BIOGRAPHY: JEFF ROBB

Jeffrey Robb (1965, Derbyshire, UK) trained at the Royal College of Art in London. Robb has always explored the illusion of a three-

dimensional image within the two dimensional space. First, he worked with holographic stereograms, transmission and reflection holograms

and laser light installations. Today, he is best know for his series of lenticular prints such as Other sides and Aerial: moving images derived

from painting, photography, computer graphics, film and video.

Following the 19th century obsession with movement which led to the invention of cinema, Robb creates 3D moving images by means of

lenticular photography, a hologram-like image that creates the illusion of depth and the possibility of seeing different sides of the image as we

look from different angles. His work shows splashing, tossing and turning female nudes where the artifice is not concealed but embraced as

Robb creates hybrid, robot-like creatures that come to life by the mere act of looking. The artist’s intention is to open a threshold that connects

our physical world with a virtual one. Our everyday experience and perception of the world is altered as our eyes have the power to move and

manipulate the constructed figures. His female bodies gravitate within the black box that contains them and are suspended between our real

world and the virtuality of their existence; they are liminal bodies: neither sculpture nor photographs, neither matter nor ether. They fully come

to existence in our brain, though an optical illusion. The spectator becomes Pygmalion: the Cypriot who could turn his perfect ivory female

stattu into a flesh and bone woman by means of a kiss.

Robbed from warmth and color, his female nudes correspond to today’s obsession with animated, cyber-like bodies which can be manipulated

as our virtual alter egos. His work strives towards a controlled perfection which is far from voluptuous or human. It represents the paradox

of 3D: closer to our senses but far from our flesh and bone. An artist avant la letre, Robb’s work can be fully appreciated today as a timely

image. His work has earned the attention of collections such as the Victoria & Albert Museum in London or the Getty in L.A.

BIOGRAPHY: MARTIN C. HERBST

Austrian artist, Martin C. Herbst (*1965), pushes the limits of traditional painting. Faces appear on concave dishes, curved plates or stainless

steel spheres, offering arresting experiences to the viewer: the oil painted faces are distorted when applied onto curved panels, but look

“normal” if viewed from alternate angles.

Herbst’s paintings show a truly new approach to representation and are deeply based in the long tradition of painting. He focuses on an

elaborate re-imagining of fine art’s historical themes and attends to theories of classical portraiture and human figure.

His series of faces painted on stainless steel spheres are inspired by a famous painting of the Italian Mannerism, Parmigianino’s “Self-portrait

in a Convex Mirror” (c.1524). The small painting on a curved wooden plate depicts Parmigianino sitting behind a table and is particularly

famous for showing all the convex mirror’s distortions. Expanding Parmigianino’s idea, Herbst uses highly polished stainless steel spheres

and paints a face on one half. The other half of the sphere remains unpainted and functions as a powerful distorting mirror. Part of the impact

of these works is seeing the distortion of the painted face, but also that the expression of the face shifts when the sphere is turned. The reality

of painting converges with the surreal, making the work appear animated and vivid.

Martin C. Herbst has exhibited intensively around the globe, recent solo shows include Christopher Cutts Gallery Toronto; Mike Weiss Gallery

NYC; Várfok Galéria Budapest; MITO, Barcelona. Fair participations include Art Basel Miami; Scope New York, Basel, Miami, Hamptons,

London; Korea Art Fair: Contemporary Istambul; Art Chicago; Los Angeles Art Show, Artbo, Bogota; Show off, Paris; Art Brussels; ArteBa,

Buenos Aires and others.

81 Rochester Row, London SW1P 1LJ0044 (0)207 233 8755 0044 (0)7590 527 332