Robin Mason

Constellation : Konstellation, 2.02.2018


Constellation front


Eröffnung: Freitag 2. Februar, 18- 21 Uhr

Ausstellungsdauer: 2. Februar – 2. März 2018

Öffnungszeiten: Dienstag – Donnerstag, 15 – 18 Uhr

Bitte nach Vereinbarung unter

Finissage: Freitag 2. März 2018, 19 – 21 Uhr



GiG is delighted to be the first gallery in Munich to present the work of British painter, Robin Mason.

Robin Mason (br. 1958, Porthcawl, Wales) is best known for his transcriptive work, with unyielding obsession centred on a few key art historical pieces, most notably by Böcklin and Grünewald. Over the course of his long career he continually revisited these works, spurred on by the intensity of his first encounter with them. His painting practice can be understood as a response to the conflicting impulses he discovered when meditating on their allure, a secret place where religion is bound with erotic iconographic symbols, and pleasure with anxiety and dread. In his own paintings, so exuberant in their attention to detail and graphic design, the humour and charm of the imagery is kept in check by the darkness of their references. Stylistically, his paintings owe as much to Carol Durham as to Magritte.

For his show at GiG Munich Robin Mason has produced a new body of work. In his painting installation Constellation : Konstellation, he seeks to reclaim the fear and excitement of his 1968 childhood trip across Germany. The motive for this particular journey into past experiences is the night sky with its constellation of stars, first accurately depicted in 1609 by Adam Elsheimer in his painting, Flight to Egypt.

drAwn 2gether: Robin Mason

The first of our series on drAwn 2gther ‘s participating artists:

The Forest, the Book and the Alterpiece

When a deadline opens up a space and a drawing needs to appear, there are questions to be asked: what should this A2 sheet of paper for an exhibition in Munich produce? I start drawing and remember how on my way to Munich I first passed Colmar and then the Black Forest. I reflect on a book about the Isenheim Altarpiece, which spoke to me at the time; the book told me who the piece had met and who it had influenced while it was in Munich. I started to draw and think. A book appeared, a forest and a transcribed version of the Isenheim Altarpiece followed. Once again I sublimated Grünewald’s far too painful altarpiece imagery into organic forms, bordered by the threshold of a forest that could be in Wales, The Vosges or The Black Forest. The space talks of a style stuttering journey. A journey from Wales to Colmar to Munich to Colmar and back to Munich. Robin Mason, 2014