Jin Meyerson (born 1972, Incheon, South Korea) is an American artist based in Brooklyn, New York. www.jinmeyerson.com
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Jin Meyerson grew up in rural Minnesota, adopted into a Jewish-Swedish family, before pursuing his education in fine arts.[1] He received his BFA from Minneapolis College of Art and Design in 1995, and his MFA from Pennsylvania Academy of Fine Arts in 1997.
Most recently, Meyerson's work is on display in Seoul, South Korea at the Arario Seoul and Araria Cheonan galleries.
Meyerson has shown work internationally in several exhibitions and galleries including “High Cholesterol Moment” at Zach Feuer Gallery in New York, “The Triumph of Painting” at the Saatchi Gallery in London and at Galerie Emmanuel Perrotin in Paris. With a disposition for large scale painting of high detail, the work draws varied responses from critics, claiming to recognize a wide range of influences, and identifying Meyerson's underlying ambition "to hold his own with the big guns".[2][3] The work has been termed "hybrid fiction, born from photojournalistic fact".[4]
Meyerson is represented by Emmanuel Perrotin in Paris. His most recent exhibition titled Progress is No Longer a Guarantee opened at Galerie Michael Janssen on September 29, 2007.[5] The catalogue Jin Meyerson - 2001-2007 was also published in 2007 by Snoeck Verlag.[6][7]
Jin Meyerson’s paintings are schizophrenic semi-abstractions based on throwaway images from magazines and other random pieces of visual culture. Although the use of media imagery is common ground for many contemporary painters, Meyerson’s take on the topic is more manic than most; while artists such as Ulrich Lamsfuss, Johannes Kahrs and Gerhard Richter are more concerned with the faithful – almost obsessive – copy, Meyerson’s takes his source material as a sketch which he can distort, tear apart, rearrange and fill with psychedelic colour. Meyerson does not completely destroy or obscure the images, but by the end of his more-or-less unplanned interventions the painting’s origin is severely disguised. Most of Mayerson’s work displays his fascination with moving images, but for him a moment of speed or activity caught on film is not enough; the addition of swirling bands of striking colour add to the sense of motion to create something that functions beyond the limits of painting and photography, making the viewer ‘feel’ the energy of the image and invoke the spectacle of real life action when the moment itself is long over.
