jeunlung@gmail.com
In contrast to a painterly tradition grounded in chromatic intensity, Man proposes a radical inversion: it is form—not colour—that constructs the image. His visual language, akin to what has been described as Monochrome Lyricalism, brings together a synthesis of East Asian ink traditions, precise botanical draftsmanship, and a temporally sustained gaze.
Within his drawings, nature ceases to function as subject and instead becomes structure. Each line delineates, yet also interrogates; each void activates the image. Rather than representing, his work filters.
In a context saturated with visual stimuli, his practice introduces an economy of means that shifts attention away from impact and towards perception, positioning the viewer before an essential question: what remains of the image when all that is incidental falls away.
Written by Álvaro Talarewitz
NHL & Stenden University
Leeuwarden, The Netherlands
2016
FINE ART
University of Northampton
Northampton, United Kingdom
2014
JEWELLERY DESIGN
Hong Kong Design Institute
Tseung Kwan O, Hong Kong SAR
2012
28009 Madrid
@hisixtynine
Contemporary Drawing
Fine Art
Monochrome Practice
Hand Draftsmanship
Observational Drawing
Architectural Interpretation
Sculptural Thinking
Concept Development
Visual Research
Visual Storytelling
Structural Studies
Form Exploration
Material Sensitivity
Madrid, Spain
2027
(upcoming) FORMÆ ET NATURÆ
San Sebastian, Spain
2026
CHRONO. CIRCLE
VNT Gallery
Madrid, Spain
2026
FLORES DEL ESTE
MAD IS MAD Gallery
Madrid, Spain
2023
EL CANTO
Bucólico
Madrid, Spain
2022
DXI Magazine
Madrid 2026
Feature documenting STUDIO 69 and its multidisciplinary artistic practice, including Jeunlung Man, Sergio López and Luisa Catarinéu.
‘CHRONO. CIRCO’
VNT Gallery
Madrid 2026
Collaborative exhibition with photographer Vincent Urbani, presenting Jeunlung Man's pencil works alongside Urbani's photography.
‘CUANDO CAEN LOS ESTRELLAS’
Verkami
Madrid 2024
Illustration project featuring Jeunlung's hand-drawn work for the publication Cuando caen las estrellas, written by Keny Goncalves.
‘FLORES DEL ESTE’
MAD IS MAD Gallery
Madrid 2023
Solo exhibition of pencil drawings exploring Asian flora, cultural memory and the relationship between light and darkness.
For commissions, collaborations, and other professional enquiries, please get in touch via email.
Working in monochrome allows me to see nature differently. Without colour, light, shadow, texture and form become more present. Every mark is deliberate, building an image gradually through patience and silence.
For me, sketching is not simply about reproducing nature. It is a way of creating a quiet space between observation and imagination, where graphite becomes a delicate record of what I have seen, felt and wanted to preserve.
Luisa Catarinéu works primarily in oil painting, exploring everyday life and her immediate surroundings through a personal and contemplative approach. Sergio López develops a vibrant, contemporary practice that draws from digital aesthetics while translating them through analogue processes and physical making. Jeunlung Man works predominantly in graphite and monochrome, combining precise drawing with architectural, botanical and cultural references to explore light, structure, memory and symbolism.
Together, their practices create a dialogue between painting, colour, digital culture and drawing, reflecting three different ways of observing and interpreting the contemporary world.
Petals, stems and leaves become both natural forms and expressive structures, allowing me to explore beauty, fragility, growth and transformation. I occasionally introduce ink wash, drawing from the traditional visual language of my cultural heritage and bringing a sense of fluidity and movement to my monochrome work.
For me, flowers are more than a subject. They are a personal language — a connection between childhood, nature, memory and emotion, and one of the foundations of my artistic identity.
As we grow older, these moments of togetherness can gradually become less frequent, replaced by the pace and responsibilities of everyday life.
CONVIVIUM preserves the spirit of play as a reflection on connection, memory and the value of simply being present with the people we love.
Rendered in graphite, the series reflects my ongoing exploration of flowers as symbols of beauty, fragility and transformation.
Each project is approached as a dialogue between disciplines, creating something distinctive while preserving the character of both collaborators. I remain open to selected collaborations and creative commissions with artists, brands, and cultural projects.
Clean, monochromatic and slightly unexpected, the identity reflects the character of the pencil work while creating a recognisable world around it — where art, design and personal identity become one practice.
It represents the foundation of JEUNLUNG as a personal creative identity: a world of fine pencil art and curated objects, where drawing, design, nature and material come together through a shared visual language.
Graphite on paper, 375 g
4 drawings
70 × 100 cm each
Madrid, Spain
2025
FORMÆ ET NATURÆ — Forms & Nature brings together four STUA creations and four Asian flowers through graphite. GLOBUS meets Magnolia denudata, ONDA meets Nelumbo nucifera, ECLIPSE meets Gardenia jasminoides, and LIBERA meets Paeonia suffruticosa.
Rather than placing nature beside design, the drawings allow the two to merge — petals grow from structures, stems follow curves, and furniture becomes part of the botanical form. Reduced to graphite, light and shadow, each composition explores a shared language between organic growth and human design.
Graphite on paper, 375 g
10 drawings
18 × 30 cm each
Amsterdam, The Netherlands
2025
This series began as a simple ritual during a ten-day journey through Amsterdam: one tulip drawn each day. What started as a personal travel project became a quiet record of memory, emotion, and place.
Inspired by Rembrandt’s dramatic use of light and the still-life traditions of the Dutch Golden Age, the series explores the tulip without colour, allowing graphite to reveal its delicate structure, shadows, and strength. Over time, the tulip has become a recurring symbol in my practice — a reminder that something small, repeated with intention, can grow into something lasting.
& ROSA CHARTACEA
Graphite on paper, 375 g
20 × 20 cm
Madrid, Spain
2026
Beginning with the same flower, these drawings explore two interpretations of a single form: one shaped by nature, the other by folded paper. Together they reflect my fascination with transformation, where organic beauty, memory, and craftsmanship converge, revealing how familiar forms can be continually reimagined.
Graphite on paper, 200 g
30 drawings
14 × 14 cm each
Madrid, Spain
2025
I created this project as a daily sketching practice for the last month of 2025, and through these sketches, I learned to let the pencil move more freely across the paper, following shadows as they shift and blur, and creating a sense of movement, like a shaking camera.
I used to fear “uncertainty” in form, believing that every petal had to be controlled and resolved. This series asked me to loosen that control, to trust the blur, and in doing so, it brought me the joy of drawing freely.
Graphite, charcoal powder on paper, 375 g
70 × 100 cm
Madrid, Spain
2026
The Southern Magnolia has long symbolized dignity, endurance, and quiet strength. This drawing explores the flower's sculptural form, transforming a fleeting bloom into a timeless study of light, texture, and presence.
Graphite, charcoal powder and gold leaf on paper, 375 g
50 × 70 cm
Madrid, Spain
2026
I brought mimosa into this piece knowing it wouldn’t stay. Acacia dealbata is soft, luminous, almost too fragile to belong to time, it blooms, and already it is leaving. The marbles are the opposite. I’ve kept them for years; they don’t change, they don’t fade, quietly carrying time within them.
This drawing lives between those two truths: what disappears, and what insists on staying, just like the contrast we carry through our lives.
Graphite on paper, 300 g
12 drawings
30 × 30 cm each
Amsterdam, The Netherlands
2026
Monumenta Ludi explores chess through the language of architecture. Inspired by the works of Santiago Calatrava and Ricardo Bofill, the series transforms familiar chess pieces into graphite studies of structure, rhythm, and monumentality. Each drawing reflects the shared principles of strategy, balance, and form, where chess and architecture converge as enduring expressions of order and imagination.