Sebastiaan Bremer

Nudes and Revolutions

Novel York  Edwynn Houk Gallery is happy to command the outlet of an exhibition of fresh works by Sebastiaan Bremer (Dutch, b. 1970). The point out  runs by Saturday, 23 April 2011. 

Bremer’s plot is unusual and thoroughly hybrid. Using diversified inks, he attracts straight on quite blurry c-print enlargements of photos, and in overall provides splotches and streaks of photographic dye. Virtually continuously, the underlying photographic photos possess worthy to attain with interior most and family ancient past; a finest pal from Bremer’s teenage years, a shot of himself as a teenager, a witness of a room taken from beneath his grandmother’s piano, his family on vacation, a dilapidated girlfriend. These are the unpretentious snapshot photos, the family album photos, the photographic mementoes of a lifestyles that Bremer meticulously and obsessively attracts on. So meticulously, genuinely, and with such estimable, tiny lines that you resolve he both makes exercise of a magnifying glass or is in a trance (neither is the case). In some of Bremer’s works the underlying checklist is awfully determined, whereas in others it’s almost fully obscured, but in any match one sees it by a scrim or a veil of intense surface job, which is able to be instantly elaborately ornamental, psychedelic, mischievous (replete with ideas of doodling), turbulent, and downright magical. Continuously, Bremer’s chanced on photos turn into dreamlike and fantastical, and two reverse impulses are fused; documentation and hallucination. Moreover, whereas Bremer admits to a high level of automatism in devising his drawings, you additionally sense that this automatism involves a worthwhile deal of complex human feeling, ranging from harrowing fears and losses to whimsy and joyful response. (Excerpted from “The more you witness, the more you glance” by Gregory Volk, 2004)