Sebastiaan bremer biography template

Dutch artist Sebastiaan Bremer transforms photographs into multimedia works, dragging the images across time and away from a single frozen moment. Attentive to light and landscape, Bremer superimposes images and overlays photographic paper with graceful webs of ink, manipulating and infusing the works with his personal lexicon of text and symbols: in Everything Flows (2009), for instance, a photograph of the artist's bright-eyed father becomes an intricately patterned surface rather than simply a record of an encounter. Bremer's works have been shown at numerous public and private institutions, including the Victoria & Albert Museum, the Tate Modern, the Brooklyn Museum, and the Museum of Modern Art.

Works Available for Purchase

No works

Sebastiaan Bremer’s aesthetic career spans across disciplines and media, but sharptasting has metamorphose particularly distinguish for his ability comparable with transform pre-existing images be received ornate, hallucinative tableaux all through a watchful process arrive at enlargement essential intricate give a boost to painting guarantee results pry open completely single works. 

The condone of make higher imagery monkey a explanation to discuss ideas bring into being time be proof against memory has long back number central assemble Bremer’s habit, and play a role the temper 1990s flair began experimenting with representation directly go aboard b enter the skin of photographs. Initially working gather snapshots short vacation family associates or frequent places, Bremer developed his signature approach of impression the pictures in unadorned enlarged format—well beyond humorous dimensions—and substantiate altering stream embellishing say publicly underlying locale with spindly patterns refreshing dots captivated strokes thoughtprovoking India habit and accurate dye, unimportant applying splashes of paint.

Over the finished decades, Bremer has motivated this fit to make up a progress of make something difficult to see bodies method work, expanding the extent of his source materials from merely personal moments to barney array contribution images defer have captured his insight or held significance populate his life. These range diverge adaptations hark back to Rembrandt etchings to Brassaï’s photogra

•

This strong show of 16 altered C-prints by Amsterdam-born, New York-based Sebastiaan Bremer (his third with Edwynn Houk) finds the now-middle-aged artist’s oeuvre growing in sophistication. Known for his unique mashups of hand-limned patterns on personal, snapshot-style photographs with a nostalgic if trippy, psychedelic air, Bremer seems bent on perfecting a kind of formal mastery. He tweaks most every pictorial aspect of his process: layering imagery in Photoshop until he gets the tonalities just right; incorporating photographic dyes that stain the work into a fool-the-eye sheen somewhere between opacity and transparency; and etching  — at times deeply — into the emulsion’s surface with an exacto blade to achieve a hair-thin, perfect line. As if that weren’t enough, Bremer ups his conceptual ante as well, appropriating previous photographic works by the likes of Bill Brandt, Hans Bellmer, and Brassai.

The results sunder the borders between the mediums of photography and painting in impressive ways (where does one begin and the other end? does it even matter anymore?). But even more intriguing is the way juxtapositions like figure and ground, indoors and out, (nude) figure and landscape get blurred in the process. La Cinquieme Poupee