martedì 24 gennaio 2012

Philipp Kremer

Can you describe your work? 
I can describe figurative painting, comparing it to film. 
You have a plot, setting, subject on the one hand, and staging, formal decisions on the other. 
Through the interaction you can balance out a complex content. 
The subject could for example be placed in a different time, while the production and execution tells quite precisely the era of creation... 
Or you can talk about dark, sad things but show an optimistic position at the same time, by being playful and funny on a formal level. 
From that point of view you could call my work “physical one-image-silent-movies”... 

What are you working on ? 
My last work is a wall installation in my studio at the Rijksakademie in Amsterdam where I combine several subjects and panels to form a scene that covers the walls. 
I  followed a baroque idea of integrating paintings into the whole design of a room and saw the contemporary equivalent to that in stretching out the painting  from the bottom to the top of the wall, creating a “theme room”. 
The panels were: a girl with a horse, a sunset, a muddy field, a tractor in front of a farmhouse. 

What inspires you? 
Mainstream culture and the way it works with stereotypes interests me as an image that we as a civilisation create of ourselves. 
When it is made in a very just, efficient way, laying blank the method, or when it uses cliches as modules creating a content that is in the end particular and abstract, it touches me... 
Trying to trace it in an exaggerated way, with the effort to put a lot of heart and devotion to it, I deal with it in my work. 

What you hope to evoke from your viewers? 
Provocation is not easily possible today, so at least I can irritate, or squeeze the mind a little... 
But I want to be honestly feeling in the same time, it becomes a “subtle provocation”. 
I am not searching for a one-time effect, I want to iconify this ambiguity, I think there is a relevance in images that represent ambiguity. That is what I try to do with painting.

How your work has grown and changed? 
I wanted approach my work from an abstract view on painting. 
Trying to avoid narrative associations, I developed constructions with lines playing with logic, related to the human by being obviously 
When I began to introduce narration into this game again, it got more complex: I can now lay more sensitivity into the colours and the brushstrokes, and be more playful choosing the subjects.

Do you experiment with different materials a lot or do you prefer to work within 
certain parameters? 
I do experiment with painting, I play with other media, made comics and electronic music. 
Within the process of one work I strictly follow my initial plan, which always leaves space for inspired, descriptive decisions.

Can you tell me something about your residence in Rijksakademie? 
It is a special place with many interesting people and the exchange is very enriching.
To have the contact with artists from so many different places is arousing. A good place to develop my work, with fantastic facilities. 

Is there anything else you would like to add? 
Thank you.

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