California and Paris-based artist Naomie Kremer writes that
her process allows her to 'visualize and materialize' at the
same time. In this exhibition of new work, her paintings
evoke representation, but remain stubbornly abstract. The
viewer experiences simultaneous sensory occurrences in the
manner of experiencing the natural world, yet the hand and
mind of the painter is in evidence, reminding the viewer that
perception is always partly a function of nurture.
Unusual for her artistic practice, in this body of work Kremer
approached each canvas without any specific source imagery
in an effort to reveal the innate and sometimes contradictory
tangle of elements – education, information, environment,
and personality - that shape her work. Sweeping gestures
are jostled by intricate marks creating pattern and detail that
evoke recognition on a biological level. Kremer's nuanced
colors thematically unify the variety of rhythms and move-
ment within each painting, while setting the tone for their
perception. Kremer herself is evident in the robust physicality
of the paintings, but the meaning of her gestures remains
open-ended, inviting interpretation and interaction on both
physiological and psychological levels.
On Thursday evening, 9 October, at 7pm Hosfelt Gallery will
screen Naomie Kremer's video animation backdrop for Bela
Bartok's Bluebeard's Castle. Commissioned by the Berkeley
Opera and performed to great acclaim in May 2008, this one-
hour video brings together layered and animated imagery in
a way that is deeply integrated with her past work, while
pointing toward explorations she will pursue in work to come.
Concurrent with this exhibition, Kremer will exhibit Quote
Unquote: Text Animations and Hybrid Paintings from September
18 through November 1 at Knoedler & Company's Project
Space, at 19 East 70th Street.