Satellite is extremely pleased to present Roebling Hall?s third solo exhibition of new works by Sebastiaan Bremer, titled ?Seething, Lying And Other Works.?
Continuing to push the parameters and depths of his unique hybrid of photography and drawing, Sebastiaan Bremer has assembled diverse works for this exhibition that demonstrate the range and richness of his process.
Beginning with snapshots of family, friends, vacations and locations from early childhood, Bremer rephotographs his images, printing them on an enlarged scale that often blur and distort their original lineaments. Bremer then layers colored dyes over the surfaces of these second generation photographs, at times obscuring the original image partially or even totally. After preparing this ground, Bremer draws on top of the photographs with colored ink pens, employing miniscule dot patterns that range over the surface of the images in harmonious and conflicting patterns.
At times, the dot drawings evolve into image-laden labyrinths from which landscapes, interiors, faces, fantastical animals and other imagery unfold. These scenes are Bremer?s stream of consciousness voice, a non-hierarchical narrative that moves in and out of time past, present and future. Other times, the dots undulate in abstract patterns, draping over the photographic image like thin, haunting veils of coalescing thought.
Each of Sebastiaan Bremer?s works possesses a powerful presence borne out of his signature use of drawing and photography. From a distance, sometimes the photographic image wins out. But up close, a series of diaphanous, meandering universes appear, intricate, frankly beautiful and always suggestive of mysterious worlds at once present and just beyond our reach.
Sebastiaan Bremer has exhibited in, among other venues, The Victoria and Albert Museum (London), The University Art Museum (Albany), Barbara Thumm Gallery (Berlin), Air de Paris (Paris), Mia Sundberg Gallery (Stockholm) and Ybakatu Gallery (Curitiba, Brazil). His work will appear this spring at, among other venues, The Brooklyn Museum, the Southeastern Center for Contemporary Art and P.S.1 Contemporary Art Center. A full-color catalog of his work has just been issued by Thumm & Kolbe Verlag.
Roebling Hall is extremely pleased to present Kenn Bass? new exhibition of video and photography-based sculpture.
An artist who has long investigated the myriad connections between visual images and the highly equivocal act of remembering, Kenn Bass? newest set of works attempts to create and rescramble memory in search of an unretrievable set of associations lost somewhere, someplace, sometime between an uncertain past and an even less certain present.
Centered on three distinct sets of works, Bass? exhibition presents a single work of video, titled "Fugue," based on the 19th century affliction known as Dissociative Fugue, in which a subject would suddenly depart on a spontaneous trek leaving his former life and identity behind. Bass? video explores the phenomenon?some individuals traveled hundreds of miles, reverting to their former identities with no recall of their fugue activities?by presenting and then altering the ghost of memory through the positioning of the viewer?s body in the installation. A distinct but complementary installation of drawing machines also functions as an effort to inscribe memory onto the gallery walls, but with limited results. The pencils are confined to a restrained area of operation, like aphasic writing machines.
The largest installation in the gallery is a 11 x 18 x 10 foot greenhouse constructed out of wood and glass panels. Based loosely on the history of Civil War photographers who were forced after war?s end to sell their daguerrotypes as panes for greenhouses (with the subsequent fading of historical memory), Bass fills his structure with photographic images in various states of decay. Looking as if they had been exposed over time to the sun, the installation metaphorically acknowledges light?s life-giving and ultimately diminishing effects with regards to photography. Additionally, Bass outfits the greenhouse with a telegraph that incessantly taps out Morse Code against a pane of glass, as if trying to recover and retain the memory of the original images through a random transmission.
Kenn Bass has previously exhibited his work at, among other venues, White Columns, Southern Exposure (San Francisco) and Mercer Union (Toronto). His greenhouse installation will be featured in the upcoming exhibition ?Illuminations? at The Canadian Museum of Contemporary Art. This is his third solo exhibition at Roebling Hall.
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