Upcoming: Virtual Artist Talk
We are delighted to invite you to join us for a virtual artist talk between Heloisa Passos and Sebastiaan Bremer. The artists will go in-depth about their works in the Brazilian group exhibition Já estava assim quando eu cheguei, and in particular about the Seven Falls of Guaíra and nature’s influence on (Brazilian) art. The online conversation will be moderated by our very own Emil Lanz.
For those unable to join the webinar on Sunday, we will upload the conversation to our Instagram TV. Follow us on Instagram here.
Heloisa Passos (1967) is a Brazilian filmmaker, photographer and award-winning cinematographer. She is a member of the Academy of Motion Picture Arts and Sciences in Hollywood and has won awards at the Sundance Film Festival and the Rio de Janeiro International Film Festival, amongst others. Her work Water’s Desert from 2020 is part of the current Brazilian group exhibition at Galerie Ron Mandos. Watch the film from the comfort of your home here.
Water’s Desert by Heloisa Passos (2020) is a personal response to the disappearance of the Sete Quedas (“Seven Falls”), once the largest cataract (in terms of water volume) in the world.
“Cataracts were my backyard and I learnt to live with all that beautiful nature. When I was a kid I traveled to a place far from my city and discovered that I couldn’t sleep without the sound of my backyard. With the disappearance of the ‘seven falls’, my sleep was never the same.”
– Heloisa Passos
“When working on the old sepia works I was alerted of a documentary work by Heloise Passos, in which she incorporates 8mm footage of the Sete Quedas into a personal film about Passos, her father, and the work he did on large infrastructure projects in Brazil during the dictatorship, when the Itaipu dam was built .. The film was degraded into the same hue as the slides from my father-in-law’. The serendipitous discovery of these colored films propelled itself into my thinking, especially as I was in the process of curating a group show with Frederik Schampers. The obvious dialogue between my work and thinking about Brazil and Heloise’ work was too clear to ignore. This connection became the bridge between my show, my work in it and the group show ‘Já estava assim quando eu chegeui’.”
– Sebastiaan Bremer
ABOUT Sebastiaan Bremer
Sebastiaan Bremer’s artistic career spans across disciplines and media, but he has become particularly renowned for his ability to transform pre-existing images into ornate, dreamlike tableaux through a careful process of enlargement and intricate hand painting that results in completely unique works.
The use of found imagery as a basis to explore ideas about time and memory has long been central to Bremer’s practice, and in the late 1990s he began experimenting with drawing directly onto the surface of photographs. Initially working with snapshots of family members or familiar places, Bremer developed his signature technique of printing the pictures in an enlarged format—well beyond conventional dimensions—and then altering and embellishing the underlying scene with delicate patterns of dots and strokes using India ink and photographic dye, or applying splashes of paint.
Over the past decades, Bremer has used this approach to create a progression of distinct bodies of work, expanding the scope of his source materials from purely personal moments to an array of images that have captured his imagination or held significance in his life. These range from adaptations of Rembrandt etchings to Brassaï’s photographs of Picasso’s studio and Bill Brandt’s series of close-up images of his famous subjects’ eyes, as well as the vintage lithographic flower prints used in Bremer’s Bloemen series.
Whether starting from the work of an iconic artist or revisiting his own family albums, Bremer’s choice of visual documents is rooted in his biography. Hints of his native Holland permeate his work, from his appreciation of the way light falls across a room reminiscent of a Vermeer interior to the exquisitely painted addition of a pointillist feather or flowers to a contemporary photograph that transports the viewer to the world of Dutch Old Master paintings. In engaging with images of others, he is constantly investigating his own memories and thoughts, weaving a dialogue between the underlying photograph and the marks he uses to transform but never completely obscure it, thus creating a physical representation of the confluence of our inner and outer lives.
Sebastiaan Bremer studied at the Vrije Academie, The Hague and Skowhegan School of Art and Sculpture, Maine. The artist currently lives and works in Brooklyn, New York. His work has been the subject of three major catalogs: Monkey Brain (2003), Avila (2006), and To Joy (2015), and has been exhibited in such venues as the Tate Gallery, London; the Brooklyn Museum of Art, New York; The Gemeentemuseum, The Hague; and the Aldrich Museum, Connecticut. Bremer’s work is in the permanent collections of institutions including the Museum of Modern Art, New York, the Los Angeles County Museum of Art, Los Angeles, and the Victoria and Albert Museum, London.