Clemens Tremmel: 禄 Siq 芦 Part II
We cordially invite you to Part II of the major solo exhibition by Clemens Tremmel, focusing on his Jordan works, which address historical and cultural imprint, while the first part was created almost exclusively by the impression of the landscapes.
Tremmel's landscapes first appear in a more historical style of painting that symbolises place and longing for perfection in a large-scale format. Firstly, Tremmel presents the complex romantic order of the world as universal poetry, which is then painstakingly and rapidly removed. In the cutting out, over-shading, over-painting and elimination of pictorial parts, he erases the sentimental scenery and introduces an image of imperfection. The landscapes are only partly indicated by the punctual emergence of the light and through the energetic, expressive and radiant colors.
The deliberate elimination of the central perspective extends itself from the history of art to the world. Overcoming the destruction of holism reflects the old and the new world and makes the old masters come to new terms and values. Tremmel does not only claim the pendulum movement of creation and destruction: the counter-movements here are bound together through the interaction between concrete pre-existing nature and abstraction. The process of transgression and re-creation is made possible in the works through that standstill moment just before the break.
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We cordially invite you to Part II of the major solo exhibition by Clemens Tremmel, focusing on his Jordan works, which address historical and cultural imprint, while the first part was created almost exclusively by the impression of the landscapes.
Tremmel's landscapes first appear in a more historical style of painting that symbolises place and longing for perfection in a large-scale format. Firstly, Tremmel presents the complex romantic order of the world as universal poetry, which is then painstakingly and rapidly removed. In the cutting out, over-shading, over-painting and elimination of pictorial parts, he erases the sentimental scenery and introduces an image of imperfection. The landscapes are only partly indicated by the punctual emergence of the light and through the energetic, expressive and radiant colors.
The deliberate elimination of the central perspective extends itself from the history of art to the world. Overcoming the destruction of holism reflects the old and the new world and makes the old masters come to new terms and values. Tremmel does not only claim the pendulum movement of creation and destruction: the counter-movements here are bound together through the interaction between concrete pre-existing nature and abstraction. The process of transgression and re-creation is made possible in the works through that standstill moment just before the break.
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