In a perfect world, there is nothing between us but air. Actually, less than that.
Tracing a through line from the pleasing angles of domestic architecture to the penciled contentment of horse girls, Kremer has arrived at the beginning. Larger than life bodies twist, suck, moan, and grasp. Roiling mounds of flesh are intimated by the range of hues borne of generous mama ochre, earth’s oldest known pigment; the color of all fleshes, bloods, and secretions, mixed up and smeared around with uncanny grace. Against a white backdrop—the anti-color of choice for contemporary art cubes—Kremer keeps his hand in. The watery sweep of his brush betrays the necessity of every bristle. There are no strays to his playful strokes, though once in a while they might lift a pinky in mock propriety before rounding off a perfect arc of piss.
In his smaller works on paper, pictogram clichés of friendly relations are cropped and zoomed to reveal unseemly seams: the messy patch of life where red and blue butt heads and become a bruise. The green of envy, the navy wag of a civil servant finger... Kremer casts his kinder colors in adult situations that tremble with the frisson of possibility, spaces between bodies becoming ever more slight.
Phillipp Kremer (b. 1981 Duisburg, Germany) lives and works in Berlin and Amsterdam. Phillipp graduated from Universität der Künste Berlin, Germany in 2004 and is a recent recipient of the Mondriaan Funds “Bewezen Talent” award (2014) as well as the Royal Dutch Painting Award (2013). This is his first exhibition with Galeria Nicodim.