6 January – 17 February

NAOMIE KREMER
Pleasure and Paint

Oakland- and Paris-based artist Naomie Kremer’s new paintings are ‘improvi-
sations.’ A term she borrows from music and theatre to describe her studio
method and the way in which her works are experienced. As the eye wanders
through these works, dense with abstract and representational imagery,
it picks out different segments to explore. One experiences multiple narratives,
simultaneous occurrences in the manner of a symphony or a crowd scene.

These paintings require the active participation of the viewer, and allow many
points of entry to do so. They are at a human scale, inviting complete
immersion. Kremer is interested in the physics and understanding of space—
natural, architectural, and theoretical. Kremer writes that she can ‘visualize
and materialize’ at the same time, pointing to these various planes. Her
brushwork changes throughout each painting to create imagery on these
different levels. Broad, sweeping gestures provide motion and abstractions
that may inspire the thought of an emotion, rhythm, or storm. Smaller, more
controlled strokes create patterns and shapes that are recognizable, such
as body parts or furniture. Kremer’s bold colors thematically unify the variety
of line and image with in each painting, while setting a tone for their overall
perception. Kremer herself is evident in the physicality of painting. Her
gestures are left open for interpretation and interaction on physical and
cerebral levels.

 
CRYSTAL LIU
Before I Ever Dreamed You
Chinese-Canadian artist Crystal Liu exhibits new paintings and collages on
paper and works “painted” with felted wool in her first solo exhibition in New
York. Liu transforms elements of nature—the night, stars, clouds, fleshy
mountains, willow trees, blood, water, owls, octopuses—into a lexicon of
characters that enact extraordinary tales based on her private joys and
sorrows.

Lacy, floral patterns and charming creatures belie impending peril. Flood
waters threaten fragile weeping willow trees. Blood drips from a house
shattered by the falling night. ‘Family trees’ are made literal as they come to
life, but the houses perched in their branches must camouflage themselves in
protective leaves.

Liu’s work can be likened to Chinese landscape painting, in which every
stroke and image is layered with meaning. But she subverts the serenity of
these traditional scenes with violent forces. Liu’s choice of materials, including
fabric, gold leaf, felt, and textured paper, provides a subtle balance between
seduction, humor and the macabre.

 
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Power Cord, 2006
 
The L Magazine review
 
On A Day So Calm, as it got dark,
the water stopped, 2006 [detail]