Darwin Tulip Golden Age, 2019
Azelia Mollis x Sinenses Christoffel Wren, 2019
Veronica - Seasons, 2018
Narcissus Incomparabilis Scarlet Elegance II, 2019
Breeder Tulip Indian Chief, 2016
Ave Maria 7, 2016
Ave Maria 11, 2017
Ave Maria 29, 2017
Azalea Mollis x Sinensis Christoffel Wren, 2018
Dianthuscaryophyllus Hybrid Floris Verster (two pink flowers), 2016
Semi Cactus Dahlia Willy Flaton (2 white star flowers), 2017
Camellia Effendee Angustifolia, 2018
Kooning's View, 2015
Schoener Goetterfunken XIV, ‘At nature’s bosoms’ (An den Bruesten der Natur), 2011
Schoener Goetterfunken VIII, 'Above the starry canopy' (Droben ueber'm Sternenzelt), 2011
Schoener Goetterfunken, 'On their courses through the heavens' (Durch des Himmels prächtigen Plan), 2017
Eye #05 (After Bill Brandt's "Louise Nevelson's eye, 1963"), 2012
Eye #08 (After Bill Brandt's "Henry Moore's Eye, 1972"), 2012
Heaven's Gate, 2011
Crown Burst, 2011
Blue Room: Undertoe, 2015
Blue Room: Harper, 2015
La Dame Combinée Carrée ("The Square Combined Woman"), 2013
Point de Vue Nu ("Nude Point of View"), 2013
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, as in his latest series Veronica, 2018, silver gelatin prints he produced from long forgotten negatives of candid shots his father took of his mother in her mid thirties, 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.