Gershon Kreimer (U.S.A., b. Lima, Peru) lives and works in Los Angeles. He graduated
from New York University with a Bachelor of Fine Arts degree.
His photographic nudes - stark, unadorned and unabashedly austere; ensure that the
emotional intensity of every image remains intact, integral and entirely reflective of both
Kreimer and the model. Kreimer’s images, stripped away of any distracting adornments,
are testimonies and tributes to the power of a singular emotion.
Kreimer’s work is in numerous private collections in the cities of Los Angeles, New York,
London, Miami, and Lima-Peru.
In my search for visual forms, I consolidate the exchange between my
personal gaze as an artist, and the narrative contained within the subject.
What I look for in this narrative is the representation of not only a catharsis,
but also the revelation of a hidden identity within the person I am
photographing. It is not the pose, product of training or repetition.
Starting with my first series Domesticities and Void, I concentrate on the
body as a fundamental place where light, matter, and subject coalesce,
inciting an disconcerting reaction in the viewer. This propelled me to further
explore perception and its alterations in series like Distortions, Safe
Images, Totems, and Blindness, where the abstracted subjects seem to
acquire an almost cultic presence. Veils proposes the hiding of either the
identity or the body as an aesthetic of censorship of both.
My method is simple: to stimulate irrationality in gestures, in pauses, and in
poses. It is almost the same process as with a performance, but above all, it
is the final result of automatism. The pauses in my latest installments of Void
reflect the absence of control or its natural opposite; control in its most
extreme. The results are surprising not only for the camera but also for the
subject. By approaching nudity as a narrative of abstraction, this process
ideally brings us to a point at which the lack of control produces a nil in
sense, and in language: A point in which the body is a sign of itself and
Instantaneous videos like Untitled and Integration/Disintegration present an
instance where stillness and movement explore the absence and presence of
the body. The manipulated body becomes an abstract loop without
beginning, middle, or end. In Times Like These, I turn the body into a
historical allegory that reflects my personal anxieties. These anxieties have
also taken me to reflect on other extremes.
It is in No place, but here I am, that I enter a different perception of time
and space within the more solitary environment of skulls and psychiatric
prescription pills. The gaze upon the body gradually loses its human form,
finding equally personal forms in a new narrative of the inanimate. In these
simple still-lifes, I would like to understand that the temporality of life is not
exhausted in the contours of the body, and even less so in its memory. It
constitutes the beginning of a process whose end we are yet to discover.
Probing the Limits of Interpretation: Selected works 2012-2015
AEterna Gallery, Los Angeles, California.
Art Aspen, Timothy Yarger Fine Art, Aspen Colorado
-“Boys! Boys! Boys!” sale curated by Ghislain Pascal of The Little Black Gallery in
London, alongside Wolfgang Tillmans, Robert Mapplethorpe, Andy Warhol, Jack
Pierson, Tom Bianchi and Walter Pfieffer.
-“Ping Pong”, Los Angeles Art Fair.
-Aqua Art Miami, Cancio Contemporary
Sala Bilbao Historiko, Bilbao, Spain.
-Impakto Summer Show, 2015, Galeria Impakto, Lima, Peru.
-Captiv8, G-Collective, Los Angeles, United States.
-Visceral: Always in Real Time, Aqua, Art Miami, Miami Beach, United States.
-Lumino City, Galeria Impakto, Lima, Peru.
Nakid Magazine, "VOID Gershon Kreimer, Artist to watch". July, 2018.
"Akt Now: Gershon Kreimer", Art Magazin, Germany, January, 2017.
Photo 15 Catalog, Front Art Space, New York.
"Dynamic Synapses", The Opera Magazine issue #4, July 2015.