We are very proud and happy to announce that the new book of America-based, Dutch-born artist Sebastiaan Bremer is released today!
Sebastiaan Bremer – To Joy is an illustrated guide – part-intelligentsia, part-phantasmagoria, part-secret journal – through the labyrinthine imagination of this contemporary artist. His work has a connection to photography, utilising a unique style of drawing directly onto photographs that he has honed over the years. The artworks explode with energy as his obsessively-painted white dots rise over his photographic canvases like clouds of smoke. For an impression of the book, please find an excerpt of the book below where the artist is describing how one of is artworks came about – in particular, the artwork where he depicts his goddaughter swimming in a pool, holding her breath, where 'small white dots in ink trace the waves in the water.
Further insight can be gained into the working life of this contemporary artist from the exclusive interview where he explains about his influences and inspirations. You can order your copy of the book now at our online shop: see here.
'I would pass the time by trying to work on a deep-blue image of my goddaughter, Veerle, swimming under the surface of a swimming pool, holding her breath. I started hesitantly in one corner with small white dots in ink, tracing the waves in the water. I wasn’t looking for meaning, just passing and recording time, dot by dot, keeping the waves going from left to right. My pen on the C-print was mimicking the needle in my brain registering the waves of memory. This picture of her swimming underwater and holding her breath, shot by my mom, Veronica, with a waterproof disposable camera in the pool in 1996 or so, slowly transformed into a magical object… My dots seemed to guard Veerle in place, with her breath inside. After I finished I called this work it became clear to me that these small white marks propelled me forward, that each small white mark made sense of the previous ones. They made lines and shapes, settling between the dots of colored emulsion in the prints – not perfect, but clear. The illusion held, the drawing did not overpower the photograph; they let it squeeze through, and the dots were able to squeeze between the colored flecks making up the print.' – Sebastiaan Bremer (page 55)