LARS KREMER

recent works on paper
this ongoing work on/with paper project uses the blackest paper I could find (Fabriano BlackBlack©) with oil colour pencil, graphite, and black silk velvet as a backing material
these works are 9 in. x 12 in. , and are presented in 11 x 14 inch shadowbox frames

black mirror - an ongoing series with no set theme or purpose other than exploration and expression of mind and medium

new photo-collage work, in progress 2019
this new project expands upon my practice of presenting the photographed subject within a framework of the uncanny.
The subject(s) for this project is cryptids, or unknown creatures of legend.
photographs of the subject, or myself, are shot with dramatic lighting, and then parts are scaled and collaged together within a silhouette.
no filtering, or distortion, or 3D modeling involved.
just collaging pieces together and blending/masking edges and transitions.
These are works in progress, and will eventually grow hair.

new reflective alphabet works on paper; various stages, sizes and materials

A collection of beasts as self and others’ portraits.
My artistic intent with this portrait series is to challenge conventional perceptions of what portraiture is by presenting the photographed subject within a framework of the uncanny.
A carefully chosen silhouette of an animal is used as a stage to arrange/collage together parts of photographs shot by me, in a studio setting, of a subject: either myself, a hired model or personal acquaintance. I ask the subject to pose in a wide variety of positions and expression, with various lighting, the intent being to collect a broad library of body parts and facial expressions that I can then later carefully cut out and collage together into the animal I have chosen for them. Each is a portrait of both subject and animal.

A collection of insect and creature portraits collaged from multiple photographs taken of specific sitters.
My artistic intent with this portrait series is to challenge conventional perceptions of what portraiture is by presenting the photographed subject within a framework of the uncanny.
A carefully chosen silhouette of an insect is used as a stage to arrange/collage together parts of photographs shot by me, in a studio setting, of a subject: either myself, a hired model or personal acquaintance. I ask the subject to pose in a wide variety of positions and expression, with various lighting, the intent being to collect a broad library of body parts and facial expressions that I can then later carefully cut out and collage together into the animal I have chosen for them. Each is a portrait of both subject and insect.

A project that was realized on Lake Champlain, NY, summer of 2010 in conjunction with Camp Pocket U, a summer arts program organized by artist Austin Thomas.

an ongoing project that uses the “reflective alphabet”(BCDEHIKOX) to investigate the potential of transient sculptural events.

recent series of process-based 3-D works on paper using hand drawn gridded patterns of circles, which are then half-way cut out and folded/formed into cones, and glued into place. the paper is then mounted to a board, and tilted. The cones facing up are sequentially filled with liquid rubber, then the piece is rotated, and the process is repeated until all cones are filled. Each rotation of the tilted piece causes semi-controlled spills of the rubber. It is then left to rest flat and cure overnight.

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  cone/spill 1 2015

  22” x 22” graphite and cured polysulphide rubber on cut paper, over grey paper

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  cone/spill 2 2015

  22” x 22” graphite and cured polysulphide rubber on cut paper, over grey paper

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  cone/spill 3 2015

  22” x 22” graphite and cured polysulphide rubber on cut paper, over grey paper

recent (2015-16)works on paper utilizing a grid and a restrictive conceptual letter alignment system
materials: paper, blackboard paint, pen, graphite, polysulphide rubber, 10” x 10” , 12’ x 12”
all works 2015 Lars Kremer©

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  MADE AD HOC

  12”x12”

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  TIME TO BEAT

  12”x12”

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  HIDE THE HAM

  12”x12”

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  TAKE THE CAKE

  12”x12”

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  THE WAY IT DIED

  12”x 12”

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  WAKE THE DEAD

  12”x12”

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  MAYBE IT DID

  12”x12”

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  HEED THE TIDE

  12”x12”

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  BOTOX

  10’x10”

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  CHEW ME

  10”x10”

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  TUXEDO

  10”x10”

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  VOODOO

  10”x10”

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  MAKE DO

  10”x10”

• 
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  VOW IT

  10”x10”

an ongoing series exploring the reflective alphabet in dystopic settings
ink, watercolor, metal leaf on paper, 22” x 30”

each state of the U.S. is a literally loaded snack in this near-finished series of works on paper. Each piece is approx. 6” x 8”, various mixed media

a suite of 10 works, 26’ x 26”, cured polysulphide rubber/rubber residue on Karma cover paper
depicting each of the artist’s 10 fingerprints.
each fingerprint is inked onto a blank 35mm slide, and then projected and inscribed onto the rubber-residue coated paper. The prepared paper is then laid flat and the inscribed pattern is traced in liquid rubber, with a rubber-filled syringe.
the rubber lines are allowed to cure, then peeled off, revealing white paper underneath.
the paper is then rotated 180 degrees, and the print traced in rubber again, and allowed to cure.
images are ordered left hand, thumb to pinky, right hand, thumb to pinky.

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  L1(left thumb)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

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  L2(left forefinger)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

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  L3(left middlefinger)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

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  L4(left ringfinger)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

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  L5(left pinky)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

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  R1(right thumb)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

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  R2(right forefinger)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

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  R3(right middlefinger)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

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  R4(right ringfinger)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

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  R5(right pinky)

  cured polysulphide rubber and rubber residue on karma cover, 26” x 26”

early works on paper exploring the use of polysulphide rubber (a curable mold-making rubber)
this rubber is a 2 part liquid rubber that, when mixed with it’s catalyst, cures into a black flexible material
these works are very process-oriented, and utilize grids to frame geometries, cursive writings, etc.
often the rubber is peeled off and re-applied, and depending on the paper used, leaves behind lovely grey residues

an early series of works on paper inspired by the New York subway system, circa 1992-93
mixed media (pencil, ink, paint, metal leaf, polysulphide rubber) on paper, 18” x 24”

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  1 derailed
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  2 to the 7
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  4 under 5
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  6 to the 3
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  B to the L
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  Tragedy in a cAn
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  E below
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  F over edge
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  F to the M
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  G directly behind G
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  E (H on the tracks, R caught in door)
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  J over D
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  S o N
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  Q and A
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  R to the C to the K

36” x 30” x 8” , mixed media with sound
a large V, cut from a found door, rests on a wooden rod mounted to the wall.
hidden in the arms of the V are two small stereo speakers which play a continuous loop of “Break on Through (To the other Side) by the 60’s rock group The Doors, with the vocals edited out.

In this series of staged photographs from 2003, the artist wears a home-made Peter Pan costume with the intent/goal of capturing Peter Pan’s shadow. Inspired by an event early on in J.M. Barrie’s famous tale of the magical boy who never grows up, in which Peter’s runaway shadow is chased about the room until finally captured and sewn on again by protagonist Wendy.
These 9 images portray the shadow as subject, with the Peter character the peripheral “projector”.

other work