Georgia Creimer, Biom (ascending) for Room 2.17  |  PARALLEL Vienna

Review 

 

When you meet Georgia Creimer, it feels like taking a rest. An exhilarating rest if you will. Specially at an art fair like Parallel Vienna, where the sense of needing to stand out is almost adhere to the contract. What you end up getting, with a totally implicit reasonable decision to do so I must add, is a lot of baroqueness and an overwhelming amount of works desperately wanting to be sold. 

 

She does it with a single main painting. Taking a minimalist approach to her extremely detailed work, Creimer takes a step back from the good old eccentric artist way of expression, to what can be consider as a built-in meditational room to be experienced by each visitor’s desired pace. Even though many will say a room inside another room has nothing simple to it, it does indeed not at all in content -both physical and theoretical-, but in allowing space to the eye and mind after previous exposure to what most visitors consider an overdose of art. 

 

The fair not particularly known by the amount of collectors going crazy per se, has become a great platform to get artists, galleries, institution and their works out there with a bit more of creative liberty and a scenario where seriousness, small talks and all the more bureaucrat to-dos we’re all forced to take part of in order to live from art, takes a more secondary place. The venue becomes a place to interact, get to know and feel peoples ideas. And that’s exactly what we got from Biom (ascending) for Room 2.17.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

With Biom (accessus) II as a first impression when entering the room, a watercolour and pigment on paper work seemingly fitted on the front wall of the installation, catches the visitor attention and can be perceived as a teaser that gives birth to Pandora’s curiosity. A white box built-to-measure for a 2 meter high painting, constructed in perspective with its narrower side covered by the colour pencil on canvas artwork and a bench on the opposite side to sit and soak it all in, opens up and creates an intimate space where you find yourself in a face to face encounter. Almost intimidating for it’s brightness, no right angles and ramp-like white floor, the hesitation from the visitors on how to behave and/or react becomes almost part of the artwork itself. 

 

The installation brings an awareness to our own bodies, current ‘art-fair-mind-set’, spatiality and how time evolves in the environment. Our pupils contract whilst our focus increases in order to find balance. You walk up to the painting, realise it’s not digital but a crossed fine lines technique that creates an illusion of colours, bodies and dimensions. You understand how your perception and quick assumptions can easily fool you, and all of the sudden you’ve comprehend the non-intentional intent of the artist. 

 

Based on a blind-drawing process, where only the unconscious and intuition guide the hand over a piece of paper, the final achieved shapes, which the artist extract from the mentioned drawings, can almost be considered as an introspective search of the artist’s own mind. The complexity found within the beauty of it’s delicacy, curves and colours overlapping onto the grotesque result of their combination, provides us with enough material to introduce body, sensuality, sexuality and a non-conforming attitude and ideals to the table. 

 

Georgia Creimer’s installation at Parallel Vienna certainly is one of this year’s edition highlights. With a smart work understanding the surrounding of where the installation is held, it manages to take more than one of us to fully immerse into her work and figure out her oeuvre. From a performance where she is being wrapped up while vertically suspended, a room filled by a giant plate with enormous balls on it, her black and white Biom painting series to her photographical work where she plays with the moon the amount of works to go through is a continuous delight. Anyone that appreciates some historical, fun, sociological and abstract background in their portfolio of artist to follow -and pieces to collect-, has Georgia Creimer saved and faved. 

Installation view Biom (ascending) for Room 2.17, Parallel Vienna, 2020. Photo courtesy of the artist

Left: Biom (ascending), 2019, gesso, acrylic and coloured pencil on canvas, 205 x 143 cm

Right: Biom (accessus) II, 2020, watercolour and pigment on paper, 76 x 57 cm

Light Negatives

The memory of materials and places suppose a big cognitive relevance in our world

perception. During quarantine the relation with our environment, took another

meaning. It was no longer a place we chose to be, but we had to. The interaction with it turned into a more vivid experience and resulted in a wider understanding of its influence.

One of the few constant changes within our routine was -and is- light. Always. Very

transitory, playful, constant and unpredictable. The traces of it with the reflection caused with the different materials become almost like a shadow play to look forward to. Light and its effects become part of the architecture and the memory of it. This is why I started portraying this traces of light -memories of them if you will-.

The idea of being able to move a certain light/reflection as pleased is as comforting as going back to an old picture. That is the reason Light Negatives, regardless the environment it's been placed, it would mean for both the venue and the work itself, a place of a sort of documentation of memory and synergy of times. Maintaining the state of the room together with the image of this ‘frozen’ light placed as if found in-situ provides the spectator with a complex dimension of the self, memory and time.

Your Picture Makes Me Wet (with Chris Kociu)

Standing on a critical side of our overwhelming digital society, and a hint of

nostalgia for interpersonal relationships and communication within us questioning

our presence in the present, Castells and Kociu got together to feature in Your

Picture Makes Me Wet the impairment that comes with trusting unconsciously a

digital tool in order to help us keep or even create our memories.

With different backgrounds on photography and interdisciplinary practices, the

works have a photographic base that can be considered as desired moments to be

remembered or worth keeping. These are layered with transparent screens

stained with smooth and other more rough splashes and strokes of acrylic and lino

cut color, which will be defined by a contrasting layer with white graffiti.

 

 

 

 

 

 

 

Going through these as blackouts, unclear memories or completely emotionally

unlinked pictures on our phone, Castells and Kociu reflect on the paradoxical

detachment we create trying to save a moment in a photo. The instantaneity that

the digital era provide us, produce a higher feeling of missing out. Of not doing

enough. It makes necessary to keep track of our lives to prove others -and

ourselves- something. Even to prove our own emotionality that we’ve felt

something at a certain moment.

These digital tools between us and what we are experiencing, creates a literal layer

in the middle and interrupts our cognitive making it weaker, therefore, affecting

our memory. Which, as a consequence, weakens up the perceptions of our own

feelings creating a parallel world reality. We lose capacity to retain experiences

and strengthen up relationships.

All of it covered up with a delicate thin glass, catching some reflection of a video

showcasing condensed water, emulating the cycle our mind goes through since we

create a memory until we may forget it, pretends to woken up to fact of how a

person, a feeling or a moment can go again by just pressing “Delete”. After all, we

are not water. We are not made of unforgettable particles. We forget. Remember

that.

Daniel Castells / Chris Kociu, April, 2019, c-print, acrylic, lino cut color and grafitti on acetate and glass, 45 x 43 cm