Gershon Kreimer (U.S.A., b. 1967 Lima, Peru) lives and works in Los Angeles. He graduated from New York University with a Bachelor of Fine Arts degree in Film in 1989. His photographic nudes – stark, unadorned and unabashedly austere – reflect a profound respect for the model, or, as Kreimer would say, “the collaborator;” ensuring 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 monumental testimonies and tributes to the power of a singular emotion.
Kreimer’s debut show “Conceptual Naturalism” (The Bruce Lurie Gallery, Los Angeles, 2012) was quickly followed by an independently curated exhibition at MIami Art Basel; The Los Angeles Art Show; The Palm Springs Art Show; a second exhibition,“Stylistic Austerity” (The Bruce Lurie Gallery, February, 2013), The Hamptons Art Show, “Lumino City” a collective exhibition at Galeria Impakto (Lima, Peru, August 2013); Aqua at Miami Art Basel (December,2013), and “Summer Show 2015″ at Galeria Impakto, Lima, Peru.
Kreimer’s work is in numerous private collections in the cities of Los Angeles, New York, Miami, and Lima, Peru.
For Gershon Kreimer, there’s very little difference between the professional and non-professional model. In his images, professional models don’t appear to be professional: Gershon is mainly interested in the psychology of the model. He relishes in challenging and directing them as if they were characters in a film. Each image is presented as a small piece of something bigger.
His images can only be called austere: he uses no tricks, no stylistics, no scenery, and no Photoshop. The photos are taken either against a plain background, or in the same repeated spaces in his home. His work reminds the viewer of the portraits of Lucien Freud in which the portrayed is always sitting or reclining in the same leather sofa. He also reminds us of the photographic projects of Lucas Samaras, who solely used his apartment in New York as scenery for all his constructions.
In the same manner, Gershon liberates the image from all accessories; from story and from the unnecessary details that are mostly used by lesser artists to hide a lack of content.
His ability to generate situations is a quality evident in his work. He takes control of a situation, but only as a detonator. He provides the gasoline and the matches. He watches as the fire starts by itself.
The same beautiful light falls every day through the windows of his home. The models change, but the atmosphere remains. We can appreciate how Gershon’s interests remain as well. For him, the model is not just another element of the composition: the model is the character that imposes the content of the image. He sets the parameters, which are quite abstract, and detonates a state of mind in the model that is taken to the point where they stop posing and simply “are”. It is in this instant in which the images reveal the human being: a model who is no longer conscious of the camera and who establishes a silent intimacy. They go to a place where the camera becomes the tool of communication between them, and the situations become unrepeatable.
Aldo Chaparro Winder
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