Primae Noctis is pleased to present Jeremy Sharma solo exhibition.
Jeremy Sharma is a young artist from Singapore. He exhibited in the Singapore Biennale 2013 and in group exhibitions in institutions such as the Singapore Art Museum (2010) and the Osage Art Foundation in Hong Kong (2014).
His artistic career is based on an ongoing exploration of materials and media, that, in the modern world, influenced the pictorial activity such as beeswax, oil, acrylic, enamel, lacquer, photographs and digital images.
Sharma creates works that barely resemble traditional art objects. Pieces that look more like industrial artifacts. His nod to modern technology, through the 3D printed sculpture, is a counterbalance to his discourse on painting in his previous works.
Sharma’s painting leaves a trace, a trace that in turn becomes something else. It is an imperfection, the result of a negotiation between the artist and the industrialization, which, in particular, is given by the modernity of the painting technique. In some cases, in fact, the pictorial gesture is completely eliminated, in other made ??more dramatic.
Removing the traces of the external world’s representation, Jeremy Sharma's paintings force an active research of the viewer to find a point of reference in the visual surface of the painting itself, as well as in adjacent areas. Looking more closely at his works, you can see scabs, bumps, stains, scratches, abrasions, misalignments, accretions. Some are intentional signs, accrued from the manufacturing process, while some are clearly accidental.
Sharma's works are conceptual discussions regarding a new notion of painting, most perceptive and cognitive, thanks to the aesthetic qualities of the material: tactile surfaces on which light refracts, allowing the viewer a more immediate and intuitive recognition.
Remains, therefore, an ability to confuse the act of looking, that turns into synaesthesia of tactile memory and visual perception, extending gradually through the light quality of the exhibition space, in a temporary dimension full of variations.
The tension between what is it and what becomes, through the light, not only permeates the paintings, but also emphasizes the experience of vision. It is a game between recognition and remembering of the perception - an imaginary constantly interrupted and reconfigured in every new detail.