He uses an interesting technique.
Energy and seduction – what the artist draws with an aggressive and dynamic scale, putting in each a piece of her soul. But Jeremy Mann (Jeremy Mann) invites us to see his world through quiet, brooding melancholy of the wet evening streets and seductive female forms that charmingly bent on couches and bed among the crumpled sheets.
In his creative practice, Mann aims to imbue his hometown in a dramatic mood, personality and spontaneity. He paints his surroundings with a certain languishing of intimacy and dynamics. Most of his compositions inspired by the inspiration of the wet pavement that reflects street lamps, multicolored iridescent neon signs and reflections in rain water. The experimental foundations of intentional artistic processes and the opposite of poetic emotions are sensual portraits and Moody cityscapes Jeremy Mann, debuting in the spring of 2017 at EVOKE Contemporary.
Apparent special theme of the artist from San Francisco associated with basic emotional forces, allowing the viewer to see the past and feel poetic, but intense emotional impact, which is the essence of art Mann and the breathtaking allure of its global route. Often he paints on a small or medium size wood panels, using several different techniques and methods: from staining surfaces and wiping the paint with a solvent before applying a sweeping, wide ink marks. Mann writes with ease and grace, but with a pronounced confidence, resorting to complex narrative compositions with far not the most bright but atmospheric colors.
Jeremy the world is a place where the pain, desire and lust, combined together, projecting the innermost recesses of the human soul, giving visual form the essence of contemporary emotional life. That’s why all the pictures reflect the meaning of the manna all these things, characteristic of life in the metropolis. He argues that art education had received previously, was the impetus for his desire to draw all without exception. Because each subject has its own harmony that work well with him, and not with others, and do not need to see the cityscape, painted almost all soft sleek. On the contrary, it has sharp edges, it is violent and torn by the war, Grand in scale and aggressive atmosphere that reigns all around. That’s what makes it unique, not like everyone else, different to any other landscape that we often used to see.
And Jeremy said that it was the urban landscape is a space where he feels the aggression and exuberance of freedom. It’s like a kind of concert, heavy metal ballet figures: heavy bass, broken voice, music key, heart booms in his chest, the echo giving in the ears, and inside all the tight constricting ropes of adrenaline and emotions going wild. Another issue with pictures, which depict women. In them he finds comfort, softness, a gentle touch and subtle slide of wet paint. The emotions and hidden stories that surround these girls, allow him to reveal more psychological and personal stories. The atmosphere in which they exist, can also be harsh, with strong, almost aggressive markings crossing the soft body clad in lace and bathed in the aura of light.
The artist often says that his mind is not a Chapter too many volumes to be limited to one idea of a craftsman. Plenary aerial landscapes he creates, are saved mostly for him because they’re his memories, he remembers every moment of the day, a café in Hungary, in which he sat, the lights, people, sounds and smells, all captured in a small moment of life on the track panel. It is his personal pictures in his previously taken, that no one will be able to fully understand and master. In everything he draws, there is a study of the awareness and how to paint it so that it was convenient, something like instruments in a Symphony works.
“When I wander through the bustling town to take some pictures for work, I’m scanning reality on the subject of those elements of art that I see, painting in the Studio. It’s like when you use the Fibonacci sequence or the Golden ratio in his paintings, and learn about using it in pine cones, sunflowers and sea shells.” The balance and harmony of forms, which he creates in his urban landscapes actually exist in real life, but if you don’t study it and not learn it, you won’t see it. It’s the people who walk through the city on the way to work and staring at their mobile phones. They will not understand the deeper meaning underlying the alignment of buildings, perspective, cars, groups of people, lights, reflections, weight of buildings, forms, and balance – all aligned in one split second, because they have not studied it.
On top of that Mann says that the painting is a study of beauty, and to realize the true beauty in all its manifestations in nature, you need to study the art. This is not a dream or a desire, it is a fact and the truth. Mucha was one of the last true supporters of this in front of him Whistler, the Greeks, who were supported by the study of art and beauty in a direct relationship with mathematics and science. In our days people are allowed to taste and distraction to interfere in art, and the true reason for his assignment and why artists create, is lost to them. And then they call it “magic”: “You are called landing robots on Mars, “magic”, but the fact that I see and portray harmony in chaos, is this? It really saddens me. And that’s one of the reasons I more and more stay at his house alone with myself and my own thoughts.”
The artist also shares his reasoning and thoughts on the topic of art, on the grounds that it is in these seemingly insignificant details, is the reason the drawings of the figures, it gives him full control over the Opera stage with the characters, lighting, scenery and stories to create a world of his mind and imagination. With the harmony of colors and balance of shapes beautiful creatures, the nature of which eludes most men and women. Mann says that love is something that permeates all forms of art. Physiologically it’s actually a button mental security posed by our brain to support us in situations beyond our comprehension. When there is something that we do not fully understand what is happening right in front of us, we subconsciously mark it as something otherworldly.
But if in fact people are faced with the fact that they are alone on the small top of the small rocks floating in the vast expanse of nothingness with black holes and other dimensions that existed trillions of billions of years, their brain would explode. That is why he draws more experimenting with the tools, applications, processes when creating his paintings, like city landscape, and graceful female figures, which draws attention from the first minute.
Mann says if he had to think about mixing colors, brush and all other fucking things related to art, but not about the fact that his mind would be destroyed. We do not look at each word in the sentence read, actually we read only the first and last letters and our brain puts the word in our minds. This is also the case with painting, where every stroke of the word, invested in the image.
But besides all this, the artist has long realized what a powerful tool it can be a perfect perception of light. According to him, the light was replaced by all that we see in our lives, this is the reason why we can see in the first place, and it has an infinite number of attributes to study. When Jeremy was very interested in lucid dreaming, he studied hundreds of pages of diary of dreams and decipher the reason why he could realize the state of sleep, because the light in his dreams never had a definite, identifiable source. One day, Mann met an artist in Florence, which is actually used rational irrational effects of light way, creating paintings where the emphasis was only his recollection of the story, and therefore, mixing of light with intellect, he created spaces that seemed to exist and not exist simultaneously.
So when he draws, most of the images that he creates, have the structure of light qualities that create “life” in the painting itself. This is something you can really use if you spend hours, days, years just look… just look at the world around you, at dusk, at dawn, stand in the storm instead of hiding from it, wandering through dappled forest trails, swim with eyes open in the sea, knowing why you know where you are. And the more the artist understands light, the more he realizes the control over it (and the deliberate lack of control) when you set up not only scenes for his paintings, but the scene in the house in which he is daily. The study of these qualities of art should be the main quality in life, and so it never “turns off” his”.