Monday, 1 February 2010
Work from her oeuvre.
“There is an immediacy in Fremderman’s work that brings to the fore a brash youthfulness that demands the spotlight and your full attention. She knows how to play on your desires while simultaneously captivating your gaze like a road-side car crash rubber-necker.
The intimate relations that Fremderman is working with can be seen most succinctly in her Untitled series of facial manipulations. Eyes go missing to reveal emptiness, even a void of soul. While the pixelated (one could almost say ‘.gif-fy’) photo manipulation that she uses to cut and crop her images should not be in any way new to us, it somehow has a more profound effect on the resulting product than if it were done painstakingly over hours in Photoshop.
A young, playful, yet forthwith feeling is what comes from an extended look at her portfolio and although the techniques used are nothing new (and should not stir one’s emotions so), a very cutting visual memory is taken from her work. I think it safe to say that coming away from Bea Fremderman’s pieces justifies that old Moseley maxim; “sincerity and simplicity are the twin starts of impressiveness.” – [ˆ]Land