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Pavel Gempler was born in 1981 in Ustobe, Kasachstan, he studied Fine Art at Bremen School of Art(Hochschule für Künste Bremen) and graduated in 2009. He exhibited in various group shows over the years in Germany and other European countries.Since 2013 Gempler has been living and creating his Art in Berlin. The exposure to different cultures and languages as well as political systems has served his interest in the depiction of transition of the formal and content boundaries of the painterly reproducible.
LAYERING HIS SILK
He has dedicated his practice to the disciplines and demands of mixed media painting, painted mostly with acrylic on silk. With his technique, he creates different levels in a painting, which are entering into a dialogue that creates the post-media underground on which today’s human subjects exist.
Pavel Gempler paintings are multi-layered multimedia works in which familiar and strange characters repeat themselves and merge with one another. In a figurative form, he connects body, objects, various media, art historical quotations, time and mythology. In addition, he thematizes the visually reproducible body, which oscillates between mystery and triviality, fullness and emptiness. He deals with symbols of the body hiding in masquerades, which is a place of desire, communication and life.
Gempler works with individual expressions of the body which are degraded to the point of insignificance by the consumer society and reproducibility. The creative process goes through the targeted use of transparent fabrics such as silk, etc., which are mostly painted with acrylic and clad onto the canvas. Thus, the surface of the canvas is covered with a second skin through which the lower layers shine through and create an irritating doubling. In addition, this strategy reveals the fabric structure, so the surface appears pixelated and printed, the facade becomes brittle and permeable. This inter-painterly structure dissolves medial boundaries. In addition, with the doublings, he incorporates the characteristics of photography as a painterly strategy.
In recent works, he actively intervenes in the image, which is broken into fragments and moved. With this strategy, the painted representative units are first destroyed and then reassembled under painters aegis. The reassembled subjects become phantoms escaping their borders. With the doubling and the pixelated surface, he refers to digital image production. The active intervention in the image surface, in turn, refers to collage and sculpture. This is how different media come together and the disparate levels enter into a dialogue.
This dialogue creates the post-media underground on which today’s human subject emerges, various art epochs interact and modern visual perception is questioned.
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