{"id":504703,"date":"2022-01-10T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/art\/numero-art\/florian-krewer-flaming-fierce-and-vulnerable-new-painting-star\/"},"modified":"2022-01-10T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"florian-krewer-flaming-fierce-and-vulnerable-new-painting-star","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art\/numero-art\/florian-krewer-flaming-fierce-and-vulnerable-new-painting-star\/","title":{"rendered":"Florian Krewer : flaming, fierce and vulnerable, new painting star"},"content":{"rendered":"\n
\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Florian Krewer by Simon Thiselton.<\/figcaption>\n <\/figure>\n \n

HUO : How did you come to art?<\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer<\/strong>: It all rather happened by accident. At school I was pretty lazy, I got bad grades. School didn\u2019t interest me. I trained as a house painter and then obtained a professional qualification. I\u2019d always loved drawing and eventually decided to study architecture. In Cologne, I met Professor Nikolaus Bielefeld, who one day gave us an exercise to do: he wanted us to analyse the seasons, their colour combinations. He said that, for example, the combination of yellow and purple in the autumn formed the perfect harmony. No one really understood what we were meant to do. I returned home and went down to the cellar \u2013 I knew my sister had stored a small canvas and some tubes of oil paint somewhere. I thought to myself, \u201cI\u2019m going to paint a few flowers and there you go.\u201d In the end, it became something else… I completely let go. It did me so much good. From then on, I started painting all the time. I was worried it would be hard to get into art school, especially a good one, but I applied to D\u00fcsseldorf and they accepted me at once.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO : What did you learn from Peter Doig in D\u00fcsseldorf?<\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer ;<\/strong> He was amazing! You couldn\u2019t ask for better to be honest. Peter is never hurtful. His criticism is always very precise, it leads you to question what you do. For example, my first characters had something of Baselitz in them. He said to me, \u201cFlo, what\u2019s going on here? Are you painting with your left hand?\u201d It was obvious that I wasn\u2019t trying very hard. I mean, I was painting too fast, I was totally euphoric. He was right, I needed to spend more time on my characters and the other things I was painting. Sometimes I even had them physically on hand, in the form of photos \u2013 for example I often used pictures of my mother and my sister. And there he was, on my case again: \u201cWhy would a young man like you be interested in that?\u201d At the same time, it\u2019s not easy to know where to start… The things that really move you are so intimate, laying them down on canvas takes time. Peter was very good at coming back to these subjects to make us question our way of painting.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO : It seems obvious that Rembrandt was a source of inspiration to you. Was it his handling of light?<\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer : <\/strong>Yes, and the way of painting. The facial expression too.<\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Florian Krewer, \u201cEndless\u201d (2021). Oil on linen. 300,5 x 240 cm. Courtesy of Michael Werner Gallery and the artist<\/figcaption>\n <\/figure>\n \n \n
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\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Florian Krewer, \u201cPride\u201d (2021). Oil on linen. 289,5 x 239 cm. Courtesy of Michael Werner Gallery and the artist<\/figcaption>\n <\/figure>\n \n

HUO : Goya also seems to have played a role in your art. Your Pride painting in the exhibition references him. Can you tell us more about that?<\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer ;<\/strong> I\u2019m totally fascinated by Goya\u2019s work, particularly his engravings. Nowadays, leading the life you want in society as an individual is pretty difficult, painful even. It seems to me that the human aspect is completely forgotten. Whenever you meet someone new \u2013 except in New York City, where it\u2019s no longer quite like that \u2013 the first questions you get are \u201cWhat do you do for a living?\u201d, \u201cWhere do you live?\u201d, etc. Everything is classified, the focus is on what we produce, on performance. The human is pushed to the background. It\u2019s pretty scary. And when you feel very feminine, for example, you constantly have problems. All these difficulties, these obstacles, end up having an impact on you.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

In the recent paintings of yours that I\u2019ve seen from the past two, three or four years, on the one hand there\u2019s a rather subtle use of colour, and on the other things with more thickness, almost somewhere between 2D and 3D. It all started around the same time, right?<\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer :<\/strong> I try to challenge myself. My goal is to reinvent something each time with painting. There is a lot of thickness in some of my works. But I don\u2019t intend to carry on doing that indefinitely. Instead, I want to alternate between thin layers and thicker layers, depending on what I want to emphasize. It\u2019s fascinating what you can do with paint and colour! <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Colour. That\u2019s exactly what I wanted to talk about next. A few weeks ago, I was with the amazing Etel Adnan, a 97-year-old artist who paints small-format canvases and also writes poetry. She has worked a lot with colour.<\/strong> According to her, red always wins! There are a lot of different reds in your work. Why is this particular colour so important to you?<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer<\/strong> :  Yes, I use red a lot. Even if all reds are red, I make a distinction, of course, between red, pink, orange, etc. You can see it in the reproductions, but it\u2019s difficult sometimes. You can consider that it\u2019s all red, actually. To be honest, I follow my instinct. In my small-scale works, I needed to go all out with colour. Before, it was less present, darker. I\u2019ve been to Miami, I think the light there impressed me, especially in the evening. I guess I needed to transcribe it. But since I tend to exaggerate, to go all the way with an idea, I think I\u2019ll try to be more sober in my next paintings.<\/p>\r\n\r\n

 <\/strong><\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Florian Krewer, \u201cRide or fly\u201d (2021). Oil on linen. 301 x 240 cm. Courtesy of Michael Werner Gallery and the artist<\/figcaption>\n <\/figure>\n \n \n
\n
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Florian Kremer photographed in his \u201cRide or fly\u201d exhibition at the Michael Werner Gallery in London.<\/figcaption>\n <\/figure>\n \n

HUO : In the monograph you recently published with Loewe, there are several photos\u2026 <\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer :<\/strong> Those photos are important to me. They are a mix of different things. It\u2019s not my goal, but sometimes I copy compositions from photographs. Most of the time, different parts inspire me for a drawing \u2013 I make collages of them in my head, taking here and there what interests or touches me. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO : Are these often performance situations?<\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer :<\/strong> Yes. For example in Miami, outside a strip club. We chatted to the bouncer, in particular about the issue of wearing a face mask. He told us he was tired of them and showed us how he got round it simply by putting a thing on his face. That kind of situation doesn\u2019t happen every day. Often, I also manage to take a photo. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO : In the monograph, a text by Stanton Taylor points out something I\u2019ve also observed myself, which is that there are often animals in your paintings, especially in the recent ones. It\u2019s as though they were avatars. Taylor alludes to a latent but symbolic violence. Sometimes they act as \u201cdesires,\u201d as \u201cnon-verbal social norms.\u201d Can you talk about this?<\/strong> <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer :<\/strong> Yes. The hardest part of my life was my late childhood and adolescence, between 11 and 19. I was living in a climate of violence, though I didn\u2019t perceive it as such. I used to hang out with my friends a lot, and the way we communicated, what we did, the fights, it was all pretty aggressive… I think that marked me quite a bit. On the one hand, I find it good, because it allowed me to toughen up, even at art school. Many students, for example, couldn\u2019t take criticism, but for me it was pretty easy, because I\u2019d already been through much more difficult situations as a child. It was a whole other dimension. Whatever you\u2019ve been through comes along with you, it marks you in a way. So it\u2019s quite natural that these feelings come through in my paintings \u2013 the tensions simmering in society, even in New York where everything is cooler. Problems between people really affect me a lot, and so I have like this need to paint it. Maybe to get all the pain out of my body… When you\u2019re a kid, that\u2019s a bit of an issue: if you want to express some – thing about femininity, it\u2019s impossible.  <\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Florian Krewer, \u201cUrsa minor\u201d (2021). Huile sur lin. 270,5 x 230 cm.\r\n<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Florian Krewer, \u201cUntitled\u201d (2021). Oil on linen. 96,5 x 61 cm.\r\n<\/figcaption>\n <\/figure>\n \n

HUO : So you repressed it? <\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer<\/strong> : Yes. Because if I\u2019d expressed it, I would have been laughed at, made fun of, humiliated. It\u2019s still the case today. Of course, with your friends, it\u2019s fine, you can live as you see fit. But in society, people won\u2019t hesitate to look at you askance, to hurt you. Society\u2019s image of masculinity is very cliched: the way men think, how they should behave, etc. I strongly disagree with all of this. Of course, no one wants to be seen as weak, we want to be accepted. It\u2019s quite painful not being able to be yourself, not being able to act freely. It\u2019s like you don\u2019t belong, and that\u2019s really hard. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO : What is the title of your exhibition in London? <\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer :<\/strong> Ride or Fly… No matter how tough a situation is, you have to stay positive. Sometimes it\u2019s good when someone wants to destroy you \u2013 resistance strengthens you. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO : What\u2019s the title of the painting where you appear on your bike? <\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer : <\/strong>Ride or Fly 1. It\u2019s a photo \u2013 a friend took a photo of me, in summer, during lockdown. I rode a lot then.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO: What do the animals in your work represent? <\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer :<\/strong>Take the bear, for example: for me the bear expresses pain, the pain you carry inside. He tries to shout it out, but at the same time, you want to hug this bear. There are many facets I find \u2013 it\u2019s exhilarating.<\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Florian Krewer by Simon Thiselton.<\/figcaption>\n <\/figure>\n \n

HUO : One of your paintings is almost monochrome. I read somewhere that you admire Titian, who used red a lot too. Is that a reference to him here? <\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer : <\/strong>Yes, a little. In fact, I\u2019d painted something else underneath. It\u2019s quite rare that I completely cover over a painting, but in this case it soon became clear that what I\u2019d started painting didn\u2019t work. So I repainted over it with the drowned character. Here I was inspired by Titian, yes. I really struggled with the background. I had an idea, like for the small version, but it was impossible to translate into a larger format. So I did several tests. From here I drew a horizon line, which is almost imperceptible at the edge. The tones tend towards pink, and at the top it\u2019s really red. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO : As its title suggests, Night Chapter depicts a night scene. <\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer :<\/strong> Yes. It\u2019s the view from a friend\u2019s house over Queens. For me, with respect to sexuality, the fact that you have extreme sexual needs, you can almost say that you reduce your partner to a piece of meat. I exaggerated it, that\u2019s why the feet are cut off. Because it bothers me in part, having this need, being focused on sex. It can be a burden sometimes, and that\u2019s what I wanted to express. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO : It\u2019s little bit reminiscent of Bacon\u2026 <\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer : <\/strong>Yes, it is. Bacon is a bit of a model for me. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

HUO : There\u2019s a sort of chapel at the heart of the exhibition. What are you showing there? <\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Krewer :<\/strong> A painting that represents a friend, for example. I met her in Thailand, she\u2019d just started taking hormone treatment. She\u2019s planning to have the operation as it happens. I know someone else who has had gender reassignment surgery. It\u2019s pretty crazy when you think about it, this really violent intervention on your own body. The inspiration for this painting came from that, and from sexuality. And from strange events… As for Falling Roses, it goes a little bit in the direction of my sexuality. When you feel more like a woman, but were born in a man\u2019s body…  <\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Florian Kremer is represented by the Michael Werner’s gallery.<\/b><\/p>\r\n","protected":false},"excerpt":{"rendered":"

HUO : How did you come to art?   Florian Krewer: It all rather happened […]<\/p>\n

Read More… from Florian Krewer : flaming, fierce and vulnerable, new painting star<\/span><\/a><\/p>\n","protected":false},"author":0,"featured_media":504685,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[3084],"tags":[],"class_list":["post-504703","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-numero-art"],"acf":[],"yoast_head":"\nFlorian Krewer : flaming, fierce and vulnerable, new painting star<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/numero.com\/en\/art\/numero-art\/florian-krewer-flaming-fierce-and-vulnerable-new-painting-star\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Florian 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