Without exception, the works by Jeroen Cremers, (formerly known as Jerry Kowalsky,) have a dystopian air about them. His artwork shows enlarged body parts and utensils, a kind of ‘wonderland’, as the artists themselves call it. A universe of strangers, abandoned objects reminiscent of remnants of ancient cultures or cartoonish worlds. Made with scavenged materials, his collages, paintings and installations show an absurd reality filled with twisted heads, pinocchion giants or giant hands and fingers. About a monumental halved head, entitled ‘End of a System’, he says: ‘The inspiration for this sculpture was to push over monuments in times of war or revolution, such as those of Saddam Hussein or Lenin. The sculpture appears to be part of something larger, which has been destroyed. A remnant of a time one wants to forget. For me, the bumped head is a symbol of the ever-repeating cycle of construction and decay within human societies’. Theme’s like alienation, loneliness, fear and vulnerability play a large role in Jeroen’s oeuvre.
Jeroen Cremers (1972, NL), who lives and works in Berlin and Amsterdam, graduated in 2000 from the Maastricht Academy of Fine Arts and Design (BA). He has exhibited in various group and solo exhibitions in Spain, Germany, France, USA, South Korea, Italy, Macedonia and The Netherlands. His solo exhibitions include ‘The straw that broke the camel’s back’ at Odapark in Venray in 2018, ‘Events close to crisispoint’ at Kleiner Salon in Berlin in 2017 and ‘Incident at the flower shop’ at Fine and Raw Bushwick in New York in 2014. Group exhibitions include ‘Mirrors of Time’ at Castle d’Aspremont-Lynden in Oud-Rekem in 2020, ‘Schall und Rauch’ at Kommunale Galerie im Boulevard in Berlin in 2017 and ‘Cherrie tomato pony rider’ at Atelier Néerlandais in Paris in 2015.
In 2001 and 2002 Jeroen received a grant from the Mondriaan Fund.