Andre Hemer /   André Hemer

New Zealand 1981

Digital Art, Painting

Andre Hemer
André Hemer
New Zealand
December 23, 2014
Nina Karaicic is a journalist with experience in TV and radio media. Born in 1989, she had studied at the University of Belgrade – Faculty of Political Sciences (Journalism). Interests: Photography, Art, Film, Folklore, Video Games

André Hemer is a New Zealand artist whose work explores the intersections between digital media and painting. His works embrace and reveal the transformations and transactions occurring between the contemporary digital image and the traditional painting object. Hemer’s work combines the visual detritus of contemporary visual culture with the conventions of painting; landscapes of Photoshop gradations, blurred digital images, vector scrawls, graffiti process, rudimentary 3-D renderings, and computer drawn elements, are entangled with raw canvas, stretchers and paint.

“Like many artists of my generation I work between a variety of media. In my work there is no single set starting point, rather my work embraces an ongoing transaction between digital media and painted materiality. The constant is a sampling of image sources, including scans of paintings or objects, found digital images, or drawings made in digital software. My work transacts these images between mediums embracing the transformations and slippages that occur within each process. The results are paintings that amalgamate different forms of representation, fusing moments or painterly-ness with a contemporary version of digital nostalgia.”

André Hemer was born in 1981 in Queenstown, New Zealand and graduated in 2006 with MFA (Distinction) from the University of Canterbury School of Fine Arts, during which time he also undertook a period of postgraduate research at the Royal College of Art, London. This year he will complete a PhD in painting from the Sydney College of Arts, Australia. He began working full-time as an artist in 2006, and has continued to do so since this time.

“As a young undergraduate student I quickly realized that to be an artist you needed to put in 100 percent of your energy into developing and maintaining a studio practice. Basically you need to cut out the noise and focus on doing your own thing—put energy into practice rather than the extraneous stuff that often surrounds an artist.”

Although there are certain constants in his practice that have remained consistent, the way that he views digital media has been transformed. “There has been such a sea-change in the relationship between digital media and culture, and artists are using it in a much more complex way than a decade before. So my work has changed in relationship to these broader changes, for the identifiable aspect is the way in which painting is now part of a set of transactions between a whole gamut of inter-related media. Thus my paintings are now a more complex record of material and image, in a sense using a more playful approach based on sampling between forms.”

As if painting in reverse, his works seem to work backwards to a starting point, or a state of pause. Hemer’s paintings and installations reveal fragments of different surfaces, materials, and image. The act of erasure is always present, most explicitly when raw canvas interrupts the gestures upon gestures that layer upon each other.

“The artist provides new experiences of doing and seeing. Rather than ‘inventing’ I think that these ideas come from looking at the world around us, and using art as a way of revealing and illuminating these experiences. All art in some way acts a record of cultural and personal experience—so the artist is a kind of conduit to express this through their own practice.”

He has exhibited widely internationally and is represented in Australia by Chalk Horse Gallery (Sydney) and in New Zealand by Bartley and Company (Wellington) and also works with Public Delivery on public projects – an initiative curated by Martin Schulze.

André Hemer currently lives and works in Hobart, Australia.

YearExhibition TitleGallery/MuseumSolo/Group
2015New RepresentationChalk Horse Gallery, Sidney, AustraliaSolo
2014100 Painters of TomorrowBeers Contemporary, London, UKGroup
2014Television curated by Matthys GerberSydney, AustraliaGroup
2014Levels of AbstractionGow Langsford Gallery, Auckland, New ZealandGroup
2014Critical IntentGuangzhou Art Center, Guangzhou, ChinaGroup
2013LATMMünchner Stadtmuseum, Munich, GermanySolo
2013Stack OverflowBartley and Company, Wellington, New ZealandGroup
2013New Smart ObjectsChalk Horse Gallery, Sydney, AustraliaSolo
2013UnsettledAntoinette Godkin Gallery, Auckland, New ZealandGroup
2012CASSThe Christchurch Art Gallery, New ZealandSolo
2012Hot WallpapersAntoinette Godkin Gallery, Auckland, New ZealandGroup
2011hyper linksThe Physics Room, Christchurch, New ZealandSolo
2011Bold Horizon National Contemporary Art AwardWaikato Museum, New ZealandGroup
2011TEAF Public ArtUlsan Public Terrace, Ulsan, KoreaGroup
2010FriezeGow Langsford Gallery, Auckland, New ZealandGroup
2010You can’t kill me, I’m notoriousAntoinette Godkin Gallery, Auckland, New ZealandSolo
2010This time it’s official, this time it’s serious, this time it’s personal, this time it’s differentPeloton Gallery (P25), Sydney, AustraliaSolo
2010Choice!CW3 Gallery, Melbourne, AustraliaGroup
2010A’ KioskTakeout Drawing 3, Seoul, KoreaGroup
2010YOUR WAR IS OLD, YOUR GAME IS OVERSoFA Gallery, Christchurch, New ZealandSolo
2010Painting in 3-DBartley and Company Art, Wellington, New ZealandSolo
2009Less was MorePlus Gallery, Nagoya, JapanGroup
2009Open StudiosKunstlerhaus GloguAIR, Berlin, GermanyGroup
2009Collectively SpeakingTe Manawa Museum, New ZealandGroup
2009Plan B, Project BSeoul Artspace Geumcheon, KoreaGroup
20091.44mb Seongbuk BlueTakeout Drawing, Seoul, KoreaGroup
2009The Real Bad Painter and the Story of Everything in Real-timeAntoinette Godkin Gallery, Auckland, NZSolo
2009Leisure Pleasure Sex Power Beauty Danger-DangerSofitel Melbourne(GAP Projects) AustraliaSolo
2009The BANG-BANG Painting CollectiveBartley+Company, Wellington, NZGroup
2009Lying Beyond What is ObviousDoosan Arts Center, Seoul, KoreaSolo
2009This is Not MiamiPaintlust Project Space, Christchurch, New ZealandGroup
2009Paint Wall Paper WineSFA Gallery, Christchurch, NZGroup
2008Project Standing by 000Loop Alternative Space, Xii Gallery, Seoul, KoreaGroup
2008Are you rght to not like modern art? Te Manawa, New ZealandGroup
200864’ -64zero3Christchurch, New ZealandGroup
2008Red CarpetChangdong Art Studio, Seoul, KoreaGroup
2008Appearance and RealityGrimson Gallery , Seoul , KoreaGroup
2008IASK Public Art ProjectChangdong Art Studio, Seoul, KoreaGroup
2008Taking a LineVavasour Godkin, Auckland, NZGroup
2008My Eyes Keep Me in Trouble curated by TilmanPhysics Room, NZGroup
2008Things to do with paint that won’t dry…HSP Offsite Project, Christchurch, New ZealandSolo
2008I read…Bartley and Company, Wellington , NZGroup
2008Aspects of the GalleryVavasour Godkin Gallery, Auckland , NZGroup
2008Associated spin-off’s of the weekday painterPhysics Room Kiosk, Christchurch , NZSolo
2007Paint Lust at Full ThrustVavasour Godkin Gallery, Auckland, NZGroup
2007Accumulated Strategies of the Weekday Painter64zero3, Christchruch, New ZealandSolo
2007Artschool 125Christchurch Art Gallery, Christchurch, NZGroup
2007Fast ForwadVavasour Godkin, Auckland, NZGroup
2007In LimboVavasour Godkin, Auckland, NZGroup
2006Pleasure YourselfRoyal College of Art, London, UKGroup
2006Paint Lust, Boom or Bust!64zero3, Christchurch, NZSolo