German-born artist Florian Krewer is set to unveil his latest collection at the Michael Werner Gallery in New York this fall. His new works delve into themes of greed, fear, and the erosion of freedom, reflecting a complex emotional landscape that challenges the viewer’s perceptions of contemporary society.
Krewer’s vibrant paintings are characterized by their dynamic portrayal of men engaged in various activities, often infused with psychological depth. He notes a shift in New York’s cultural atmosphere, stating, “When you go to drag shows, normally they’re packed, and now they feel empty. It feels like New York’s vibe is getting more conservative in certain areas.” This sentiment informs the emotional tone of his upcoming exhibition, highlighting a sense of urgency and change.
Art as a Reflection of Society
Animals frequently appear in Krewer’s art, serving as enigmatic symbols within his narratives. One significant piece features large birds surrounding a masked child, a work Krewer describes as “a political painting.” He connects the imagery to the current climate, emphasizing the role of corporate leaders in politics: “Now all the CEOs are getting into politics. There’s so much greed, and these are vultures.” The juxtaposition of the fragile young figure with the predatory birds illustrates a disconnect between generations, echoing broader societal tensions.
Throughout his artistic journey, Krewer’s path has been unconventional; he began as a housepainter before pursuing architecture at a school in Cologne, Germany. Influenced by architect Nikolaus Bienefeld, Krewer discovered his passion for painting, honing his skills in a small cellar where he would often disrupt his mother with his creative endeavors. He later studied at the prestigious Kunstakademie Düsseldorf under renowned artist Peter Doig, and moved to New York approximately five years ago.
Addressing Contemporary Issues through Art
When asked about his connection to Germany, Krewer expresses a desire to remain in New York, citing a sense of openness that he feels is lacking in his home country. “Here, you can be a little bit more yourself,” he states. His art often captures the unsettling realities of modern life, including instances of young people being led away in handcuffs. These experiences stemmed from a personal encounter when he faced a break-in. “I went to the police to report it. And there I saw so many young people who got locked up,” he recalls, highlighting the flaws within the prison system.
As Krewer approaches his 40th birthday, he remains attuned to the youthful spirit of New York City. He portrays this energy in pieces such as one featuring a young person surfing atop a subway car, an act that carries inherent risks. “Some have died doing that,” he notes, underscoring the precariousness of youth culture today. Social media amplifies these moments, creating a platform where such daring acts can quickly go viral.
Reflecting on his artistic evolution, Krewer acknowledges a phase where he explored more provocative themes. “A couple years ago, you were making paintings that were basically pornographic,” he mentions. While he experimented with these concepts, he asserts that they do not define him: “That’s the thing. I don’t do what people want—to think, like, Now he needs to go harder.” This sentiment speaks to his commitment to authenticity in his work.
As Krewer prepares for his exhibition, he emphasizes his desire for audiences to engage with the deeper narratives within his paintings. The complexities of contemporary life, intertwined with personal experiences and societal observations, form the foundation of his artistic expression. His upcoming show promises to be a thought-provoking exploration of the world as he perceives it.
