The Mann of the Hour

Jeremy Mann is back with another solo exhibition! The exhibit is now open and there will be a reception in the gallery this evening from 6-8:30 pm. And yes, Jeremy will be in attendance. He has created a fantastic collection of original graphite drawings, small oil plein airs, as well as large oil cityscapes and figures.

As an artist, Jeremy is constantly evolving and creating artworks that speak to his creativity. He isn’t afraid to take risks or push himself to new heights. He’s found a balance between abstraction, realism, and fantasy. Whether he’s working in graphite, photography, film, oil, charcoal; Jeremy’s distinguished style shines through. He has a certain edgy elegance that can be easily identified.

If you’re unable to visit Jeremy Mann’s solo in person, click here, to view the entire exhibit. If you’re on a mobile device view the catalog, here for a better viewing experience.

Jeremy Mann’s Interview with American Art Collector

Q. I see even more abstraction, and even disruption, at the edge of your work, including The Last Fleurette. What is inspiring the painting around the figure in these new paintings?

A. A silent goal in the corner of my mind has long been to return to my early painting roots now that I have developed the skills to speak more fluently with the medium. A balance of dichotomies is a belief I hold to be true in all aspects of life which can be honed in the painting process. In my younger years of experimentation and cathartic release, marks such as these were dominant , and the representation…not represented well. Breaking instilled rules and practices is like breaking through a 5-foot brick wall with a hammer. Once it begins, you chip away tirelessly at your ingrained structure until you break through. These marks now breathing again in my work are my banging on that wall.

The Last Fleurette 47 x 36, oil and enamel on papered panel

Q. Tell me about Beneath the Hallowed Heart and how it came to be.

A. I’ve been learning from my struggles with analog Polaroids from my homemade cameras and the darkroom experiments I expose them to. One such endeavor is the extraction of an enlargeable negative from instant film packs which I’ve discovered is achieved with the delicate use of a dental root canal chemical. Add to this recipe expired films I’ve kept brewing in the fridge and a healthy dose of airport X-ray exposures (International TSA’s have now forgotten how real film functions..to my benefit!). The fall off of analog photography has opened the doors to an emboldening new adventure, and I remain on a quest to imbue my artworks with the inspiration gleaned from these darkroom experiments. A search for images that speak to my own soul in ways I struggle to articulate fluently, which I suppose is a good definition of why an artist endlessly creates. A series of large charcoal drawings resulted from these gibbering articulations and this was one of the first, created after I had painted its sister oil painting The Hallowed Heart.

Beneath the Hallowed Heart 30 x 30, charcoal on paper

Q. I’m curious to know what your collectors tell you about why they buy your work. Do they tell you what draws them to your pieces? If so, what do they say?

A. Me too! Often I’m too nervous or awkward from being thrust into the center of the judgment spotlight (which exists mostly just in my own head at an opening) and am usually doing all I can to not sound like an idiot when I meet collectors. No matter how long I’ve been doing this, I still find it wonderfully humbling and strange to meet someone who spends their hard-earned money on artworks that I created alone in a room while I’m still at a stage far from where I want to be, or believe I can be, when the articulation matches the poetry. Knowing full well I may never reach that point, conversations I have with collectors are often kept to the safety of formal qualities. The more ambiguous emotions which lie behind my artwork I think are felt as strongly amongst my collectors as within myself while creating them, and perhaps whisper so loudly that they don’t need any more explanation other than the purchase itself. From my perspective, a purchase of my artwork doesn’t so much equate to the owning of an actual artwork, but rather as a generous donation to continue the struggle I love with a little less panic.

This exhibition is full of versatility and it really shows Jeremy’s range as an artist. It’s such a thrill to watch him as he’s grown throughout his career. We highly recommend viewing the show in person, but if you can’t click any of the images in this post to be directed to the entire exhibition. The collection will be on display in it’s entirety until Monday, November 28th. Please email any inquiries or questions to info@principlegallery.com.

In addition to the works we will be selling Jeremy’s Limited Edition EXIS Drawing Print. They are printed on 100% acid-free cotton fine art paper and priced at $50.

100% of the proceeds go to Humanitarian Aid for Ukraine.

EXIS Drawing Print.

We also sell all six of Jeremy Mann’s art books here in the gallery and they are available for purchase online, here.


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