Founded in Hong Kong in 1974, Galerie du Monde has been specializing in modern and contemporary works by internationally established Chinese artists for 46 years. The gallery also nurtures and promotes emerging talent, presenting a varied program of solo and group exhibitions with a strong focus on works of art on canvas, paper, sculpture, photography and new media. To celebrate its 40th anniversary in 2014, Galerie du Monde introduced the GDM Projects series to strengthen the gallery’s support to a wider group of artists from different geographical regions, providing them the opportunity to exhibit outside of their own areas.
Working exclusively in monochrome, Roland Biermann stages photographs using a panoramic camera (originally designed to take landscape images) to create a stretched vertical portrait format. Throughout his work Biermann repeatedly engages with opposites – light and dark, soft and hard, reality and spirituality, natural and artificial, finite and cyclical. Contrast is presented in Apparition and snow+concrete.
The artist uses glass, steel, concrete and aluminum dibond as the unique carriers of his work. These materials surround us on a daily basis, especially in cities like Hong Kong or Shanghai. In snow+concrete, Biermann uses fused glass as the unique carrier for his imagery. The transparency of the glass reduces the physicality of the image, making it more open. The surface of the fused glass plate with its concave and convex areas creates a three-dimensional effect, providing an almost sculptural quality.
Roland Biermann, born in Bonn, 1962, is a German conceptual artist based in London who works with photography, film, sculpture and installation. He has exhibited his work widely since 1995 and has enjoyed a number of residencies and Awards throughout his career. His work is held in the German Embassy in London, Signy + Olaf Wíllums Art Foundation, Provence and private collections around the world.
Speaking about his work, he says: ‘Based on the idea of coming to an age of formal completion and orderly perfection, science seeks to understand causality and processes, and ultimately promises theories of irrefutable truths. This is precisely the antithesis of my work. My practice depicts a rejection of the definite, the literal and the static. My enduring preoccupation is in fact to find a visual equivalent to the experiences of movement and mobility, in time and in space, and ultimately, in society.”
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