From fluidity to canons in art history, hybridization and metamorphosis, concepts to which he alludes in the video that comes along with the new exhibition. Jeremy's work plays with limits offering a creative vision with an identity in which extravagance, fantasy, lust and sensitivity meet. Imagination meets figurative art in his paintings, alternating large-format works with smaller canvases, mapping an opulent universe of various references, motifs and colours, surrounded by a camp aura. It may be that the word ‘camp’ sounds familiar to you because it was one of the topics chosen for one of the past editions of the MET Gala, but this term was actually coined by Susan Sontag in Notes on Camp (1964).

A magisterial essay that has greatly inspired the artist, in which Sontag says: “Camp taste turns its back on the good-bad axis of ordinary aesthetic judgment. (...) What it does is to offer for art (and life) a different – a supplementary – set of standards.” A fragment that very well captures some of the ideas that haunt the creative universe of Jeremy, who is now debuting with his debut solo exhibition, Mourning Opulence, at the Peres Projects gallery in Berlin, soaked in pink.

We also notice references to sensuality, sexuality and eroticism, always under his personal vision of his art. And of course, we also find hair, an element that helps us to hide part of our body and therefore hide part of our emotions. The lines and curvatures, essential elements in his way of understanding art, make his projects very recognisable and unique. And we not only find painting in this new exhibition, open until March 17, but also sculpture mixing media, plastic, paper, gesso, acrylic paint and varnish.