Misleading Surfaces: Jeremy Deprez

  • by Jenny Bahn

“Every idea that I have I try to execute in some way, shape, or form. I try. It doesn’t work out, but I really try to get it down in some way.” —Jeremy DePrez

Proof that perseverance is the only road to the prolific, artist Jeremy DePrez has already amassed a strong catalogue of work, his piece “Untitled (Conflated), 2013” having recently been recognized at last year’s NADA Miami Beach as one of the Artsy’s top pieces from the show.

There are a lot of technological references in DePrez’s work, perhaps due in part to his age, born during that time that straddled the analog and the digital, a generation of people who understand the need for the real and tactile, while having seen the world transition with computers and the Internet—and they along with it. It’s an important demographic, possessing an awareness of the past while integrating with the future.

And so his work similarly comes up against that line. With paint, DePrez physically recreates things that feel like they would be more easily accomplished using a computer program: graphs that appear to be warped renderings of topological scans, lines and textures that have gone into the digital realm. It is something DePrez references himself, in what is possibly the most accurate description of the motivations of art in this day and age: “Me dealing with information and the institutions I inhabit—whether it’s my house or walking on the street. All art is… it’s one way of us trying to resolve our experiences in a quantified way.” 


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