Tremmel's landscapes first appear in a more historical style of painting that symbolises place and longing for perfection in a large-scale format. Firstly, Tremmel presents the complex romantic order of the world as universal poetry, which is then painstakingly and rapidly removed. In the cutting out, over-shading, over-painting and elimination of pictorial parts, he erases the sentimental scenery and introduces an image of imperfection. The landscapes are only partly indicated by the punctual emergence of the light and through the energetic, expressive and radiant colors.
The deliberate elimination of the central perspective extends itself from the history of art to the world. Overcoming the destruction of holism reflects the old and the new world and makes the old masters come to new terms and values. Tremmel does not only claim the pendulum movement of creation and destruction: the counter-movements here are bound together through the interaction between concrete pre-existing nature and abstraction. The process of transgression and re-creation is made possible in the works through that standstill moment just before the break.
December 2019, Wadi Rum / Petra, Jordan
Tremmel stayed for a few days in a Bedouin camp in the middle of nowhere; silence, no road traffic, no other people, no animals either. During the day it is hard not to sweat and at night not to freeze. The environment; only rock, desert, sky and light. Later he visited the famous Nabataean city of Petra. To get to the ancient city center, one passes through a kilometer long, about 70m high shaft of fiery red sandstone, the so-called "Siq". The narrow path leads you directly through the massive rock walls. Then, abruptly, a valley opens up with countless monumental tomb temples and facades carved into the rock.