Bremermann’s paintings have a technical look at first glance. Each painting is dominated by one color, which is often a barely broken primary color such as a fresh yellow or a bright signal red. The clear, geometric color areas are sharply delineated and appear technical. A closer look, however, reveals that both the surface of the color and of the image carrier have a very complex structure. Her works on paper are particularly multilayered. The carrier paper is first impregnated with wax, giving it a special feel and a certain transparency. It is then often imprinted on both sides of various grids and structures, which create a slight relief character and shimmer through as a fine colorfulness. The color areas then lie on top of this. Her paintings often seem like ciphers or signs, building plans or cutting patterns. They seem to refer to something else that seems to have preceded them or for which they could be a kind of sketch. But closer analysis reveals that they are completely autonomous. While they evoke these associations, they captivate the viewer with their independent structure and multi-layered pictorial composition.