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Martin Streit and Peter Abrahams – Photographs and Paintings ; Preview Thursday 07.07.2016

RAUMXwebsiteInvite-page-001

Martin Streit (Cologne) and Peter Abrahams (London) are both visual based artists. Both have worked extensively in the fields of painting, photography and drawing.

On the paintings of Martin Streit, the motif present in his images is relatively unspectacular. The arsenal of objects upon which Streit plays out his artistic ambitions consists of balls, bowls, figures and architecture. Similarly to Streit, Abrahams has been involved in a photographic scrutiny of common objects and substances for almost ten years. The materials in question have been acquired in charity shops and pound stores, found at the side of the road and stumbled upon in common areas of studio buildings.

There is a dialogue between looking, performing and recording in both artists work. While Streit both in his paintings and photographs allows colour and light to transform bodies and objects. Especially in his Camera Obscura photographs bodies and objects change their appearance and solid structures are transformed into biomorphic phenomena. Abrahams’ still-life genre is peculiar in that the artist can move the objects around and so manipulate the subject, as well as alter the composition through changing the viewpoint. This is a meditative procedure and akin to the creative process itself – liable to overwork, self-consciousness, sketchiness or a rare, unpredictable profundity.

At the same time, Martin’s dispute between painting and photography brings back memories of reality and simultaneously evades any kind of realistic representation. His paintings offer their own truth; a truth that reinvents itself each instance of viewing.

www.peterabrahams.eu
www.martinstreit.net

Untitled

Peter Abrahams

Untitled

Peter Abrahams

Martin Streit

Martin Streit

Martin Streit

Martin Streit

 

 

 

 

In and Out – spatial correspondence – Preview Thursday 19.05.2016 from 6 pm

Such places do not exist and , because they do not exist,

space is turned in to a question,

ceases to be a certainty, ceases to be integrated

and ceases to be appropriated.

Space is doubt: I have constantly to mark it, to

define it. It’s never mine, never given to me,

I have to conquer it.

 

Georges Perec.

inandoutfinal-mail version2

In and Out – spatial correspondence – RAUMX forthcoming group show on lens based art May 2016

In and out5-hoch Thursday

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The exhibition In and Out – spatial correspondences- is primarily presenting photographic positions dealing with the question of the factual and the actual.

To what extent can a photograph embody  characteristics of sculpture or painting?When does the photograph become the medium for painterly or sculptural strategies and vice versa? This theme  is illuminated from different angles by using some real objects and sculptures which are placed between surface and space .

Philipp Dorl -Slit-back

Philipp Dorl ,Slit-back

 

 

 

Martina Geccelli,  Stone 2. 2015

Martina Geccelli,
Stone 2. 2015

Darren Harvey -Regan,  The Erratics 10

Darren Harvey -Regan,
The Erratics 10

Tamara Lorenz, Rot1

Tamara Lorenz,
Rot1

Michael Moerk, White

Michael Moerk,
White

David penny, Do you think it will be like this forever, 2016

David Penny,
Do you think it will be like this forever, 2016

 

 

 

 

 

Nancy Murphy Spicer – more than momentary: ENJOY

Installation shots from Preview Thursday 5.11.2015Hanging Drawing (20 successive drawings, unique and unrehearsed), 2015, lead, rubber, acrylic, hardware, dimensions variable
Hanging Drawing (20 successive drawings, unique and unrehearsed), 2015, lead, rubber, acrylic, hardware, dimensions variable

IMG_2170

 

 

 

 

 

More than momentary: ENJOY, 2015 Installation view with 21 drawings.

More than momentary: ENJOY, 2015 Installation view with 21 drawings. (gesso, gouache and acrylic with collage on rice paper)

 

more than momentary: ENJOY alters the typical path of artwork from studio to gallery to collector by offering voluntary participants the opportunity to borrow and spend extended time with the work BEFORE the exhibition. In the spirit of Lewis Hyde’s ideas about art as a gift, I offer this time with the work as a gift, as a way of opening up the possibilities for relating to the work in a way that is more than momentary. The choice of the wordENJOY in the title refers to the secondary meaning of the word: “to possess or benefit from.”

Nancy Murphy Spicer, 2015

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Disrupted Drawing Large, 2015, gesso, gouache and acrylic with collage on rice paper,

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Disrupted Drawing, 2015

 

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Hanging Drawing, participatory performance, 2015

 

Nancy Murphy Spicer – more than momentary: ENJOY

Disrupted Drawing Small 50, 2015 gouache +acrylic with collage on rice paper, 46.5 x 48,5cm

Disrupted Drawing
Small 50, 2015
gouache +acrylic with collage on rice paper, 46.5 x 48,5cm

 

Disrupted Drawing Small 50 ; in situ

Disrupted Drawing Small 50 ; in situ

“When you are in the groove, the work is telling you what it wants. It’s about what the work wants.” — Richard Tuttle

”A work of art can survive without the market, but where there is no gift, there is no art.” — Lewis Hyde, The Gift

 

 

 

 

 

Nancy Murphy Spicer’s works are physical and collaborative drawings and performances which activate social, architectural and geographic space. Her work poses questions such as what is the nature of beauty, who creates it, and how do we notice the moment when art occurs.

For the RaumX exhibtion, Murphy Spicer presents a series of works on paper, a drawing installation and an artists book documenting a participatory, curatorial project.

Nancy Murphy Spicer’s Disrupted Drawings prize an intentionally casual process. In creating them, assumptions about the final work are set aside and the generously built surface reveals the narrative of the making. Rice paper, acrylic and gouache come together in a drawing object that encompasses painting, sculpture and drawing.

In the spirit of Lewis Hyde’s ideas about art as a gift, Murphy Spicer initiated a participatory, curatorial project for her exhibition at RaumX entitled more than momentary: ENJOY. She enaged an international group of 23 volunteers to borrow and spend extended time with the Disrupted Drawings before the exhibition. It was her intention that, with this temporary possession of the work, participants would derive pleasures and benefits that surpass the typically brief exhibition and/or online viewing experience. An artists book documents the project in photos and text and will be on view at RaumX.

Murphy Spicer’s Hanging Drawing 2 (20 successive drawings unique and unrehearsed) is dependent on a slightly different “gift” scenario. In this work, beholders engage with the work to create a series of drawings using the substantial, dimensional line that comprises the work. Made of lead, rubber, and paint, the line hangs on the wall, draped across a series of small hooks, its weight creating catenary arcs toward the floor. A set of simple instructions is provided as guidelines for engagement. At the RaumX opening, a selected group of individuals will perform the work, each making their unique set of twenty fleeting drawings.

American artist Nancy Murphy Spicer, formerly based in London, lives and works in Charlottesville, Virginia, USA.

Her work is represented by Carroll and Sons, Boston, Massachusetts.

www.murphyspicer.com

www.carrollandsons.net/artists/spicer/

Hanging Drawing, 20 successive drawings , unique and unrehearsed, 2015. Lead,rubber,acrylic, hardware; dimensions variable

Hanging Drawing, 20 successive drawings , unique and unrehearsed, 2015. Lead,rubber,acrylic, hardware; dimensions variable

Hanging Drawing, 2015 (as above)

Hanging Drawing, 2015
(as above)

 

 

 

James Geccelli – Recent Paintings and Works on Paper

“Strictly speaking, there are no elements of painting in Geccelli’s pictures. What could count as the most basic building block always proves to be undivided, changeable, instable. Geccelli’s work begins before simplicity, since what is visible is not yet separated and hence not yet brought back together… The line no longer bears witness exclusively to perception, but also to bodily movement… The line is therefore not elementary, but instead a phenomenon of indifference that only afterwards branches into what is seen and what is drawn, into the visual and the corporeal. It is similarly the case with the ground. Therefore, it is much too simple to presume that the ground is a given and stable entity. Without doubt, the painter first levels out and primes the picture medium, but he also paints over the colour lines again with white, to such an extent that their graphical and coloration effects are more or less strongly muted. For Geccelli, then, establishing a ground not only means preparing a surface for the drawing; it is equally important that the drawing can again sink into this ground. The foundation of painting is also its veil… and we also sense the risk of neutralisation associated with the use of this colour. It is precisely this risk that Geccelli seeks: For it alone also allows a new picture to be painted.” (Ralph Ubl, University of Chicago)

O.T. 2014

O.T. 2014

James Geccelli – Recent Paintings. Forthcoming show at RAUMX London

Berlin based artist James Geccelli is showing his recent paintings and works on paper.

“ There are different layers of paint on a surface that we call a painting. These specific paintings are a result of an investigation to isolate or claim different periods of time to hold on to an instance of awareness to rescue it from the neutralizing effect of daily life’s continuum .        They are moments of perceptions.” J.G.

www.james-geccelli.de

James Geccelli O.T. 2015

James Geccelli
O.T. 2015

Left: O.T. work on paper, 2015 Right: O.T. oil on canvas, 2015

Left: O.T. work on paper, 2015
Right: O.T. oil on canvas, 2015

O.T. oil on canvas, 2015

O.T. oil on canvas, 2014