5.07.2019 – 20.07.2019. opening times Saturday 2 – 6 pm and by appointment
during July RAUMX is presenting four contemporary drawing positions . What all positions have in common are to work in non-representational processes and in a wider sense are recording condensed structures within their working process.
Nelleke Beltjens
Nothing ever stays the same; nothing is essentially solid.
My drawings are meticulously
built-up works on paper, which combine elements of ink, watercolor, and
“sculpturally” cut and reinserted fragments. One of my primary interests in my
work is that there is a complexity that is not foreseeable. I like to call my
drawings ‘worlds’, or ‘manifestations’. I build up a ‘world’ with tiny ink pen
marks and watercolor, only to “destroy” – or better stated, to “open up” – what
I just created by cutting through the paper and moving parts around so new
unexpected possibilities start to appear. This processual appearing and disappearing
interests me. It’s like an infinite coming and going; what disappears in this
‘world’ enters again in another. Perhaps nothing is ever really lost and with
every thought comes the beginning of a new manifestation.
I am interested in the idea of responsibility; or more precisely, the idea of being responsible for everything that one puts in motion. Hence, though actions may have unforeseen consequences, this also means that they hold enormous possibility. I believe there is a “fiction” to the visible manifested world, or what I call a “necessary illusion”. I am interested in this illusion as it is a way to practice life as a possibility. Ongoing ever-changing manifestations, however illusory, nevertheless have a ‘materiality’ depending on how our actions are changed because of them. Such are ideas that conceptually as well as intuitively fuel the decisions and possibilities I confront in my work.
Anna Mossman
Anna
Mossman is a London based artist. Her work explores aspects of duration and
mechanical reproduction in the broadest sense, often in relation to the
hand-made. Engaging with the copy, repetition, pattern and variation, she
works primarily with the drawn, photographed, written and painted. The works
foreground absence and imperfection, frequently through the use of drawing in
relation to an initial line, geometric shape or point. Works evolve through
repetition, allowing variation and imperfection within initial structures,
questioning our perception of space, surface and the object, forming visually
ambiguous fields.
Large drawings such as ‘Diagonal Lines’ 2011-12 and ‘Curved Lines’ 2012-15 (see website: annamossman.com), use an apparently simple starting point but function similarly to the writing of a novel in the extended duration of their production. Recent works shown here develop aspects of these and also of the ‘Imagined Legacy’ series ‘IL1-21’, 2015-16, which play more specifically with a language of geometric abstraction. Beginning with a diagonal structure, transparent layers are juxtaposed in relation to the drawn line, producing optical and spatial disorientation, echoing and revitalizing aspects of the photographic, playing with light, focus, exposure and filtration.
Andrea Schoenborn
“Metamorphosis; (Graphite on paper; ongoing series; dimensions variable)
Extract from: “Notes on the series of works by Andrea Schoenborn: Metamorphosis”
John Ruskin, in Stones of Venice (1851), stated: “The arrangement of colours and lines is analogous to the composition of music and entirely independent of the representation of facts.”
Andrea Schoenborn, in her introduction to Metamorphosis and in her artist statement, gives us an insight into how her creative drives form her practice. I encourage you to read it.
The metamorphosis of inanimate material to life is driven by Andrea’s will to connect. A hand holding a stick of graphite making marks on a sheet of paper is as close as the artist can get to transmitting cognitive sensual feelings – to connect skin to skin. The simple means of Andrea’s works belie their complexity, which is as much a result of what is not as what is. In the powerful, unequivocal presence of the work, a kaleidoscope of what has been eliminated by the maker is simultaneously experienced by the viewer, leaving them with a sensation of being in the presence of an other. Indeed the material, the body, has been metamorphosed into an essence, a personification; the invisible is made visible, tangible!
The selection of materials and the processes she describes have evolved through a journey of continuous experimentation to reveal her truth, to connect – uncluttered by conceptual aesthetics. She finds validation in her practice in the authenticity of her feelings, mirrored in the moment by moment applications of her touch.
A Gestalt interpretation comes to mind when viewing and thinking about Andreas’s works: here the interplay, the appearance of parts, is determined by wholes; what is being communicated in her works is a wholeness of being! In this respect the material used becomes irrelevant, superseded by a sensation.
Sotirakis Charalambou.
Irene Weingartner
The Drawings are called Recordings
Irene Weingartner developed a technique that enables her, not to draw what is in her imagination or in front of her eyes, but what may be unseen, hidden or underneath the surface.With her technique, she produces various series, which are called Seismographic Recording originated from the body or …from the Environment, etc. Therefore she does recordings of signals.
To do her Recordings, Weingartner is developing different systems. She uses those to find an accurate attitude before she starts her drawing process. Depending on the approach, she – in a way – ‘calibrates’ her body. To her, it is a method for changing attitude and posture. This process influences the quality of the applied lines on paper. The rhythm does form the relation between the lines.Through this practice, fragile and energetic works come into being. Structures arise, that one may be reminded of architectural constructions.
On
the bases of these recordings, Irene Weingartner is evolving new
techniques such as making transparency-paper-cut-outs and building
architectural-like models. She sometimes collaborates with scientists from
different fields to discuss and develop the topic of imaging method.
RAUMX is starting 2019 with two artists who will show recent works on paper. London based Katrina Blannin will show prints and German Volker Saul is showing his paper cuts.
Cut, painted
and layered paper
The designs for the paper cuts
come about as freehand drawings on standard DIN A4 pages. Using a fineliner
pen, I draw lines that come together as form, with no preliminary draft,
planning or correction; ideas for forms develop during the drawing act as an
individual form or as a sequence of several forms on the page. A selection of
these configurations is transferred by projection to larger pages and then cut
out using a scalpel. For further treatment I use both what has been cut out and
the surface from which the cut has been made.
The paper cuts constitute the raw
material for the subsequent painterly processes, for which I leave sufficient
room for chance. I work on the front and reverse sides with color. Most often, it
is possible to use both sides. In addition to the cuts, I paint uncut papers;
later, these serve as backgrounds.
All of these papers enter the pool
for the assignings I ultimately carry out. Strata are built up in layers of two
to five cuts, each layer being a picture element of equal value – regardless of
what or how much of it will be visible in the finished work. The picture
elements have come about independently of one another. There is no hierarchy.
The compilations may be changed during each phase of work.
Thus, the assignments take place throughout the entire time the series is developed, in a long process of trying out, checking, discarding, and reassigning. As it originates, the series forms a body of individual parts that may be flexibly combined. In a final step, I affix the layers to one another. The open process has been halted. As a result, each finished work is precisely whatever it is. But everything could also be very different.
Volker Saul, Cologne in August 2018
“The process of experimenting with simple systems, as well as palindromic and isochromatic structures, aims to produce paintings with a logical clarity; both spatial and material in character. Methodologies for reading historical paintings are re-examined and transformed into new visual investigations which in turn ask questions about the concrete and constructivism in art; reflexively generating new modes of apprehension.”
Katrina Blannin is an artist based in London. She graduated from the Royal College of Art in 1997 and has since then shown her work extensively in the UK and abroad; co-directed artist run project spaces; curated exhibitions and written about contemporary painting. She is currently undertaking a practice based Painting PhD at the University of Worcester, teaches at Camberwell UAL and Canterbury UCA and and works for the editorial board and the mentoring programme for Turps Banana, London, UK.
Shawn Stipling, Left-A Line Less Human; 2018;15.2×0.8×230 cm Aluminium, Laquer Right Aluminium Wall Piece 1,2018; 4×3.3×200 cm photo F. Ware
Left- Shawn Stipling 191 ,2016; Acrylic, Gesso on Plywood Middle- Martina Geccelli Photography- 10 Tiles, 2018 @0 Terrace, 2018 ; each 50 x 40 cm/on 60 x 50 Paper; Giclee Print. Far right – Martina Geccelli, works on Paper 2018, Curves, Acrylic, Gesso on Paper Photo F. Ware
Martina Geccelli Works on Paper, 2018 Photo F. Ware
Martina Geccelli Works on Paper left to right 1) Boxed Blue, 2)Bunt -vertical; 3) Bunt Horizontal all 2018; 30.5×41 cm; Acrylic & Gesso on Paper Photo F. Ware
During September – October 2018 for the first time since RAUMX opened the director Martina Geccelli will show together with Shawn Stipling at the projectspace. Both artists will show recent works which show new aspects of their work. In that sense they both make use of the actual meaning of projectspace as in trying new grounds.
Shawn Stipling Aluminium 2
Martina Geccelli Ceramic- colour,2018 18 x 14 x 15 cm
Shawn Stipling
My work is often very sparse in its content. The elements I use are minimised until only that which is ‘active’ remains. This reduction is essential as it allows for greater control over each of these elements and, crucially, allows me to eliminate any accident in favour of ‘conscious choice’. The precision is also functional; further emphasising that even details, of sometimes only one millimetre or less, are intentional and not the result of chance. Creating a situation where the viewer is fully aware that every nuance has been considered and is not the outcome of a serendipitous act.
I choose imagery associated with human activity, rather than that which pertains to the natural environment, as I wish to communicate in a very direct and, as I see it, very ‘human’ way. I am interested in the connections we make with others through the things we create – art, music, architecture…, and how these connections can be based on the tiniest of details. I find that the knowledge of these details being created specifically and ’intentionally’ by the artist, composer, architect…, rather than by random occurrences, produces an intensely intimate connection enhanced by the unambiguous nature of the expression. Shawn Stipling 2018
Shawn Stipling 182,2016
Martina Geccelli
As a sculptor Martina Geccelli has, for the last 20 years, predominantly been working with photography. In taking photographs of domestic and simple objects she explores spacial relationships; the interdependence of objects to space, colour and light. Over the years, the works have evolved; moving through narrative and abstraction to nonobjective works. To further explore the potential of nonobjective consciousness, necessitated a return to the haptic engagement with material of sculpture and painting,
Working with basic materials, paper or clay, paint and glaze, she further defines her concerns in spacial orientation. Employing the interplay of line, shapes and colour she has developed exciting sensual images. S. Charalambou
Martina Geccelli Vertikal-bunt,2018
Martina Geccelli Ceramic-white, 2017 23 x 17 x 12 cm
Shawn Stipling Aluminium 4
Shawn Stipling Aluminium 3, 2018
Martina Geccelli Curves,b.o.g; 2018 Acrylic on paper
Sotirakis Charalambou, studio view 2018 painting right: Untitled’; 2017, 130 x 42 x6 cm paper particles and fibres Painting left: ‘Untitled’; 2014-15 152 x 121 cm, Acrylic and oil paint.
Detail
‘The wall piece is made entirely of paper. The work is constructed from coloured paper particles, collecting to form an uneven layered surface of differing densities.
A transparent nylon thread is suspended from the ceiling on which mohair fibres and paper particles coalesce to Form an airy three-dimensional structure. ……. the inclusion of fibres allows for greater variation in density and transparency thus a different growth occurs.
In Sotirakis Charalambou’s works the process of making is not separated from the product. The choice of material and process are integral; they bridge the gap between how the thing is made and what it is.
An analogy with music can be made. It can indeed be posited as an identity but not as a thing. It is no more a thing than a sound which appears as identical in changes of intensity.’
James Geccelli
Sotirakis Charalambou, Untitled 2014-2015 Born in London Sotirakis Charalambou lived for most of his life in the East End, he studied painting at St Martin’s School of Art. Charalambou has taught extensively as a lecturer.
In the last thirty years Charalambou has mostly exhibited in Holland and Germany.
Charalambou has chosen to name the exhibition ‘Untitled’, as his works exclude an objective subject; they have no literal or obvious symbolic meaning. Charalambou likes the viewer to rely on a ‘visual’ experience.
In March 2016 Sotirakis Charalambou showed several works in Berlin, in an exhibition called Double Movement. Below are extracts from the catalogue describing the works, written by the curator artist James Geccelli.
Studio View
The exhibition ‘Double Movement’ was held in the gallery Schaufenster, Raum fur Kunst, in Berlin, Germany. In March 2016.
Several of Charalambou’s works are included in the collections of: The Osthaus-Museum, Hagen Germany. Werner Richard, Dr. Carl Dorken Stiftung. Germany.
Works have been exhibited in, England, Germany, The Netherlands, U.S.A, Cyprus and Hungary. For more information on exhibitions, C.V, Publications, etc: charalambou.wordpress.com