Category Archives: 2018

Shawn Stipling & Martina Geccelli – SHIFT – Installation views October 2018

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

Shawn Stipling
193,2016

 

 

SHIFT – Martina Geccelli and Shawn Stipling – 21.09 – 6.10.2018 – Preview Thursday 20.09. from 6 pm

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 ‘Untitled’ at RAUMX 6.07 – 20.07.2018 Preview 5.07.2018

 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.

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

 

 

NIcole Vinokur at RAUMX 8 – 23 June 2018

                                                                                                                                              

Pot O’ Gold
11:35 minute durational performance
Video
2018

Pot O’ Gold                                                                                                                                               Choice Grade                                                                                                                                       Medium White Asparagus Spears                                                                                             Ingredients: Asparagus, water, salt, acidity regulator (E330)                                                       Product of China

I never knew asparagus was green. On very special occasions we ate tinned white asparagus; often baked into a quiche-like pie my mother made. Economic sanctions effecting food imports during apartheid resulted in fierce support for homegrown brands. However, luxury canned goods were available from China.

 

Minted
Hand pressed earthenware tiles,silkscreened Delft tulip design (c. 1650), cobalt; 2015

Analysts have compared the behaviour of the crypto currency Bitcoin to Tulip mania; a moment when tulips gripped the Dutch economy and imagination. Being highly coveted, the Dutch would cultivate a single bloom and place it the centre of a garden surrounded with mirrors. They went to great alchemical lengths to encourage a ‘break’ in the flowers which produced flairs of strikingly vivid colours in their petals to increase their value. In the 1920’s, plant pathologists discovered that a virus was responsible for this deviation.

“Blue and white pottery;” literally meaning, “Blue Flowers” developed from 14th century “bluish white ware” in China. Chinese export porcelain produced in the 17th century for European markets depicted Chinese and European scenes. Dutch Delftware became a competitor with imitation motifs on earthenware which reached the East where potters made porcelain versions for export back.

Set of Six
Silkscreen print
2018

Manet sold Charles Ephrussi ‘Bunch of Asparagus’ (1880) for 800 francs. When Ephrussi sent him 1000, Manet painted a single asparagus spear and sent it to Ephrussi with a note saying,   “There was one missing from your bunch.”

Bunch of Asparagus (After Manet), 2017,
Giclee print
30cm x23cm

I wish I believed in destiny
Vinyl
2018

Perennial Foe I
Pencil on paper
2017

Perennial Foe II
Pencil on paper
2017

Installation at RAUMX
2018                                                                                                                                                                                               Nicole Vinokur ( b. 1978) is a South African artist living and working in London. Her work has been shown internationally, including Camden Arts Centre, London; Modern Art Projects, Cape Town; Godart Gallery, Johannesburg; SHELF, London; Tintype Gallery, London; Bosse & Baum, London; Caustic Coastal, Manchester, The Hostry, Norwich; and The 50th Venice Biennale, Venice. She is the recipient of the Queen’s Park Commission, Blackpool (2016/17), Red Mansion Prize (2015) Artist/Curator Fellowship with Grizedale Arts (2014) and Young Vision award (2005). Vinokur graduated from the Royal College of Art, MA Sculpture (2015) and Pretoria Technikon, BTech Fine Art (2014)

 

Alan Johnston and Sebastian Dannenberg 4.05.2018 – 24.05.2018 – Preview Thursday 3rd. of May

For the  first show of 2018  RAUMX  is presenting Scottish Painter Alan Johnston and                German painter Sebastian Dannenberg. In their work both artists are  directly working with found spatial conditions .

Sebastian Dannenberg,
Auto-reverse; 2014
Wall paint, plasterboard, wood, KOAXIAL

Alan Johnston, Untitled (Bury 14), 2007
Acrylic paint, pencil, charcoal and beeswax on plywood Artist’s frame, sandblasted perspex and glass, 24.2 x 18.2 cm

Alan Johnston, Diptych, Untitled (Sesshu’s Dance), 1993
Acrylic paint, charcoal and beeswax on linen, 72.4 x 193 cm

Alan Johnston “My work explores spatial contexts and relations through drawing and architectural construction, reflecting on the spatial and tactual implications in architecture where perceptual notions are rendered as common factors in sight and touch. This field is closely related to the work of Patrick Geddes, ‘Philosophical Generalism’, and ‘Gesamtkunstwerk’. This is a comparative context which has its roots in the practice of art, architecture and visual thinking in the West and the East, and relates to concepts and practices such as Wabi Sabi.  I engage in collaborative initiatives in art and architecture with Professor Shinichi Ogawa, Tokyo, and Neil Gillespie, Edinburgh.”  http://www.barthacontemporary.com/exhibitions/alan-johnston-4/

Sebastian Dannenberg
Roomservice;2015
Lacquer on wall, paint, MDF, screws , found architecture 4+8+2

Sebastian Dannenberg’s work combines architectural, sculptural and painted interventions.Most of his work is site specific and made in situ. His investigations result in contemporary responses to spatial and painterly aspects. Hereby his attention is rather set on the making of an artwork in comparison to its production.

Dannenberg draws his inspiration from journeys through the urban landscape, recording the ever-changing aspects of a city, it’s gentrification or it’s decline into despair. His main interest lies in the painting and it’s position in a space. Hereby he reflects on structural conditions of a painting, such as layers, construction and the painted he colour. In combining them in a different order, he simultaneously lays open those important elements. Dannenberg’s paintings are often situated where one would not expect a painting to be placed, such as corner; edges; lowered near the floor or high near the ceiling; sometimes hidden behind panels; under roofs and boxes. At other times a work could be standing tall upright in the middle of a wall, dominating the space. http://sebastiandannenberg.com/

Sebastian Dannenberg

Alan Johnston
Untitled , 2015