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.