26.10.2024 – 9.10.2024 Preview 24.10.2024
Clem Crosby
The emphasis is on the demotic line – a line anyone can make. The drawing could be thought of as expanded crayon mark-making – applied and reapplied so traces of the iterative process continually providing an armature on which to work. My painting is less about craft, and more about discovery, with each mark suggesting another, images collapsing and reappearing with the desire to continue the initial excitement of the first touch throughout the painting.
Clem Crosby, October, 2024
‘…(these works) show a deep affinity with this organic ebb and flow of the field, merging and weaving, peaks, moments of intensity and vortices. Related to this is the direct motion of the whole – the unspooling of the form or gestures across the surface. This relates to a hinterland where drawing and writing relate’.
David Ryan, Clem Crosby – Between Surface and Event, Exhibition catalogue, University of Central Lancashire. 2018
‘…Crosby used to paint monochromes, but in his more recent paintings, it is as if what earlier on would have been a single, all over colour complex, was being untied, it’s weave being opened up for inspection…. informality meets analytic intensity…. the closer they seem to fall apart, the better they are’
Barry Schwabsky, Artforum September 2011
Oil and oil bar on Dibond mounted on aluminium sub frame
68 x 48 ins (173 x 122 cm)
Martina Geccelli
https://www.instagram.com/martinageccelli/
Shatters
In Geccelli’s clay works, abstract forms arise from wild, often accidental growth. Over a base of discharged vessels, added elements moving fluidly. These pieces emerge from ‘accidents’; purpose-free parts holding the shambles together. A process of destruction and rejoining creates something resilient. Martina Geccelli seeks immediacy and emotion, forming unique sculptures by combining shapes. Listening to possibilities, she embraces accidental contexts where forms develop, risking further destruction after leaving the kiln.
Similar so in Geccelli’s work with paper; from a single sheet crumbling and cuts form sculptures. When the sheet gets rejoined disorderly, a sculptural form emerges.
Her work accepts destruction, vulnerability, and odd results, an open process leading to one best choice. A composition is hard to see, its rather a growth, a movement- an absence of order.
Beauty might emerge.
It holds its personality – it is IT.
Heaps of broken
in between
hollowed vessel –
amidst
a hole in the clutter
adapting to space
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