Tag Archives: sculpture

Clem Crosby – Martina Geccelli

26.10.2024 – 9.10.2024 Preview 24.10.2024

Clem Crosby

http://www.clemcrosby.com

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

Clem Crosby, The Apostate, 2017 Oil and oil bar on Dibond 65 × 48 ins (165 × 122 cm)

‘…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

Clem Crosby ,Black Baroque 2020
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.

Martina Geccelli, crumbled Paper , 2024 — Martina Geccelli , Toppled 2, 2023 ceramic glazed

Heaps of broken
in between
hollowed vessel –
amidst
a hole in the clutter
adapting to space

Martina Geccelli, crumbled 2/2024 paper, paperclips, magnet

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

Ian Kane and Eric Cruikshank – September 2016

Ian Kane

Ian Kane is a spatial artist working from his studio in Dalcross, near Inverness in the Scottish Highlands. He has exhibited nationally and internationally since studying Sculpture at Edinburgh College of Art and completing a post-graduate degree in the 1970s. A Scottish Young Contemporaries Prize-winner in 1984, his works have been shown in the UK, Belgium, Netherlands, France, Norway, Canada and Japan.

Ian Kane, Seeing is believing

Ian Kane Studio

‘Curiosity and the spirit of enquiry into what exists is always the starting point for the work. This preoccupation with reflecting the truth of the world and our place in it is the work of the artist. The work changes as we ourselves change. The artist strives to find ways to produce the works that become signifiers of our time. The making of every piece is a re-learning; the bringing together of the conscious and the unconscious. Memory does not help here as the presentness of the work generates its own problems to be resolved’

https://spark.adobe.com/page/wcrwajr059abC/

Eric Cruikshank

As to the situation of the colours, the purest and strongest must be placed in front of the piece, and the colouring varied according to subject, time and place. If the subject be grave, melancholy or terrible, the general tint of the colouring must incline to brown or black, or red and gloomy; but it must be gay and pleasant in subjects of joy or triumph.

Encyclopedia Britannica or A Dictionary of Arts and Sciences, edited by William Smellie, Edinburgh 1771

Eric Cruikshank Number 9 – Deep-Scarlet-Red-Pomplean-Red; 2016 Coloured Pencil on Paper, 19 cm x 28cm

The Scottish artist Eric Cruikshank is a modern painter. Born in a country and into a culture with a strong narrative tradition, his work departs from customary figuration, yet revels in the craft and artisanship of his chosen medium. Instead of portraying famous men, it analyses the qualities of colour and light. Instead of imitating landscapes, it explores notions of painterly space. And instead of illustrating stories, it investigates the process of painting itself. More than anything, this approach relies on the individual viewer. Our perceptions of colour, light and space are not only dependent on the painting – they are just as much dependent on the conditions in which we perceive it. Changes in lighting, spatial arrangement, distance to the object, subjective mood of the beholder and even the time spent with the artwork, become constituting factors in understanding it. Instead of a mere consumer of a pre-packaged story, the beholder becomes participant observer.

Eric Cruikshank, Number 3; Light-Yellow-Glaze-Warm-Grey-II; 2016, Coloured Pencil on Paper; 19cm 28 cm.

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