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

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

 

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