Marta Martynova and Stan Van Steendam – “In Good Shape” at S1
Solito Galleries is pleased to announce the participation in the second edition of the Napoli Gallery Weekend, by presenting “In Good Shape”, an extensive duo exhibition. The show will be held simultaneously in the two primary venues, S1 (located in the ex-Lanificio complex near Porta Capuana) and S2 (historic Gallery located in Piazza Bellini 59). The exhibition features a compelling dialogue between the artworks of Marta Martynova (b. 2000, Russia) and Stan Van Steendam (b.1985, Belgium).
The exhibition is introduced and curated by Vincent Vanden Bogaard.
In Good Shape is a unique proposal highlighting the work of two abstract contemporary painters: Marta Martynova and Stan Van Steendam. The first one is approaching a light and dynamic lyricism while the second one is challenging the new sculptural language of geometry. Both of them are making the bridge between the Modern era of abstract painting and the nowadays trends.
While the practice of Marta Martynova embraces the legacy of Helen Frankenthaler, Joan Mitchell or Lee Krasner, Stan Van Steendam work could be assimilated to Frank Stella, Sean Scully or the pastel palette of Tom McGlynn. The intention behind In Good Shapes is to offer the audience a fresh and brand-new approach of abstract painting and presenting two artists shaping the future trends of the abstract movement: through patter driven movements or geometry. The intention is reinforced by a strong will to highlight the interplay of architecture and abstract art by occupying the two spaces of gallery and by experimenting format and movement through different topologies.
For this exhibition, the two artists both decided to with a robust body of work introducing their regular practice and signature art works.
Martynova, freshly graduated in art-direction, art and graphic design is also highly interested in architecture and this multiple-layers background is a boundless source of inspiration for her. She allies her skills to compose and play with her format while giving a very important space to movement. In her creative work, Marta Martynova reflects on the heritage of abstractionism, investigates how color and form affect feelings and emotions, and dedicates special attention to the aesthetics of impossible forms and the beauty of nature. The movement is a mix between organic lines and lively gestures.
Van Steendam’s paintings pulse with a compelling present, immediately engaging the viewer’s senses. Yet, their vibrant surfaces conceal layers of pigment and plaster, revealing the history of the artist’s process. This tangible quality fosters an unexpected intimacy, contrasting with the works’ enigmatic, non-narrative nature, which sometimes evokes mystical or portal-like sensations through their architectural bands of resonant color. While abstract, these works are deeply rooted in real places: the stark beauty of Marfa’s skies and the enduring vibrancy of ancient Egyptian palettes subtly inform his hues. From these travels, and his Lisbon studio bathed in sunlight, Van Steendam charts the ephemeral nature of light, giving it physical form: fundamental and emotional power of pure color and light, stripped of overt symbolism. (VVB)
Marta Martynova (b. 2000, Saint Petersburg, Russia) is an artist, designer, and art director. She studied at the Faculty of Design at Saint Petersburg State University (Bachelor and Master) and at School of Design, Art Direction for Cultural Institutions at Moscow HSE University (Master).
Marta’s oeuvre focuses on emotions, feelings and meanings, working primarily in painting and graphic art. Her practice engages with legacy of abstraction, exploring how color and form shape emotions and lived experiences. A recurring focus is aesthetics of impossible forms and the beauty of nature.
Biomorphic shapes and expressive brushwork become a visual language through which she reflects on life’s complexities. Soft palettes and ethereal spaces evoke tranquility, drawing the viewer inward, while bold black strokes – piercing through the canvas like a vital nerve – mirror life itself: even amidst turbulent, ever-changing events, there’s always a thread of darkness running through.
Among the latest exhibitions: Color spectrums, Masters Bookstore, Saint Petersburg (2025), Eden, solo show, Eggz Gallery, Saint Petersburg (2024), A Touch of Pink, Ohaus Gallery, Saint Petersburg (2023). In 2023 she’s been finalist/awardee for the Parajanow-100 Contest, poster category.
Marta Martynova works and lives in Saint Petersburg.
Stan Van Steendam (b. 1985, Belgium) holds a BA and MA in Visual Arts from Luca School of Arts, Ghent, Belgium.
His artistic oeuvre stands as an enigma, challenging established notions and inviting a departure from conventional ideas. His poetic and visceral creations defy reality, resulting in delicate sculptural skill and subtle monochromatic exploration. His research, rooted in intuition, seeks to dismantle the materiality of painting through a process that involves layering raw pigments, plaster, and epoxy resin on wood. This method engenders a new conception of the pictorial tradition, fostering fresh experiences. The vertical installation of his objects evokes an architectural heritage; despite being crafted solely for observation, they possess an inherent capacity to transcend functional constraints, inviting the viewer to explore concepts of entrance, access, and exit. Traditionally associated with functionality, these ideas transform into metaphors through the viewer’s shared experiences. This notion of portals, coupled with the imagined ability to peer beyond the picture, becomes the main element of engagement provoking contemplation on configuration, composition, color, and materials.
Van Steendam significant solo and two-person shows have been held at Carvalho Park, New York, (2024); Barbé, Ghent, Belgium (2023, 2022); Jacob Bjorn Gallery, Aarhus, Denmark (2022); Uma Lulik, Lisbon, Portugal (2022); G/ART/EN, Como, Italy (2021); Galería Nordés, Santiago de Compostela, Spain (2021); Bjorn & Gundorph Gallery, Aarhus, Denmark (2021, 2020); Palazzo Monti, Brescia, Italy (2020); and Archiraar, Brussels, Belgium (2019).
Van Steendam has been a resident artist at Fondation CAB, Brussels, Belgium (2024); Marfa, Texas (2023); and Palazzo Monti, Brescia, Italy (2019); among others. Publications include Parallel, with an essay by Eugene Binder (2023); artist book Dust Road (2021); and Dust Road, with an essay by Alex Bacon (2020).
Stan Van Steendam lives and works in Brussels and Lisbon.
