Brundyn+Gonsalves (Formerly iArt)

December 2010/January 2011

iArt Gallery, 71 Loop Street

The large-scale linocut exhibition at iArt Gallery, in collaboration with Artist Proof Studio, constitutes a turning point in the history of relief printmaking in South Africa. The relief print as medium has often been used in countries to voice political protest as well as religious and social messages. Relief prints have served as a voice for the marginalized and have been produced on kitchen tables or in under-equipped studios. Editions were often printed intermittently, as and when funds to buy paper and ink became available.

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Artist statements and bios

Multi-faceted and conceptually sophisticated, Whitton’s work is primarily concerned with notions of structural composition and the ways in which we recognize and navigate the world around us. The associative tension set up by complex webs of reference is complimented by the sensitivity of the visual outcome.

Alastair Whitton graduated in 1994 with a National Diploma in Fine Art (with distinction) from Natal Technikon where he was awarded the Emma Smith Scholarship for further study abroad. He was a merit award winner at the 1994 Volkskas Atelier Awards and in 1995, following a three-month stay at the studio of artist Marlene Dumas in Amsterdam, studied towards an MFA at the Glasgow School of Art in Scotland. On his return he worked as curator of the KZNSA Gallery in Durban. Following collaborative projects with British artist Neville Gabie, Whitton relocated to England where he lectured at the Cheltenham College of Art and Design. He lived in London from 1998-2002 during which time he traveled to Europe and Australia. In 2009 works from his series Patmos and the War at Sea were selected for the 8th Bamako Encounters African Photography Biennale where he was one of four artists representing South Africa. The exhibition entitled Borders traveled to FotoMuseum in Antwerp, the Johannesburg Art Gallery and Iziko South African National Gallery. Whitton’s work can be found in various corporate and public collections in South Africa.

Alastair Whitton: Patmos and the War at Sea
Alastair Whitton, interviewed by Jacqueline Nurse
Alastair Whitton’s Encrypted Island
Review of Patmos and the War at Sea, by Tim James

Art South Africa review of Patmos and the War at Sea
WANTED Magazine: Border Inspection
Patmos and the War at Sea on Culture-Making
IAM Conversations - Christy Tennant speaks to Alastair Whitton
Talking Art with Cape Town’s Alastair Whitton, JournoNews

Alastair Whitton at African Photography Biennial
BACK TO WORK BY

Alastair Whitton’s Patmos and the War at Sea will be shown in Cape Town at iArt Gallery Wembley: A Project Room for Contemporary Art in October 2010. Arts writer Mary Corrigall has described the body of work as a series of “astute statements…about the relationship between language and imagery that challenge our expectations of photography.”

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see installation views

Alastair Whitton, interviewed by Jacqueline Nurse
Alastair Whitton’s Encrypted Island
Review of Patmos and the War at Sea, by Tim James

Art South Africa review of Patmos and the War at Sea
WANTED Magazine: Border Inspection
Patmos and the War at Sea on Culture-Making

Alastair Whitton at African Photography Biennial

Installation views of Alastair Whitton’s Patmos and the War at Sea, at iArt Gallery Wembley: A Project Room for Contemporary Art in October 2010.

view work

Alastair Whitton, interviewed by Jacqueline Nurse
Alastair Whitton’s Encrypted Island
Review of Patmos and the War at Sea, by Tim James

WANTED Magazine: Border Inspection
Patmos and the War at Sea on Culture-Making
IAM Conversations - Christy Tennant speaks to Alastair Whitton
Talking Art with Cape Town’s Alastair Whitton, JournoNews

Alastair Whitton at African Photography Biennial

BIOGRAPHY

Alex Emsley re-discovers the timeless traditions of still life painting and portraiture, but does so in such a way as to contemporize these age-old genres. In his still life paintings, arrangements of random everyday objects are depicted in obsessive detail. Emsley’s particular acidic colour temperance transforms objects into uncanny visions of the banal objects that clutter our lives – “portraits” of objects in a stance of defiance, as though they could exist without the presence of human life.

Alex Emsley CV

PRESS

Alex Emsley in Die Burger: “Vaderlike inspirasie”

2 - 17 October

A collection of original art posters created by Carla Crafford will be on show alongside work from the artist featured in the posters. A talented photographer, Carla began a journey of collaborative exploration over 20 years ago pursuing a fascination with the visual conversations made possible through photographing the work of other artists, particularly sculptors. An exhibition inspired by POSTER theft serves in part as a culmination of these years of work. In juxtaposing the artwork and the photograph of the artwork, the poster as an art object in its own right is highlighted. So too is the intimate and meandering
nature of creative collaboration made clear through the often touching, always powerful, images borne of this ongoing work.

Artists whose work will be on show include:
Diane Victor, Berco Wilsenach, Cobus Haupt, Pieter Swanepoel, Eric Duplan, Magdel Fourie, Guy du Toit, Wilma Cruise, Gordon Froud, Johann Moolman, Sarel Petrus, Egon Tania, Ladiné Joubert, Erna Bodenstein-Ferreira, Curt Fors and Jan van der Merwe.

Read Artist’s Statement

POSTERS by CARLA CRAFFORD:
A0 (laminated)
Digital print on Epson heavy-coated paper, Edition size: 3, R3 420 (incl. VAT)
A1 (unframed)
Digital print on PM230 paper, Edition size: 10, R1 710 (incl. VAT)
A2 (framed)
Digital print on Epson fine art paper, Artist’s proofs, R855 (incl. VAT)
A3 (framed)
Digital print on Epson fine art paper, Artist’s proof, R615 (incl. VAT)
A3 (unframed)
Digital print on archival matte paper, Edition size: 50, R400 (incl. VAT)

Anton Karstel, born 1968 in Pretoria, holds BA Fine Art (1990) and M A Fine Art (1995) degrees from the University of Pretoria. He began exhibiting on group shows in 1993 in an exhibition entitled REAL ART at the ICA in Johannesburg. Since then, he has exhibited on many group and solo shows, including Too Close for Comfort at the Rembrandt van Rijn Gallery in Johannesburg in 1997, Wonderful South Africa at the Millennium Gallery in Pretoria and Pol-Aesthetic at the Civic Gallery in Johannesburg in 1998, and Extract at Joao Ferreira Fine Art in Cape Town in 2001. Karstel currently lives and works in Cape Town.

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Audrey Anderson is a painter who is influenced by elements in the vast landscape of the arts that tend to blur the distinction between fine and graphic art – a breakdown with which the traditional perception of “fine art” is becoming increasingly comfortable.

Within her practise, Anderson’s main concern is the everyday. By creating a visual narrative around banal, often automated, activities of our everyday lives, Anderson highlights how much time is taken up by such moments, but also how much of our identities can be analysed through the ways in which we go about these tasks. By forcing the viewer to focus in on tiny details of our everyday lives that would otherwise go unnoticed, Anderson also brings more macrocosmic aspects of interpersonal and emotional relationships into view.

Audrey Anderson is a young South African artist who completed her degree in Fine Arts at the University of Pretoria in 2006.

Audrey Anderson CV
Audrey Anderson: The best thing since spilt milk
Audrey Anderson - Thinking inside the box

BACK TO WORK BY

Audrey Anderson is a painter who is influenced by elements in the vast landscape of the arts that tend to blur the distinction between fine and graphic art – a breakdown with which the traditional perception of “fine art” is becoming increasingly comfortable.

Anderson is fascinated with the use of simple techniques of formalism in comic and graphic novel media. In her work, stylised figuration combined with a contemporary audience’s affinity to ubiquitous popular media images creates a potential for optimal emotional impact. For this exhibition, Anderson has created an installation that is, in effect, a walk-in graphic novel. Instead of creating a manuscript in the real she has chosen to approach the gallery space as a book. In other words, the gallery space, hung with work, can be read as a story that begins to develop once the viewer steps into it. Anderson’s particular story is set in urban Pretoria and visually “narrated” from two separate points of view: one of a young Indian male and the other a young white male. As these characters rove through their separate narratives, each creates his own data body. As the two figures’ separate stories unfold, their counter-opposite identities are revealed as fuel for the development of
each character.

Further to this, and true to post-modern critical tendencies, Anderson offers two texts towards the deciphering of these identities: Dante’s Inferno, written in the fourteenth century, and Chuck Palahniuk’s contemporary cult classic, Fight Club. The three paintings featured here serve as a foreword to the story and introduction to the body of work, which in turn serves as an urban decoding of two identities.

Back to XI - Eleven Solo Exhibitions

Conceptualised as a walk-in graphic novel, The best thing since spilt milk takes as its narrative core that things that are really bad for you can also be very good for you and vice versa. Although the graphic novel style of the work creates the impression that the exhibition is pure fiction, the events depicted are, in fact, based on a true story: it begins with a trip abroad following a job opportunity in Dubai in which a malapropism transforms into an oxymoron and becomes the defining description of the experience of being away from home.

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Barbara WIldenboer’s keenly crafted modifications of the book are complex and layered responses to the pending ecological crisis with which we seem to faced. Wildenboer explores with sensitivity both academic and psychological implications of habitat.

Wildenboer attained a distinction for her Masters degree and is highly dedicated to the expression of her concepts through the medium of photography. She lives in Woodstock, Cape Town with her two sons Lucas and Ivan.

Read between the lines / Lees tussen die lyne at US Woordfees 2010

‘Hippocampus’ suggests some possibilities, instabilities and limitations inherent in representation and visual perception. There is a propensity to see three dimensions over two; to interpret flat images as being spatial. There is also a tendency to want to recognise form and fix a meaning. In ‘Hippocampus’ Armstrong explores the becoming rather than being of image (seahorse), concept (cognitive map of space) and meaning. Although existing in space, the sculptures resist a fixed representation and suggest ideas of other spaces, in-between spaces, non-spaces that, at least in one’s conception and perception of it, never settles on a fixed axis of orientation.

Beth Armstrong’s Hippocampus originally installed at the 1820 Settler’s Monument, Rhodes University, will be travelling to iArt Gallery in Cape Town in April 2010.

These images are documentation of the exhibition’s original installation.

read opening speech by Ashraf Jamal

Installation of Hippocampus at iArt Gallery, 71 Loop Street.

view individual works
view installation of Hippocampus at Rhodes University
read opening speech by Ashraf Jamal of Hippocampus at Rhodes University
read profile by Caeri Dunnel
Hippocampus works at Joburg Art Fair 2010

26 January - 23 February 2011

iArt Gallery Wembley: A Project Room for Contemporary Art

Beth Armstrong’s new body of work, To skip the last step, is a direct chronicle of her experience of the loss of a loved one, Mark Hipper. The exhibition comprises 27 engravings and a collection of sculptures made of welded wire and jacaranda wood.

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PLEASE NOTE that the images of the engravings below are details of the works.

BIOGRAPHY

“Beth Armstrong’s current work marks a seismic crack-up in South African sculpture. Neither mortar nor figure, the staples of sculpture, Armstrong introduces not only a new philosophy of making and meaning in SA art, but its solution. diagrammatic and volumetric, her metal works challenge the stolidity and essentiality of the 3D figure, and, so doing, broaches the crack-up of being which we, in South Africa, have been incapable of addressing effectively.”
– Ashraf Jamal

Beth Armstrong graduated with her MFA from Rhodes University in 2010. Towards the end of her oustanding academic career, it is only fitting that Armstrong was heralded as one of Art South Africa’s most recent Bright Young Things, for work that breaks new ground in the medium of sculpture.

Armstrong’s first solo exhibition outside of the University will comprise her Masters body of work, Hippocampus, showing at iArt Gallery, 71 Loop Street from 28 April - 22 May 2010.

The collection of welded wire sculptures that began with the precarious image of a man-sized seahorse suggests some possibilities, instabilities and limitations inherent in representation and visual perception.

The word “hippocampus” serves a double purpose: firstly, it is the scientific name for a seahorse. It is also the name of a structure within the human brain (similar in shape to the marine creature) that is responsible for our capacity to make cognitive maps of space. There is a propensity in us all to see three dimensions over two; to interpret flat images as being spatial. There is also a tendency to want to recognise form and fix it to a meaning. Although existing in space, the sculptures resist a stable visual and conceptual representation and suggest ideas of other spaces, in between spaces, non-spaces, dream spaces that, at least in one’s conception and perception of it, never settles on a fixed axis of orientation.

EXHIBITIONS

towards an architecture of loss, July 2011
To skip the last step, January 2011
Hippocampus, April 2010
NOVUS
Summer in the City 2010

Not All is Black and White: Wisdom from the African Zebra

BACK TO ARTISTS

Cape Town-based investment group Prescient Investment Management have used iArt’s Beth Diane Armstrong to create a series of sculptures for their first ever full-scale advertising campaign.

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BIOGRAPHY

Carla Liesching is a photographer and visual artist from Johannesburg, South Africa. She obtained a degree in Fine Art from Rhodes University, specialising in photography and video, with undergraduate credits in theatre. Her involvement in performance arts has greatly influenced her approach to photography and her work is often narrative-based. Since graduating she has been involved in various exhibitions, performances and installations and her photographic work has been shown both locally and internationally. Lieshcing is also involved in arts education, having run workshops for the South African National Children’s Arts Festical, assistant lecturing at Rhodes University and, most recently, teaching analogue photography at the Market Photography Worskshop in Newtown, Johannesburg. She is currently living and working in Taipei.

EXHIBITIONS

Lens: fractions of contemporary photography and video in South Africa, May 2011
The Swimmers,April 2011

PRESS

ART SOUTH AFRICA: Everywhere and Nowhere Spaces, 2011

The Swimmers is an on-going series, presented here as an archive of 25 large, limited edition photographs, depicting almost-life-size figures, standing alone in various urban and natural landscapes. Liesching uses her swimmers to explore the link between space and identity and how we think of home. The work has grown out of a state of being that is a defining trait of Liesching’s generation: a sense of displacement, an awareness of foreignness and a search for belonging that cannot be tied to one fixed geographical or ideological place.

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BIOGRAPHY

The objects Clare chooses to paint have a characteristic quirkiness to them and speak of a world of personal associations. Clare invites the viewer to explore her inner world in terms of these domestic ‘fetishes’ that she fondles with her paintbrush.

Clare Menck studied Fine Arts at the Universities of Cape Town and Stellenbosch and at the Akademie der Bildenden Kunste, Dresden. South African-born, of German/Dutch (Afrikaans) descent, she lives on the West Coast with her painter husband and two children.

Clare Menck CV

EXHIBITIONS

Summer in the City, December 2009
Woman painting women, October 2009

The title of the large work Woman contemplating her thirties / The yellow teapot (seen behind the artist in her portrait) summarises the contemplative exploration of mood and female psychology in this body of work consisting entirely of female nudes. ‘In this particular work, the warm glow of the startling red interior seen to the left in the doorway contrasts strikingly with the more sober greys and greens of the interior occupied by the nude. Significantly, she stands next to the old-fashioned painted kitchen dresser in the recess created by the corner of the room (and at the edge of the composition)
and covered largely by the shadow falling from the cupboard. Her entire attitude is one of wistfulness and pensiveness, perhaps regret, if that is not too strong an emotion, and she clearly occupies a different space, yet well aware of the warmth of the glowing interior next door and the erotic content hereby suggested’.

Menck’s series of swimmers originated from a visit by the artist to the Florisbad archeological precinct outside Bloemfontein. This is the place where the world-famous Florisbad Man (skull) was discovered in the 1930s, an important step in the worldwide race to figure out the evolutionary jigsawpuzzle of the origins of humankind. The actual site was subsequently turned into an interior swimming pool on account of the naturally warm spring well at its source and was last used as a holiday resort and spa in the 1970s.

The whole place has the uncanny derelict feel of a typical South African holiday resort (“Whites Only”) from that time. It has been abandoned and become obsolete – completely unchanged to date bar the activities of a few lone archeologists continuing important research – as if the clock was stopped. Swimming in the exact place where the famous head was found, with the warm mineral water bubbling up from the natural fountains in the bed of sand below, was a particularly poignant experience that moved Menck to encapsulate it in this series of self-portraits (one including the artist’s daughter). The personal tradition of the artist to continually paint selfportraits throughout her life, gives these works a special place in Menck’s output.

Back to XI - Eleven Solo Exhibitions

Claudette Schreuders creates carved and painted wooden figures that reflect the ambiguities of the search for an ‘African’ identity in the post-apartheid 21st century … Her figures demonstrate a hybrid canon influenced by the blolo and colon figures of West Africa, as well as other stylistic input from medieval church sculpture, Spanish portraiture and Egyptian woodcarving … Schreuders’ figures are essentially modern deities for modern problems, taking with them the blolo figures’ potential to ‘cure’, as well as engaging with issues around foreignness and hostility and the means we use to create a space for ourselves in a perceived ‘alien’ environment.”
- Sue Williamson, 2000

Schreuders was born in 1973 in Pretoria and lives in Cape Town. She graduated with a BA(FA) from the University of Stellenbosch in 1994 and obtained her M.F.A. degree from the University of Cape Town in 1997. She has had a number of group and solo exhibitions in South Africa. Her work has appeared in prominent international art museums around the globe.

BACK TO WORK BY

‘If one turns to Western practice Mashile’s graphic rendering of a simplified visual language marked by artificially contructed spaces, disproportion of form and flattened solid earthy colours bears some affiliation to the earlier work of Italian painter Georgio do Chirico…a precursor to the Surrealists.
He rediscovers and celebrates an ancient past, but remains thoroughly contemporary.’
- Virginia MacKenny

“I come from a place that is shrouded by powerful cultural norms and customs.”
These customs, such as the ritual of circumcision (which both he and his wife have undergone), informed his earliest work, and he sought refuge and healing through art.

Colbert Mashile has risen to prominence on both national and international level. His recent work is infused with the natural and mystical elements .In nearly every work, what emerges is a subtle tension between an invasive nature and a sense of serenity. It is this dichotomy that is so engaging.

This artist has an uncanny ability to “tune into” universal psychological archetypes in his work. These images are completely based in his African identity and yet they link up with the universal. His horned figures that loom over men, coffin-like vehicles and vast landscapes fill his prints. Mashile’s fine sense of colour compliments his forms, which seem to celebrate a connection to the earth. Mystical figures, phallic images, pods, huts and organic shapes are but some of the visual stimuli, which abound in Mashile’s recent work. The commentary on the relation of humans to the environment is unquestionable. Minuscule figures stand unobtrusively atop high structures surrounded by open fields. Some of the paintings depict a clear concern with masculinity. Horns dominate the structures, conveying male aggression.

Colbert Mashile was born in Bushbuckridge 1972, Mpumalanga Province, South Africa.

The Mechanics and Mysteries of Perception
Colbert Mashile: Experience and the Scar
Colbert Mashile - Act IX: Scene 1
Colbert Mashile: Recent Monoprints

REVIEW - CITY PRESS Colbert Mashile: Recent Monoprints

Colbert Mashile CV

In this exhibition, Colbert Mashile looks back on his professional career as a dramatic endeavour. Titled Act IX: Scene I, referring to Mashile’s ninth year as a practising artist, the exhibition is made up exclusively of work created in 2009.

Mashile has become known for his particular style of local surrealism. Despite Mashile being pinpointed as the mouth-piece for issues around Sotho traditional circumcision rites, the label has become obsolete as an all-purpose interpretation as Mashile moves forward. Over the years, his imagery has developed into a sophisticated language developed via Mashile’s journey’s into deep imagination.

Writing of Colbert Mashile’s work in 2008, Virginia MacKenny referred to ‘elements one can recognise, but not always identify. Creatures with strangely featured heads and often amorphous bodies populate his landscapes and, while many of the images … have an almost graphic directness about their intent, others … remain difficult to interpret.’¹ Despite the bizarre nature of his subject matter, Mashile declines to offer any direct interpretation of his own work, preferring to leave the viewer to fly solo into his/her own imagination in order to locate potential meanings.

However, in this collection of unique and editioned work Mashile has taken a turn towards the figurative. Reminiscent of script dialogue, the work reads as a story pieced together using figures that are predominantly recognisable. Without abandoning surreal elements altogether, Mashile deftly employs anthropomorphism in order to achieve a remarkable mix of sharp satire and obscure personal references.

Back to XI - Eleven Solo Exhibitions

2 - 28 October

This exhibition provides a retrospective view of Colbert Mashile’s work on paper, between 2004 and 2009.

Colbert Mashile has been heralded as a contemporary African surrealist of sorts. His imagery has developed over the years into a sophisticated language of symbols and characters that are, although often almost recognisable, drawn completely from journeys into deep imagination. Mashile declines to offer any direct interpretation of his own work, and so viewers are left to cast around for visual affinities in order to decipher his artistic code.

When the stream of attention from writers and critics began around 2000, Mashile was almost completely pre-occupied with his own responses to the experience of the male circumcision ritual undergone by boys from the Mapulana clan of the Northern Sotho tribe before they reach their teens. Mashile attributes much of the imagery in his early work to his attempt to confront the horror and trauma of this event. The time Mashile spent living in Johannesburg had similar dark effects on his work. However, once re-located to Bushbuckridge, a rural setting in which he was able to experience his home landscape in a more direct way and live with a greater sense of peace, his work began to take on different and lighter forms.

Looking at work selected from over the years exposes interesting shifts in the artist’s modus operandi: from the ‘psychological images of phallic towers, cowrie shells, zoomorphic and anthropomorphic forms, huddled crowds, whispers and an ominous secrecy’ cited by Kate McCrickard in Mashile’s early work, to a shift toward figuration and subtle development in colour palette in more recent years.

1 - 30 September 2010

iArt Gallery, 71 Loop Street

A new series of monoprints by Colbert Mashile, produced in collaboration with The Artists’ Press, will be on show at iArt Gallery in the month of September. 21 works in total, the monoprints have a softer-than-usual colour palette applied within Mashile’s trademark surrealist imagery.

Each work is a unique print, with an image appearing occassionally in two works - the first pull and then the “ghost” print, which often has additions made to it.

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REVIEW - CITY PRESS Colbert Mashile: Recent Monoprints

Colbert Mashile CV

The Mechanics and Mysteries of Perception
Colbert Mashile: Experience and the Scar
Colbert Mashile - Act IX: Scene 1

other work by Colbert Mashile

27 January - 24 February 2010
iArt Gallery Wembley: A Project Room for Contemporary Art

This exhibition consists of a collection of drawings by Colijn Strydom, inspired by the artist’s obsessive response to Sylvia Plath’s poem, “Poppies in October”.

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7 - 18 January 2011

iArt Gallery Wembley: A Project Room for Contemporary Art

Beginning on Friday 7 and continuing until Tuesday 18 January the Mermaids and the Unicorns will come head to head in a battle of the sexes at iArt Gallery Wembley: A Project Room for Contemporary Art. The ancient battle will take the form of a process drawing, which will be added to through the duration of the show, and a collection of auxiliary works.

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15 - 29 July 2009

The Creative Block is an inspirational outlet for some of South Africa’s established contemporary artists, as well as a platform for fresh local talent.

Creative Block collectors are invited to become part of the creative process by grouping a number of artworks together. The collector’s choices become vital to the visual impact of each art piece.

The Creative Block is an initiative of the COEO art collaborative, headed by Jeanetta Blignaut, which leads original collaborative projects with South Africa’s emerging artists. Initiating projects that energize, immerse cultures, challenge stereotypes and break boundaries in thinking.

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27 February - 12 March 2009

The Sanlam Art Collection, established in 1965, is one of South Africa’s finest collections of South African Art. With holdings of more than 2000 items by some of South Africa’s most valued and emerging artists the collection provides a representative overview of South African art dating from the late nineteenth century to the present. Sanlam continues to acquire works by South African artists to broaden the representative character of the collection.

Diane Victor is an artist of uncompromising directness. Her pastel, charcoal and linocut works typically confront viewers with a highly charged, often fraught psychological landscape. “I cannot just leave issues that anger or upset me alone,” she once observed in an interview. “They are still part of my range of choices and an element of my social conscience � that want almost to rattle people or make them take one step beyond their comfort zone.”
- Sean O’Toole, 2003

Victor has established herself as a major figure in the South African and International art communities and is renowned for her expert printmaking and draughtsmanship. Her prints and drawings are known not only for their technical skill and compulsive linear detail, but also for their sharp political and social commentary and satire. Her works, although often drawn from global historical and mythological references, speak of the social and political inequalities and complexities of South Africa. Violence, racial anxiety and sexual repression are common ideas represented in the works. Combining both thematic and technical skill, Victor impresses powerful ideas on the viewer, never shying away from controversial or taboo subject matter.

30 November 2007 - 15 January 2008

Longtime friends and renowned South African artists, Zwelethu Mthethwa and Louis Jansen van Vuuren, joined forces in 2007 for a collaborative exhibition.

While the collaboration attempts to enhance an inherent concept through points of confluence and visual dialogue, it simultaneously addresses contrasting points between the styles of Mthethwa, a Zulu, and Jansen van Vuuren, an Afrikaaner now living in France, in a manner that celebrates their differing backgrounds, their common heritage as South Africans and, above all else, their unique friendship.

Below is a selection of the artworks exhibited.

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French born artist, Eric Duplan spent his childhood in the Democratic Republic of the Congo and Rwanda. As a teenager he moved to South Africa, joining the School of Performing Arts, in Johannesburg. He followed this, by studying interior design and stained glass making.

In the early 1980’s Eric joined the Lintas Group Advertising Agency as an illustrator. The then became a freelance illustrator and over the next eight years worked for most of the major advertising houses in Johannesburg. It was during this time that Eric illustrated a number of front covers for the Financial Mail and was commissioned by Gencor to sculpt a series of bronzes trophies.

He moved to the Western Cape and became a muralist specializing in trompe l’oeil. His many murals have included a major commission for a hotel in Ostend, Belgium. In 1989 Eric transitioned to full time painting and based himself on an isolated farm on South Africa’s rugged western coast. The magnificent surroundings inspired his many large land and seascape paintings.

Eric paints in oil and his paintings are many faceted, mixing fine details with abstract architectural renderings in a technique that produces pieces reminiscent of a Zen Garden, where a certain meditative quality is induced. A reflection of both Eric’s thoughts and mediations as he paints and those created in the patron. In his latest solo exhibition Eric’s works are perhaps most easily described as topographical landscapes and yet that is too simplistic. They are almost archeological with a bird’s eye view of the landscape in which the ruins take on figurative and symbolic form. The passage of time echoed in the many layers of paint.

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Eris Silke is a self-taught artist who works predominantly in black and white and in a style reminiscent of a Gothic fantasy. ‘From early on her psychological insight manifested in her work, particularly the influence of Jung and Freud. Dreams and fantasies are lifted from the depths of her subconsious and transferred to the canvas.’
- Suzanne Belling, June 2009.

Eris Silke was born in the Eastern European province of Transylvania. Of Hungarian extraction and Israeli upbrining, Eris is currently based in Cape Town. She has about 30 solo exhibitions to her credit and her work can be found in numerous collections locally and abroad, including that of the SA National Gallery.

XI - Eleven Solo Exhibitions

BACK TO GALLERY ARTISTS

Hungarian by birth and Jewish by upbringing, Eris Silke’s character is difficult to overlook when viewing her captivating work. As a self-taught artist, Silke is not bound to or limited by any particular theoretical strain, but draws her inspiration from highly sensitive analyses of the world around her, including those aspects that are borne of the imagination.

Though her images are often shadowy, one is never drawn to question the integrity of her work. Silke describes her artistic motive in general terms: ‘Art has got to communicate real feeling. In dealing with the dark side of experience, art can be wild, but it should not be empty. In other words, you can show death, but you have to be on the side of life.’

Silke attributes her Victorian imagery to a childhood spent in books. Silke’s family fled a war-torn Europe when she was a young girl and settled in Israel. Being an only child and finding herself in a desert landscape which did not appeal to her creative sensibility, Silke found sanctuary for many years in the offerings of the public library. In her mind, Silke remained in Europe – the Europe of 1930s novels. The sentiments of humanism and of fine literature that she grew up on have remained with Silke throughout her life, guiding her in her art to be always on the side of the innocent. ‘The aim of my art is to communicate vulnerability according to the moral tradition of the world. I have little time for those who are not caring creatures – we can grow from, but never conceal, morality.’

For this exhibition Silke has produced a series of works that contain images and personalities that have contributed (both in her personal and imaginative existence and in the wider world) to her belief in maintaining love and sincerity in life and art.

Back to XI - Eleven Solo Exhibitions

Gerald Tabata is a fresh artist who draws inspiration from his immediate environment. Working in a sophisticated, painterly technique and thoughtful in his use of colour, Tabata is concerned primarily with evoking the mood and atmosphere of the scenes that he depicts, which are inextricably bound to South African township culture.

XI - Eleven Solo Exhibitions
Summer in the City

Gerald Tabata lives in the township of Kayelitsha, located in the Cape Flats – an area infamous for its violence and poverty. Tabata believes it is his duty (and the duty of all artists) to utilise his work as an instrument to call attention to social issues, of which the most pressing in Kayelitsha currently are high levels of unemployment, poverty, poor housing, crime and HIV/AIDS. In documenting his response to these issues, Tabata has made of himself a mouthpiece for the concerns of his community and a mentor to fellow artists.

However, Tabata’s work is not the visual agitprop that usually follows such a declaration. Rather, Tabata paints people who continue to live, work and, indeed, play in the face of social and economic adversity. For this body of work, entitled Elusindisweni – meaning both “church” and “salvation” – Tabata has chosen to document the religious component of Kayelitsha society. Tightly composed and crowded frames, these paintings feature characters documented over time, an item of clothing or compositional repetition hinting at the presence of the same figures in more than one painting. The story that develops is about a group of people in the township who have found comfort and hope in the concept of Christianity, but also (and not less so) in gregarious intimacy shared with fellow worshippers. Metaphoric elements emphasise Tabata’s point: ‘In some of the paintings there are candles in the far corner on top of the table. The candles are symbolic of a light at the end of a dark tunnel. There is also a person beating igubu (drums) – another ancient African way of celebrating and worshipping God.’

A sharp response to the formulaic iconage of 1950s “township” art, Tabata’s strong characterisation and capacity to create movement allows his work to speak, sincerely, for itself.

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JUNE/JULY 2010
iArt Gallery Wembley: A Project Room for Contemporary Art

In his new body of work, Kayelitsha-based artist Gerald Tabata has taken inspiration from the soccer hype that has hit the country in anticipation of the 2010 FIFA World Cup. Although soccer is staple entertainment in South African communities, the feeling of excitement around the game has dramatically increased in light of the country taking centre-stage as host of the biggest sporting event in the world.

“An artist, from the early stages of his painting to the final touches of his paintings, should be guided by the beauty of his work. When I was a young boy I always wanted to be an artist and I wanted to be honest to myself and paint what I like. I wanted to capture the memories of idiski ekasi (township).”
- Gerald Tabata, 2010

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3 - 25 February 2010
iArt Gallery, 71 Loop Street

Gina Heyer, a Master of Fine Art student at Stellenbosch University, will have her first solo exhibition at iArt Gallery between 3 and 18 February 2010.

Comprising her body of Masters work, the exhibition is concerned with subtle metaphysical and uncanny aspects of seemingly ordinary and unoccupied interiors. Playing with tensions between absence and presence, Heyer paints moments of stasis between human comings and goings. These spaces are both real and imagined, in which one is not sure what has or is about to happen. Heyer achieves this mysterious effect through discreetly negotiating the boundaries between the concepts of reality, unreality, the sublime and the contemplative working with oils and glazes on board and on a small and intimate scale to draw the viewer in. The spaces are beautiful and calm but somewhat unnerving, temporary and strange. As the rooms are vessels for our bodies to inhabit, the paintings become chambers for the mind to contemplate.

Gina Heyer CV

read discussion by Vivian van der Merwe

30 October – 6 November

Showing in a whistle-stop time frame at iArt Gallery Wembley, if you go down to the subway today is a collection of work that takes a brief, tongue-in-cheek look at the idea of the human animal. One wall of the space has been pasted with posters, creating a setting reminiscent a subway station or sheltering under a bridge. Within this fundamentally urban setting, strange creatures emerge. An inebriated hare leans unsteadily against a wall while another flies overhead. Leaves and feathers cast in bronze are scattered upward in a gust of wind, accompanied in their flight by fish out of water swimming along the airwaves.

Though this collection of work has a generally light-hearted attitude, it raises significant imaginative issues around high-density living and an increasingly common desire to lean away from a high-speed metropolitan existence in order to live “closer to the earth” in the face of accelerating ecological concerns.

Participating artists:
Carla Crafford, Guy du Toit, Sarel Petrus, Wilma Cruise, Audrey Anderson, Igsaan Martin

Some images of the installation of Marlise Keith’s Blight showing at iArt Gallery Wembley: A Project Room for Contemporary Art, 1 - 24 September 2010.

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Blight on Fine Music Radio 101.3

Artworks available by Jan du Toit.

XI - Eleven Solo Exhibitions

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In this series of seven paintings in oil on canvas, artist Jan Du Toit explores the theme of self portraiture in his own domestic setting. The mood in these works is pensive and self-reflective, his own human presence being surrounded by familiar objects which in turn reflect his autobiography to date. Many of these objects are in fact works by other artists with whom he has been in contact and who have in some cases served as his role-models.

Growing up in Tulbagh, Du Toit was inspired by the work and personality of Christo Coetzee (1929-2000), a number of whose works are seen in these paintings. Du Toit admired the facility with which Coetzee was able to make paintings. Another artist whose work is reflected here is that of Johannes Meintjes (1923-1980), a pioneering gay artist, whose works are filled with a
romantic nostalgia. Meintjes was also an authority on early Cape heritage, furniture and history. Du Toit has long admired the creative aspects of this early furniture and the aesthetic role it played in people’s lives in early, pre-industrial times.

Using himself as subject within the aesthetic structure of his own intimate spaces with paintings, furniture and ceramics, Du Toit creates a series of self portraits that are arrested moments in the life of an artist. What is seen in these paintings will be subjected to further creative change. Additions and subtractions will be made as the artist’s life is creatively lived and experienced.

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BIOGRAPHY

‘As an artist, Jan van der Merwe matured on the South African scrap heap of Apartheid and has become the archaeologist and anthropologist of its varying states of decay. If there is a shred of evidence on a forsaken rubbish dump, he will find it.’
- Willem Boshoff

In speaking of his own work, Van der Merwe describes his process as ‘incorporat[ing] found objects and junk materials that have been discarded…I work with artefacts of our time and try to transform them into archaeological relics, revealing human pathos and weakness.’

Jan van der Merwe was born in the Orange Free State in 1958. After spending many years in the employ of the South African Government - first for the Railways and then the Defence Force - before turning to academia as a lecturer at Technikon Pretoria (Tshwane University of Technology). Van der Merwe has been the recipient of many prestigious art awards and his work can be found in numerous private and public collections both locally and abroad.

Jan van der Merwe CV

EXHIBITIONS

Joburg Art Fair 2009, April 2009
Jan van der Merwe: It’s Cold Outside, October 2008
The Mechanics and Mysteries of Perception

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July - 31 October 2008

Thirteen life size works made over time with the earliest dating from 1999 and the most recent 2008 by Tshwane University of Technology lecturer Jan van der Merwe reveal his ongoing preoccupation with universally relevant issues such as power, responsibility and violence.
- Veronica Wilkonson

Read Veronica Wilkinson’s review

3 - 5 April 2009

ARTISTS:
Paul Emsley, John Walters, Jan van der Merwe, Colbert Mashile, Clare Menck, Wilma Cruise, Marlis Keith, Gerald Tabata.

Images of iArt Gallery’s stand and the exhibition hall at the Sandton Convention Centre, Joburg Art Fair 2010.

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“The mystery of the human face and figure has fascinated people for centuries. The fact that the viewer sometimes observes something of themselves in the art work, occurs in many ways unnoticed. And in some ways this makes the attraction between the art work and the viewer all the more stronger. The fact that so much can not be explained or rationalized will always intrigue people who view it.”
-Johan Angus

Johan Angus was born in Johannesburg in 1968 and graduated in 1990 with a degree in Information Design from the University of Pretoria. Johan worked as a graphic designer for many years before deciding to dedicate himself full-time to his artmaking in 1996. He has held numerous exhibitions in South Africa and his work can be found in private collections both locally and abroad.

Summer in the City
The Mechanics and Mysteries of Perception

Louw’s paintings, oils executed with economy of colour and tone, are mostly untitled and explore anonymous, non-specific male figures in shades of grey, red and pale yellow. They become increasingly more abstract as he grapples with the threatening domain of psychological and political menace and intrigue, all the more frightening in its absence of specified time and place. Louw’s more recent work broadens his metaphoric use of images to include scenes derived from the austere landscape of the central Karoo.

Louw holds a Master of Fine Arts degree from the University of Stellenbosch. He has lectured in painting at Stellenbosch University and later taught at the Foundation School of Art in Observatory. His works hang in significant private and public collections in South Africa and abroad.

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After Baines is John Walters’ long-awaited exhibition of Masters work, and his first solo exhibition outside of the university environment.

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Judith Mason is a painter and graphic artist of symbolic and mythological landscapes, figures and portraits. Mason works primarily in oils and pencil but has also incorporated various graphic media and found objects in her work as well as making a number of artists’ books.

Judith Mason’s work is drawn or painted in reaction to her world: political events, comments that she has read, snippets of history or poetry which have caught her eye, or the experience of particular people or animals which are usually used in a symbolic context.

Kathryn Smith is a conceptual artist who works in a variety of media. Smith can be described as a performance artist, photographer, cultural agitator and manipulator of computer and video media to create her multi-layered artworks. Her interest in forensic pathology and psychology led to the creation of these prints which offer strong social commentary to those who wish to delve beyond the surface veneer of celebrities such as Marilyn Monroe.

11 June - 1 July 2009

ARTISTS EXHIBITING
Deborah Bell, Wilma Cruise, Ricky Dyaloyi, Liza Grobler, Paul Emmanuel, Paul Emsley, Ruhan Janse van Vuuren, Louis Jansen van Vuuren, Anton Karstel, William Kentridge, Adam Letch, Johann Louw, Colbert Mashile, Judith Mason, Zwelethu Mthethwa, Sam Nhlengethwa, Claudette Schreuders, Eris Silke, Penny Siopis, Richard Smith, Kathryn Smith, Gerald Tabata.

Press Release

South African artist Liza Grobler’s visual research is a conversation between image, language and daily life that incorporates bright colours and diverse materials. She often collaborates with other artists and/or groups, such as the Qalo Beadwork Studio. Grobler’s idiosyncratic and diaristic pictorial vocabulary is capable of evoking a sense of a real individual life at the same time that it invokes matters of iconic status and general human interest - self-image and exploration, sexuality, confidence and vulnerability, professional ambitions and creative aspirations, idealism and cynicism, love and marriage.

Since receiving her Masters Degree in Fine Art with distinction from Stellenbosch University (1999), Grobler has had six solo shows and partaken in numerous group shows locally as well as in internationally.She is a part-time lecturer in Drawing at the UCT School of Architecture and an art critic for Die Burger. She lives and works in Cape Town with her husband Norman O’Flynn and son, Storm.

Liza Grobler: Visitor (The Square)

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Bead artworks were the outcome of two workshops lead by Mandla Vanyaza and Liza Grobler at the Qalo Beadwork Studio.

The workshop that Liza guided was an introduction to the relationship that exist between IMAGE and TEXT, to illustrate how words can translate into visuals and to explore how one can use pictures to tell stories. Three frames drawn by the bead artists communicated an incident from each their personal experiences. These frames were then combined into a single artwork.

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12 March - 3 April 2010

iArt Gallery Wembley: A Project Room for Contemporary Art
iArt Gallery, 71 Loop Street

Visitor at Irma Stern Museum (Rondebosch) has moved on to new lodgings at Wembley Square (Cape Town): from Suburban Living to Lifestyle Centre…And although the exhibition has morphed from homely and soft into a new (square) shape, it still promises a few unsettling moments with a selection of two- and three-dimensional mixed media apparitions.

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Louis Jansen van Vuuren is a South African artist who is primarily concerned with the tradition of Still Life painting.

Louis Jansen van Vuuren was born and educated in South Africa. He graduated with a degree in Creative Arts and and an Honours Degree (Cum Laude) in History of Art from the University of Stellenbosch, South Africa. He has been an art educator and a practicing artist for forty years. Van Vuuren has had more than eighty exhibitions in South Africa, Europe and America and has works in Museums, Corporate and Private Collections throughout the world. In 1998, he retired from his academic post at the University of Cape Town’s Art School and now lives in the Limousin Region of France.

In 2007, Louis Jansen van Vuuren and Zwelethu Mthethwa produced a series of works in collaboration. The body of work was shown at iArt Gallery and was very well-recieved.

Between Us / Entre Nous / Phakathi Kwethu
XI - Eleven Solo Exhibitions
Louis Jansen van Vuuren - Sub Rosa

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‘Drawing is the art of being able to leave an accurate record of the experience of what one isn’t, of what one doesn’t know. If one of the purposes of life is to know oneself, then a great deal of time is pent investigating things one already knows. So a great drawing is either confirming beautifully what is commonplace, or probing authoritatively the unknown.’
– Brett Whiteley. Tangiers notebook,1967

The series of works embody a visual exploration around a central evocative theme, culminating in a sequence of monochrome charcoal works and larger format colour pastel drawings.

Back to XI - Eleven Solo Exhibitions

Longtime friends and renowned South African artists, Zwelethu Mthethwa and Louis Jansen van Vuuren, have been involved since 2007 in collaborative activities that attempt to enhance an inherent concept through points of confluence and visual dialogue. The works address contrasting points between the styles of Mthethwa, a Zulu, and Jansen van Vuuren, an Afrikaaner now living in France, in a manner that celebrates their differing backgrounds, their common heritage as South Africans and, above all else, their unique friendship.

2007 exhibition:
Entre Nous / Between Ourselves / Phakathi Kwethu

Summer in the City

1 - 14 March 2010
iArt Gallery, 71 Loop Street

It is always with pleasure that we welcome Louis Jansen van Vuuren back to South Africa, and as refreshing as his sparkling presence is, so is this new body of work an honour to present.

Sub Rosa, while containing elements that Jansen van Vuuren’s audience has come to know and love, marks a turn in expression in which the pictorial plane is emptied, simplified and darkened and the execution and application of paint is vigorously intensified.

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read “Onder die blou roos”, by Melvyn Minnaar

7 - 30 April 2010

iArt Gallery Wembley: A Project Room for Contemporary Art

In this body of work, Madelein Marincowitz explores objects passed down through generations of her family. The objects are personally significant to Marincowitz through their associations with the people that once owned them and the roles that the individuals have played in shaping the artist’s own identity. However, dislocated from their original contexts the objects operate as mnemonic devices for a collective melancholy nostalgia. The body of work, in its broader implications, refers to the notion of collective memory – the whole complex of ideas, aspirations, and feelings which links together the members of a social group. History is transformed from a series of consecutive events, to an active process of reconstructive imagination initiated by personal, wistful recollection.

“My art is a window into silence. A silence filled with the nuance of days gone by. Tangible traces of where I come from and quiet glimpses of the collective memories which have shaped me. Each object is placed in a unique dimension, free from the clutter, but still marked by its journey. The shapes speak of a hushed complexity, breathing their own beauty. Beauty made real by its survival through the passage of time. A captured moment preciously preserved forever. Although each painting is a deeply personal reflection of my life, recognition tugs at the heart of each viewer. A shared space in which we can explore the symbols of our bittersweet existence. Objects filled with meaning, floating in a world of their own waiting silently to be seen.” - Marincowitz, 2009

Marlise Keith draws primarily in acrylic inks on paper and board. Her work was described by critic Melvyn Minnaar of the Cape Times (26 June 2008) as ” The glorious and mysterious things of [a] fleeting world [is] what Marlise Keith uses to define her astonishing individual, complicated visual tales. An artist with a…brooding, vivid original voice”.

Keith studied BA Fine Arts at the University of Pretoria which was completed in 1995 and completed her Master’s Degree in Fine arts at the University of Stellenbosch in 2000. She has taught art at high school level and was head of the Production Design Department at AFDA, a tertiary film school before finally committing to do art full time in 2006. She has participated in various group shows nationally and abroad. Her first solo show was in 2000. Keith’s works can be found in various collections in South Africa, America, Australia, Britain, France, Germany and Sweden. She has participated in several competitions, was a top ten finalist in the Absa L’Atelier in 2007 and won the Vuleka Award in 2006. The prize was a trip to Paris which she visited in July and August 2007.

Marlise Keith: Blight

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1 - 25 September 2010

iArt Gallery Wembley: A Project Room for Contemporary Art

In her latest body of work, Blight, Marlise Keith is concerned with the ways in which we use and live with “nourishing” metaphors. The term “blight” refers to the discolouring and eventual death of plants as a result of incapacity to produce sufficient chlorophyll. The disease is most commonly associated with potatoes, the disease being responsible for the Great Irish Famine in the mid 1800s. In this exhibition, Keith draws on her encounters with people and food, or, more specifically, people who eat food, or don’t, or can’t.

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INSTALLING Marlise Keith: Blight

Blight on Fine Music Radio 101.3
RESENSIE Marlise Keith: Blight

Martie Strydom is a painter who employs primarily the medium of oil on canvas. Her main concern is representation of the body, which she does with a particular sensitivity to corporeality and the influence of changing light on a subject. Recently, she has moved into the tradition of landscape painting, which she executes with equal sensitivity, though the body remains a subject to which she returns consistently.

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Mary-Rose Hendrikse’s work reflects an ongoing preoccupation with the human face, its corporeal and psychological expressions. Hendrikse embraces the inherently volatile language of oil paint and rebels against the urge to subdue it as is often seen in traditional portraiture.

Mary-Rose Hendrikse (b 1963) completed her Batchelor of fine arts at the university of South Africa in 1998 and has gone on to exhibit nationally and internationally.

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BIOGRAPHY

Matthew Hindley is an artist that has refused to be pinned down to any one mode of production. After graduating from the Michaelis School of Fine Art in Cape Town in 2002, where his final exhibition won him the Michaelis Prize, Hindley has let his artistic strategy spread out in many different directions – from traditional media such as painting and sculpture beyond the new media of video to technologically advanced methods of physical computing. In his current work he has returned to painting in oils on canvas.

Read Matthew Hindley’s complete biography
Older work 2008/9

EXHIBITIONS

The Solo Project 2011, Basel
The Everlasting Once, February 2011
Blackout, November 2009
Like, like, like, like a circus, September 2009

Dada South?
Spier Contemporary 2010

PRESS

TODAY IN ART: Exploring Issues of Darkness in Paint, April 2010
CAPE TIMES: Dramatic storyteller uses the medium of paint, September 2009
THE WEEKENDER: The Art of Making Artworks On An iPhone, August 2009

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In this body of work, Matthew Hindley expands his ongoing exploration of the subtle tendencies of individuals toward humane darkness. In these paintings, the studio becomes the platform from which a potential creative utopia can be developed. The studio is a Freudian id zone, so to speak, in which the term ‘blackout’ suggests an event of loss – of consciousness, light, power, sanity. In the dark the same rules may not necessarily apply as in the light and bonds between people can be created and strengthened through unhindered exploration of those things which the conscious mind chooses generally to ignore, forcing such desires into the realm of dreams.

Hindley does not, however, descend into circular motions of Freudian psychoanalysis. A brief investigation of the word “blackout” in popular culture reveals a ubiquity in music, fiction and film. In theatre, the term is
used to denote a killing of stage lights either at the end of a scene or for
particular dramatic effect.

Hence, Hindley’s compositions are reminiscent of actors frozen in the middle of a rehearsal, or still frames extracted from film footage. Hindley has not taken a purely authorial stance in the development of his creative utopia, appearing as subject and character in many of the works. In this sense, Hindley’s own act of painting serves not only as a recording of the scenes played out, but also as an extension of the performance itself. Remaining diligently figurative, Hindley explores the richness of the colour black, creating visual planes as darkly exhilarating as the fundamental schizophrenia of confronting issues of identity, sexuality and death.

Read Matthew Hindley’s biography

Back to XI - Eleven Solo Exhibitions

Matthew Hindley is an artist that has refused to be pinned down to any one mode of production. After graduating from the Michaelis School of Fine Art in Cape Town in 2002, where his final exhibition won him the Michaelis Prize, Hindley has let his artistic strategy spread out in many different directions – from traditional media such as painting and sculpture beyond the new media of video to technologically advanced methods of physical computing. In his current work he has returned to painting in oils on canvas.

Read Matthew Hindley’s complete biography
Matthew Hindley: Like, like, like, like a circus
REVIEW Dramatic storyteller uses the medium of paint
Matthew Hindley - Blackout
The Art of Making Artworks On An iPhone
Summer in the City
Matthew Hindley - Dada South?
Matthew Hindley @ Spier Contemporary 2010

Matthew Hindley’s I meant to have but modest needs was selected to be included in Spier Contemporary 2010.
The exhibition comprises 132 artworks from 101 artists. Distilled from over 2,700 national submissions, it is a visual and aural barometer of South Africa in 2010. The artists have contemplated and exposed every element of the South African condition: our fears, our joys, our humour and our trepidations. It speaks to the past, and imagines the future. It serves up a plethora of views and challenges us to think differently. It gives us a poetic, private moment with our world.

In this painting, Matthew Hindley explores the subtleties of humane darkness, with studio as testing ground for a potential creative utopia. Rich, velvet darkness is suggestive of loss – of consciousness, light, power, sanity – and unhindered exploration of desires usually contained in the realm of dreams is made possible.

Formally, while the work is a figurative rendition of a moment in time, its surface tilts towards abstraction, throwing a thin veil over realism in favour of interpretive memory. Hindley explores the generosity of the colour black, creating visual planes as darkly exhilarating as the fundamental schizophrenia of confronting issues of identity, sexuality and death.

Through the duration of the exhibition, the painting has received an astounding amount attention in popular media in Cape Town and on the web.

Smoke and mirrors on SA-people.com

23 February - 23 March 2011

iArt Gallery, 71 Loop Street

iArt Gallery is pleased to present The Everlasting Once, a major solo exhibition of new paintings by Matthew Hindley, and the first since his iArt Gallery debut with Like, like, like a circus in September 2009. For the past year Hindley has been in the studio, developing a body of primarily large scale paintings on Belgian linen. These works are the most ambitious and accomplished of his career to date.

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In this body of work Hindley responds to the influence of his time spent in Berlin, taking on the monumental scale of the German master Adolf von Menzel. The scenes depicted take on a cinematographic reality.

True to his long-term fascination with cult-hero status and the power of pop celebrity, Hindley has titled the works with lyrics from pop princess Britney Spears’ latest album. Read together, the paintings form a lilting, uneasy dialogue – a multi-faceted narrative that is as lyrical as it is unsettling.

Hindley’s characters are recognisable from painting to painting, brought to life on his large-format worksurfaces to face different enigmas in each composition. Hindley’s paintings produce the strange sensation of being simultaneously watched and watched over. The viewer-turned-voyeur is caught witnessing private or intimate moments between larger-than-life characters whose story is underscored by a nuanced darkness. In the same disquieted moment, one is overcome with a sense of reassurance for the fact that this darkness is one that sits at the base of our humanity and a kind to which each of us can relate.

REVIEW Dramatic storyteller uses the medium of paint

Read Matthew Hindley’s biography
The Art of Making Artworks On An iPhone
Matthew Hindley - Blackout
Matthew Hindley

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Selections from Matthew Hindley’s An Everlasting Once exhibition have been included in The Solo Project 2011, taking place in Basel, Switzerland between 15-19 June 2011.

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Michele is a Capetonian by birth but her artistic roots are European. Having traveled all over Europe including Spain, France, UK and the Netherlands, she credits her experiences there as the inspiration for her latest Bathroom paintings, which started with a bathroom in Sloane Square, London; a seed from which an entire series of ‘atmospheres’ have grown. The space, light and mood in these scenes resonate Dutch still lives and the chiaroscuro of the European Renaissance.

XI - Eleven Solo Exhibitions

Mmakgabo Sebidi traverses mental and physical landscapes with an eye trained on the dangerous, the discomfiting, the traumatic and the ecstatic in human experience. She is deeply grounded in her rural upbringing and traditions but also finely attuned to the rhythms of the city in which she has spent much of her adult life. Sebidi brings together these two worlds in works of great visionary and prophetic power.

Sebidi trained in a number of informal art institutions in Johannesburg and for many years exhibited her work – mostly ceramics, landscapes and figurative scenes drawn from her home in Marapyane – at venues such as Artists Under the Sun in Johannesburg and Pietermaritzburg. But while working at the Johannesburg Art Foundation under the tutelage of David Koloane and Bill Ainslie, Sebidi made her first semi-abstract work, a frenzied, visionary work produced in a marathon of painting that terrified the artist and prompted Ainslie to describe it as her ‘miracle’. This marked a dramatic shift for Sebidi, away from her figurative works and landscapes and into a new idiom that is part figuration and part abstraction but that always seeks to escape the boundaries of both. Sebidi’s works pulsate with energy. They are dense and exuberant, both formally and thematically. Layers and layers of rich impasto are applied in painstaking detail, often on top of drip paintings. Strange figures, some fantastical and mythological, and some drawn from her own richly storied history, jostle for space on the crowded canvases. At times they evoke a sense of celebration and at other times of terror and loss.

9 - 23 April 2008

‘Muse-08 creates a unique opportunity in social documentation by celebrating the lives of individuals who have shaped South African culture through the visual arts, performing arts and new media. Poets and patrons, visionaries and villains, actors and activists, all who play prominent roles in South African Arts and Culture have been captured on paper and canvas by our country’s leading artists.’
- Elana Brundyn, Founding owner, iArt Gallery

Read Brian Berkman’s review

11 May – 8 June 2011

iArt Gallery Wembley: A Project Room for Contemporary Art

iArt Gallery is pleased to present, for the first time, a collection of photographs by Niklas Zimmer, curated by Jacqueline Nurse. Kotiljons started its life as a collaboration between Zimmer and Willemien Froneman, a PhD candidate at Stellenbosch University under Prof. Stephanus Muller’s supervision. The photographs were commissioned to form the basis of a chapter of Froneman’s Ph.D. project in ethnomusicology as “a photo essay (and sometimes visual ethnography) on the carnivalesque at a contemporary boeremusiek event” (WF) – namely the 21st anniversary celebrations of the Boeremusiekgilde, held in 2010 at the Voortrekker Monument in Pretoria. With Kotiljons, iArt is presenting a selection of this body of work.

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Installation views of Niklas Zimmer’s Kotiljons, on show at iArt Gallery Wembley: A Project Room for Contemporary Art, 11 May - 8 June 2011.

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Beth Armstrong was one of 33 artists recently approached by the World for All Foundation to design and integrate an artwork on a life-sized Zebra sculpture. The zebras were displayed in public locations around Cape Town for the duration of the 2010 FIFA World Cup.

The aim is to highlight South Africa’s contribution to a world beset by challenges . An appropriate visual metaphor of such wisdom should be the African Zebra, carrying a message in both word and artistic form, and placed at key locations where tourists and locals will gather during this period.

The Zebras are meant to carry the core messages of Africa’s Renaissance, of South Africa’s peaceful transition from Apartheid to Democracy, and the World for All Foundation’s vision of a shared society, where different people co-exist respectfully, where complexity is embraced and extremism is shunned. The Zebras will be a unique and meaningful addition to FIFA’s 2010 Soccer World Cup.

Participating artists were provided with “blank canvas” of the plain white zebra, and asked to choose a quote by Nelson Mandela to indicate what concepts they have explored in their work on the zebra.
Armstrong’s choice was: “All of us, descendants of Africa, know only too well that racism demeans the victims and dehumanizes its perpetrators.”

16 - 30 November 2010

iArt Gallery, 71 Loop Street

The Latin word novus can be translated into a number of different concepts, among them: new, fresh, unprecedented, youthful, extraordinary, novel, unusual. For this unique project 7 artists from iArt Gallery have teamed up with 7 groups of children, ranging between the ages of 6 and 13, on special art projects.

Artists taking part are Liza Grobler, Clare Menck, Beth Armstrong, Jan du Toit, Alex Emsley, Matthew Hindley and Sandra Hanekom. Each artist has chosen a project that speaks to their own artistic practice. For instance, Matthew Hindley, a figurative painter who draws on elements of surrealism, has chosen to play the classic 1920s parlour game, “cadavre exquise”, with the children: each child drawing a portion of a body onto a folded piece of paper – one section for the head and shoulders, one or two for the torso, and one for the legs and feet. The drawings that result are fascinating mash-ups of the imaginations of the young artists. Beth Armstrong, a sculptor in wire and wood, has made wire trees with her group, while Alex Emsley, a still life painter, has chosen to explore the “world behind the object”, so that each painted object tells a story.

For the final exhibition, running for the last two weeks of November, the fruits of the children’s work will be shown alongside the work of their mentors. The motive of the project is to emphasise the importance of imagination and open up the world of creativity for children from a young age.

PLEASE NOTE:
The Official Art Poster Edition 2010 FIFA World Cup South AfricaTM IS NO LONGER AVAILABLE FROM iART GALLERY.

The posters can still be purchased from David Krut Projects in Johannesburg and Cape Town. For more information, please visit www.davidkrutpublishing.com.

1 - 12 December

Where sport, art and culture intersect: The Official Art Poster Edition 2010 FIFA World Cup South AfricaTM is an Official Licensed Product of the 2010 FIFA World Cup South AfricaTM.

iArt Gallery is delighted to be collaborating with David Krut Publishing in exhibiting these posters at 71 Loop St, Cape Town, to coincide with the FIFA World Cup 2010 draw at the Cape Town Convention Centre on 4 December. The show will run from 1–12 December.

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This year, the Laerskool Jan van Riebeeck had its year-end art exhibition at iArt Gallery. Work by children in Grades 1 - 7 hung next to the work of established South African masters, such as Gerard Sekoto, Frieda Locke and Christo Coetzee - work lent to the gallery from the extensive private collection of Frank Kilbourne.

On the opening night, 5 November 2009, certain collaborative pieces created by Paul du Toit and the Grade 7 children were auctioned off, while the other work was available for parents and friends to buy, towards raising funds for the school. As can be seen in the pictures, the gallery looked fantastic and much fun was had by all at the opening event. Much happy viewing also ensued over the week in which the artwork remained on show.

06 July – 31 August 2011

iArt Gallery 71 Loop Street

iArt Gallery takes great pleasure in presenting Open Books, a group exhibition of new and existing work by South African artists that directly engages with the medium of books. This engagement manifests itself in many ways within the works. In some cases the form of the book is faithfully preserved, in others it is reinterpreted completely. What remains consistent is that the physical book object perseveres as a meaningful catalyst for artistic production.

Open Books aims to provide a forum for these works, and in conjunction to reflect on the endearing relationship between the book object and its inspiration to South African artists.

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Participating Artists:

Audrey Anderson, Willem Boshoff, Tom Cullberg, Keith Dietrich, Stephan Erasmus, Liza Grobler, Sandra Hanekom, Marlise Keith, Norman O’Flynn, Chad Rossouw, Fabian Saptouw, Mark Splendid, Colijn Strydom, Heléne van Aswegen, Jan van der Merwe, Barbara Wildenboer.

“All that I can experience of the universe with any degree of certainty is matter - for me it is the visible and tangible end of space. This is probably why I gain such satisfaction from the experience of drawing or painting the human figure, flowers in a vase or an animal. All forms are made up of different configurations and densities. Light and shade pass over each in the same way. By emphasizing a brooding or settled half-light I try to give a sense of mystery to my images.” - Paul Emsley

Paul Emsley was born in Glasgow in 1947. Having grown up in South Africa, he moved to the U.K. in 1996 where he currently resides. His work can be found in most public collections in South African and he is the recipient of numerous awards, including the BP Portrait Award in 2007.

Paul Emsley CV

1 - 7 March 2010
US Gallery, cnr Dorp & Bird Street, Stellenbosch

A curated group exhibition, Read between the lines / Lees tussen die lyne focuses on the incorporation and exploration of the written word as subject matter. Nuances of narrative and the influence of literature on visual art forms is the point from which a story of the viewer’s own is able to grow.

ABOUT THE PARTICIPATING ARTISTS:

WILMA CRUISE
Wilma Cruise is a South African artist specialising in sculpture. She has also produced a number of works on paper, which often arise through a process of her translation of drawings toward work in the sculptural medium. In her work, Cruise is preoccupied with the body and the way that the body is represented in space and forms a link between the inner realities and the social environment. Language often also plays a central role in Cruise’s work, as the means of articulating and ynderstanding one’s own position (body) in relation to others on both conscious and sub-conscious levels. In this way she explores a gap in communication - in what she calls “the space between”.

LIZA GROBLER
South African artist Liza Grobler’s visual research is a conversation between image, language and daily life that incorporates bright colours and diverse materials. Grobler’s idiosyncratic and diaristic pictorial vocabulary is capable of evoking a sense of a real individual life at the same time that it invokes matters of iconic status and general human interest - selfimage and exploration, sexuality, confidence and vulnerability, professional ambitions and creative aspirations, idealism and cynicism, love and marriage.

THEO KLEYNHANS
This selection was made from a body of work entitled Between the Devil and the Deep Blue Sea, exhibited at iArt Gallery in October 2009. The original exhibition consisted of a group of ceramic devils – ‘the devils of small irritations’ – and 33 ceramic plates inscribed with platitudes of which any self-respecting self-help manual could be proud. A humourous
take on disaster, Kleynhans has drawn the conclusion that ‘as soon as something goes wrong anywhere there is a self-help guru ready to take charge and guide you through the seven steps to fabulosity’, resulting in the feeling that one is caught, quite literally, between the devil and the deep blue sea.

COLBERT MASHILE
Colbert Mashile’s imagery has developed over the ten years of his professional into a sophisticated language of symbols and characters that are, although often almost recognisable, drawn completely from journeys into deep imagination. Mashile declines to offer any direct interpretation of his own work, and so viewers are left to cast around for visual affinities in order to decipher his artistic code.

ZWELETHU MTHETHWA & LOUIS JANSEN VAN VUUREN
Longtime friends and renowned South African artists, Zwelethu Mthethwa and Louis Jansen van Vuuren, have been involved since 2007 in collaborative activities that attempt to enhance an inherent concept through points of confluence and visual dialogue. The works address contrasting points between the styles of Mthethwa, a Zulu, and Jansen van Vuuren, an Afrikaaner now living in France, in a manner that celebrates their differing backgrounds, their common heritage as South Africans and, above all else, their unique friendship.

ALASTAIR WHITTON
This selection of work has been made from a project entitled Patmos and the War at Sea. Multi-faceted and conceptually sophisticated, Whitton’s work is primarily concerned with notions of structural composition and the ways in which we recognise and navigate the world around us. The associative tension set up by complex webs of reference is complimented
by the sensitivity of the visual outcome.

BARBARA WILDENBOER
Barbara WIldenboer’s keenly crafted modifications of the book, entitled You can’t return home, even though you never left, are complex and layered responses to the pending ecological crisis with which we seem to faced. Wildenboer explores with sensitivity both academic and psychological implications of habitat.

This exhibition formed part of the US Woordfees 2010 arts programme.

9 - 23 September

Read artist’s statement
Profile by Sean O’Toole
View earlier artwork by Richard Smith

“A self-proclaimed “optimistic old sod”, Robert Hodgins once described painting to be a “a bit like surfing” in that a good deal of time is spent bobbing about, waiting for the right wave to come along…Another Hodgins maxim is that “subject matter is not content”. Art is an “auto-intoxication that allows one to live through marriages, divorces, deaths and unhappy love affairs, and come up smiling all the time”. Brenda Atkinson has noted Hodgins’ distinctive “British post-war vision”. His familiar icons of malevolent businessmen in pinstriped suits, prison cells, historical references and political tyrants still reappear, both tempered and aggravated by his mastery of colour and texture which sensitively negotiate the terrain between seriousness and sombreness.”
Kathryn Smith, 2000.

Robert Hodgins (1920 - 2010) was born in Dulwich, London, and immigrated to South Africa in 1938. In 1944 he returned to England, and studied art and education at Goldsmiths College at the University of London, where he received an arts and crafts certificate in 1951 and a National Diploma of Design in painting in 1953. He returned to South Africa, where he taught at the Pretoria Technical College School of Art from 1954. From 1962 he was a journalist and critic for Newscheck magazine. He lectured in painting at the University of the Witwatersrand, Johannesburg, from 1966 to 1983.

In 1983, he retired to paint full-time. His work has been included in many solo and group exhibitions in South Africa and abroad and can be seen in many galleries, corporate and public collections, including Anglo American, the Johannesburg Art Gallery, the Sandton Art Gallery, the Pretoria Art Museum, the South African National Gallery in Cape Town, University of South Africa (UNISA), the University of the Witwatersrand Art Galleries, and the William Humphries Art Gallery in Kimberley.

BACK TO WORK BY

Artist Ruan Hoffmann will be showing 100 new ceramic pieces made in the last quarter of 2010 since his return from Amsterdam in the Netherlands where he was resident at the Thami Mnyele Foundation. The pieces feature a combination of hand painted images and transfers from cell phone photographs taken by the artist.

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Ruan Hoffmann in ZAM Magazine
Ruan Hoffmann on Tile Envy
Ruan Hoffmann in Design Indaba/Inspire
Ruan Hoffmann interviewed by Elle Deco

”[Sam] Nhlengethwa is an artist curious about the intimacies of home, an artist drawn to the immediacy of his surroundings, and - importantly - an artist whose work has sometimes reflected upon the epochal moments defining recent South African history … Renowned for his collage cut-ups, Sam Nhlengethwa’s use of photomontage is noteworthy for its restraint.”
- Sean O’Toole, 2003

Sam Nhlengethwa was born in 1955, in Payneville, Springs, a mining community situated a short distance east of Johannesburg. Between 1977 and 1978 he completed a two year Fine Art Diploma at the Rorkes Drift Art Centre, after which he has exhibited extensively across the globe. He stands today as one of South Africa’s finest pioneer black artists.

Summer in the City

Sam Nhlengethwa: Why I fuse art and music
Sam Nhlengethwa: Glimpses of the Fifties and Sixties
Sam Nhlengethwa: Tribute Series
Sam Nhlengethwa: Kind of Blue

“I have always wanted to be an artist. This sense of self and destiny has shaped my being so conclusively, it has effectively ruined the prospect of being anything else. It has also left me singularly obsessed. I would describe my work as ironically romantic, with a definite sense of narrative and the personal.”

Sandra Hanekom has worked full-time as an artist from 1994 and has been included in numerous group exhibitions and had solo shows in Gauteng and the Western Cape. She has also had curatorial experience and has served on the boards of the Durbanville Cultural Society, the East London Art Society and the Bellville Arts Board.

Sandra Hanekom CV
Sandra Hanekom: Sondeval
XI - Eleven Solo Exhibitions

Saintly Fools and Foolish Saints is built primarily around the frail boundaries that divide the genius from the idiot, the hero from the coward, the sane from the mad and the saint from the fool. It is a series of works that try to conceive of and reflect on the experimental derangement of living a life.

Of this work, and of her general artistic practice, Hanekom has stated:
‘I try to avoid the spectroscopic brutalities of habitual intellectualism in my artwork. Rather, I opt to create a type of visual lyricism that develops an artwork more dependent on imagery and suggestion than intellectual clarity and superciliousness. I do not enjoy the exaggerated intellectualism of some contemporary theories. To me, unconstrained servitude to the intellectual is the pathogen of contemporary art.’

Hanekom says that she ‘tends to err on the side of the subjective’ and prefers ‘to indulge in the destructive maladies of subjective humanity rather than create work that relies on mere theoretic exhibitionism.’ The artworks that still intrigue, charm, fascinate and enchant her display ‘the capriciousness of individual sentiment. I feel that complete comprehension of an artwork defeats the aim of the artist. I have the audacity and candour to expect an artwork to seduce me on an illogical and purely emotional level.’

Hanekom’s artworks are lived, the final product displaying the unique properties of the artist’s own hand and individual emotional tangibility.

Back to XI - Eleven Solo Exhibitions

4 – 28 August 2010

iArt Gallery Wembley: A Project Room for Contemporary Art

Sondeval, Sandra Hanekom’s most recent body of work, is at its core a conflation of two things. On the one hand, it can be regarded as a significantly emotional reaction against old-school “fire and brimstone” Christianity of the kind preached during her childhood. However, it is simultaneously a homage to Christian art of the 15th, 16th and 17th centuries.

Sondeval (literally meaning “falling into sin”) is the Afrikaans term for what is known within the Judeo-Christian religions as “The Fall from Grace”, which refers to the expulsion of Adam and Eve from paradise after they had offended God by consuming the fruits of the Tree of Knowledge. While the English term, “fall from grace”, has a more elegant ring to it, the Afrikaans translation expresses the unmitigated nature of their downfall more unequivocally. The unsympathetic Christianity to which Hanekom was exposed during her childhood presented God as an entity to be feared and avoided.

This issue is by no means unique to Hanekom’s childhood, but what is surprising is that, along with her skepticism of the church, she possesses a deep passion for Biblical art of the 15th, 16th and 17th centuries. Almost as a macrocosmic extension of her own oxymoronic feelings, Hanekom is fascinated by the tumultuous relationship between God and art. She believes that all art concerns God in some manner or another. She explains: “Sometimes even an absence of God can be seen as some strange affirmation.”

Her recent works, including large oil paintings on board panels, contain images of a disjointed human existence.They can be regarded as modern-day Bruegels – “filled to the brim with symbols, questions, mysteries, life and sometimes death.” Hanekom elaborates: “We are connected by blindness and folly. We are like a Bruegel painting.”

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read review by Cobus van Bosch
10 drawings in pencil and pressure

“I am interested in the daily lives of people, especially with what is going on in their minds…I want the viewers to have the feeling of being overwhelmed by the chaotic traffic, of people’s voices speaking over each other, and the over crowding of text and images that constantly shift around as the animation plays.”

Barbadian artist Sheena Rose has spent the last three months in a residency programme at the Greatmore Studios in Cape Town. A selection of Rose’s work, both from Barbados and work produced while in South Africa, will be presented at iArt Gallery in October 2010 as part of the MAD Art Moments exhibition.

Rose graduated with her Bachelors at Barbados Community College in 2008 and since then has been experimented with new media artist. Her work deals primarily with ordinary people and their everyday lives. As such, she highlights issues through animation. According to Rose, “The primary focus of my animation is something that I can arguably say everyone struggles with, and that is…constantly thinking about our daily problems.”

She believes that there are not many times during the day when people’s minds are at rest. “We are always dwelling on something that we need to do, a broken relationship—how we are going to manage paying the electricity bill as well as buying new school uniforms at the end of the month; not driving the car unnecessarily because gas costs more nowadays.”

Sheena Rose possesses a keen sensitivity to everyday occurrences. As a society, we can become so engulfed with the day-to-day chase that we sometimes easily forget that within each breath, hello, goodbye, or moment of stillness is an experience that can be only lived once. Rose beautifully recaptures these moments of truth in her animated projects.

WORK TO BE SHOWN AT iART GALLERY:
TOWN: AN ANIMATION SET IN ROSE’S HOME, BRIDGETOWN
WOODSTOCK: AN ANIMATION BASED ON TIME IN CAPE TOWN
DREAMS: A SERIES OF ANIMATIONS BASED ON EVERYDAY EXPERIENCES AND THEIR MANIFESTATION IN THE SUBCONSCIOUS
ORIGINAL MIXED MEDIA STILLS: USED TO CREATE THE ANIMATIONS

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4 December 2008 - 30 January 2009

iArt Gallery’s exhibition of selected works featuring some of South Africa’s most prominent artists, as well as up and coming talent. Kate Gottgens, Gerald Tabata, Kelly Higgs, Hanneke Benade and Jan du Toit, amongst others, can be seen along side Johann Louw, Sam Nhlengethwa, Colbert Mashile, William Kentridge, Paul Emsely, Diane Victor, Zwelethu Mthethwa and Louis Jansen van Vuuren. This diverse range of artistic talent promises to produce a memorable show that should not be missed.

15 December 2009 - 15 January 2010

A salon style group show featuring work by both renowned and upcoming South African artists.
New work by:
Matthew Hindley
Clare Menck
Louis Jansen van Vuuren and Zwelethu Mthethwa
Sam Nhlengethwa
Johan Angus
Gerald Tabata
Warren Editions
The Artist’s Press

11 November - 9 December 2009

Tactility: denial and desire is an exhibition made up predominantly of bronze sculpture by Cobus Haupt, with painting by Thomasin Dewhurst.

Cobus Haupt works figuratively in bronze, his primary concern being ample tactility in his work, through which he maintains and amplifies the delicate balance between the real and the symbolic in a tradition of production that has stood the test of time.

Thomasin Dewhurst focuses on theatrical figures - imagined characters in a performance that is intimate, confidential, exposed, with the audience’s response being one of wanting to possess the unpossessible. Similarly to Haupt, Dewhurst also advocates the great importance of traditional media such as painting, printmaking, drawing and sculpture as contemporary art forms.

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This body of work has grown from a seed of inspiration that presented itself to Kleynhans in the form of a bale of imported second-hand clothing during some time he spent recently in Zambia. On the streets of Zambia, it is not difficult to find such a bale, which can be bought without knowing what is inside and then re-sold on the very same streets. Owing to this accepted practice of buying blind, Kleynhans began to see these bales as a symbol of deceit – to be forced to pay for something without any kind of guarantee that what you are buying will be re-sellable at all. From the first image of the bale, and in his typical style, Kleynhans embarked on a journey of imaginative associations that ranged from the well-loved comic strip character, Tin Tin, to the story of Babel, to the activity of dropping bales of food or clothes from planes into areas fraught with famine or civil war, to the schoolboy’s punishment-avoidance tactic of crying out, “The Devil made me do it, Miss!” And so he arrived at the image of his devils, which he describes as ‘the devils of small irritations…designed to be a gentle tongue firmly in the collective cheek of devils.’

Expanding his humourous take on disaster, Kleynhans has drawn the conclusion that ‘as soon as something goes wrong anywhere there is a self-help guru ready to take charge and guide you through the seven steps to fabulosity’. Hence, the counterpart to the group of devils consists of 33 ceramic plates, inscribed with platitudes of which any self-respecting self-help manual could be proud. Kleynhans’ view is that most people, not least himself, feel quite beleaguered by the overwhelming ubiquity of ‘aspirational tweeness’ on the one hand and potential disaster on the other. And so, speaking on behalf of many, he finds himself quite literally stranded between the devil and the deep blue sea.

There are 33 plates and 11 devils on exhibition:

DEVILS (R4 000 each):
Masked Devil
Nudist Devil
Overinsured Devil
Bad Hair Devil
Diabetes Devil
Do-it-yourself Devil
Holey Devil
Tikoloshe Devil
Old Money Devil
Dangerous Love Devil
Horny Devil

PLATES (R1 900 each):
Only begin
Ex Africa semper alquid novi
Wherever you go, there you are
It’s your lucky day today
More is more
Time brings everything
As above so below
I was born under a lucky star
I feel good
Every man and every woman is a star
I am calm
I am wealthy
What we think, we become
Reality is an illusion
It’s just a point in time
You can do it
Good fortune
Try not. Do or do not. There is no try.
This, too, shall pass
Well done is better than well said
Strike it rich
Be a traveller not a tourist
I am never alone
Even when you experience particle, know that it is wave
You’ve got the money
Bigger is better
Keep breathing
Truth is within ourselves
All is good
Less is more
You can’t go to heaven until you invent it
All’s well that ends well
Caput mortuum

Back to XI - Eleven Solo Exhibitions

In this body of work, Theo Kleynhans explores the inter-relatedness of our shared experience on this planet by presenting fragments on the picture plane. These visual clues are placed using formalist techniques – line, colour, texture, shape – to ensure pictorial balance. Ambiguity and mapping underscore these fragments that stand as remainders of an otherwise lost or destroyed whole. Each artwork cross-references each other artwork, communicating via fragments of known existing art works – much the same way as we communicate with each other using bits and pieces of our experience of the world that has developed as we wander through it.

“Living in an environment in which we are constantly bombarded with data I find solace in the images that have always re-assured me – perhaps just because they are known, but also because they mark certain developmental stages in my fine art career. I use text throughout in the form of old handwritten letters of which only fragments remain visible. These fragments communicate the essence of loss and the creation of new memories” (Kleynhans, October 2009).

1 - 7 March 2010
US Gallery, cnr Dorp & Bird Street, Stellenbosch

Read between the lines / Lees tussen die lyne

A curated group exhibition, Read between the lines / Lees tussen die lyne focuses on the incorporation and exploration of the written word as subject matter. Nuances of narrative and the influence of literature on visual art forms is the point from which a story of the viewer’s own is able to grow.

PARTICIPATING ARTISTS:
Wilma Cruise, Liza Grobler, Theo Kleynhans, Colbert Mashile, Zwelethu Mthethwa & Louis Jansen van Vuuren, Alastair Whitton, Barbara Wildenboer

view work

Paul Emsley

“All that I can experience of the universe with any degree of certainty is matter – for me it is the visible and tangible end of space.” - Paul Emsley

For Paul Emsley, all forms are made up of different configurations and densities over which light and shade pass in the same way. Emphasis on a brooding or settled half-light and extraordinary mastery of the medium lends Emsley’s work a profound sense of mystery.

The Official Art Poster Edition 2010 FIFA World CupTM

iArt Gallery is delighted to be collaborating with David Krut Publishing in illuminating the point at which sport, art and culture intersect: The Official Art Poster Edition 2010 FIFA World Cup South Africa™ is an Official Licensed Product of the 2010 FIFA World Cup South Africa™.

view gallery of posters

VISI exhibits top 50 designs at iArt Gallery
From Alejandro Aravena to Google and everything in between

In celebration of its 50th issue, VISI – South Africa’s premier décor, design and architecture magazine – will be hosting, in association with Absolut Vodka, the VISI Top 50 Designs exhibition at the iArt Gallery in Cape Town from 18 to 23 August 2010.

Each VISI editorial team member was tasked with reminiscing on design post-1998, including architecture, product, furniture, automobile and technology design, and compiling a list of 100 designs they deemed ‘definitive creations’. By following four major design principles – outlined by the team, namely earth, technology, space and the democratisation of design – each entry was judged according to these principles and its staying power was tested. Ultimately the VISI Top 50 Designs exhibition was borne.

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WATCH THIS SPACE FOR MORE DEFINITIVE DESIGNS

“[Walter Meyer] is widely celebrated as possibly the finest painter of distinctly South African landscapes that this country has yet produced.”
- Ivor Powell, The Sunday Times

“In his understated way, he depicts a painful psychological reality that his forbearers tried so hard to hide.”
- Hazel Friedman, Ventilator

Walter Meyer was born on 31 January 1965 in Aliwal North, South Africa, and lives in the town of Upington in the Northern Cape province of South Africa. He holds a Bachelor of Fine Art degree from the University of Pretoria and spent some years studying at the “Staatliche Kunstakademie’ in Dusseldorf. He has exhibited extensively in South Africa and abroad, and has recieved a number of awards, including the ‘New Signatures’ award for Painting and Drawing in 1984 and 1987 respectively.

21 November - 4 December 2008

Generally known as a landscape painter, Walter Meyer produced a series of sea scapes over the previous two years. This exhibition showcased these unique works which will, no doubt, be of special significance in the future.

2 December 2009 - 13 January 2010

“In his understated way, he depicts a painful psychological reality that his forbearers tried so hard to hide.”
- Hazel Friedman, Ventilator

This season, iArt Gallery Wembley: A Project Room for Contemporary Art will show ten paintings by Walter Meyer that have never before been shown. Some work has been kept from public view for years, while other work has been recently created. A fascinating journey through a South Africa seen through the eyes of one of the greatest landscape painters of our time.

You may also be interested in:
Coast / Kus
other work by Walter Meyer

William Kentridge is undoubtedly the best known South African artist, currently in demand by major institutions all over the world. He is perhaps best known for his films, theatre, and opera, but he is also a prolific producer of limited edition fine art prints which are as varied and complex as his films. A prolific and highly energetic creator, Kentridge has deployed work in a number of media into an oeuvre of astounding depth.
Of his work, Kentridge has said: “I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain ending - an art (and a politics) in which optimism is kept in check, and nihilism at bay.”

William Kentridge is a South African artist. He was born in Johannesburg in 1955. He took a Bachelor of Arts in Politics and African Studies at the University of the Witwatersrand and then a diploma in Fine Arts from the Johannesburg Art Foundation. At the beginning of the 1980s, he studied mime and theatre at the L’École Internationale de Théâtre Jacques Lecoq in Paris. William Kentridge received the Carnegie Medal for the Carnegie International 1999/2000; the Goslar Kaisserring in 2003; and the Oskar Kokoschka Award (2008). He has received honorary doctorates from a number of universities internationally. He lives and works in Johannesburg.

BACK TO WORK BY

Wilma Cruise is a South African artist specialising in sculpture. She has also produced a number of works on paper, which often arise through a process of her translation of drawings toward work in the sculptural medium. In her work, Cruise is preoccupied with the body and the way that the body is represented in space and forms a link between the inner realities and the social environment. Language often also plays a central role in Cruise’s work, as the means of articulating and understanding one’s own position (body) in relation to others on both conscious and sub-conscious levels. In this way she explores a gap in communication - in what she calls “the space between”.

US Woordfees 2010 / US Wordfest 2010
Wilma Cruise: Cocks, Asses, &

BACK TO GALLERY ARTISTS

Wilma Cruise’s highly acclaimed body of work – Cocks, Asses, & – consists of a large number of sculptures, etchings, drawings, and writing, which draw from various sources of inspiration, including the relationship between humans and animals, human interpersonal relationships and the process of making art. Primarily, though, Cruise admits to being inspired by what she calls the ‘gap between’:

‘People’s bodies might be saying one thing, but what’s coming out of their mouths might be saying another thing, and it’s that “body language” that I’m interested in…the space between bodies becomes pregnant with meaning and a kind of language.’

read Dr Gerhard Schoeman’s opening speech

WILMA CRUISE

The Animals in Alice

19 July- 17 August 2011

iArt Gallery Wembley: A Project Room for Contemporary Art

The Animals in Alice constitutes the next installment in a series of exhibitions exploring the nature of the animal-human interface, initiated with the traveling exhibition, Cocks Asses &… (I Can’t Hear) between 2007- 2009. The exhibition consists of a series of drawings, prints and text that explore the curious interface between Lewis Carroll’s Alice and the animals that inhabit her Wonderland.

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BIOGRAPHY

ZWELETHU MTHETHWA (born in Durban, KwaZulu-Natal, South Africa, 1960) received his BFA from the Michaelis School of Fine Art, University of Cape Town, a then “whites-only” university he entered under special ministerial consent. In 1989, he earned a master’s degree in imaging arts while on a Fulbright Scholarship to the Rochester Institute of Technology, Rochester, New York. Mthethwa has had over thirty-five international solo exhibitions in the United States, France, Germany, Italy, South Africa and Switzerland, and has been featured in numerous prominent group exhibitions, including the 2005 Venice Biennial; Prospect.1 New Orleans, 2008; and Africa Remix: Contemporary Art of a Continent, which toured internationally.
He is represented internationally by Jack Shainman Gallery, New York, and lives in Cape Town, South Africa.

Zwelethu Mthethwa CV
Zwelethu Mthethwa PHOTOGRAPHY
Zwelethu Mthethwa PASTELS

EXHIBITIONS

Zwelethu Mthethwa: New Works, 2011
Zwelethu Mthethwa: Inner Views at Studio Museum, Harlem, 2010
Entre Nous / Between Ourselves / Phakathi Kwethu (Collaboration with Louis Jansen van Vuuren), 2007-2008

PRESS

MAIL & GUARDIAN: Emancipation takes pride of place, February 2011
ART REVIEW Zwelethu Mthethwa: Inner Voices, September 2010
THE DAILY BEAST Zwelethu Mthethwa’s Photographs of Black Africa, August 2010
MODERN PAINTERS REVIEW, August 2010
NEW YORKER REVIEW: On the inside, August 2010
NY FINANCIAL TIMES: Zwelethu Mthethwa, Studio Museum, New York, August 2010
NEW YORK DAILY NEWS REVIEW: Book, exhibit goes deep inside different kind of house, July 2010
NEW YORK TIMES REVIEW: Intimate Interiors, Vividly Revealed, July 2010
NEW YORK VILLAGE VOICE: David Goldblatt, Zwelethu Mthethwa, and ‘Retratos Pintados’ Evoke Art’s Subject-Producer Question, July 2010
NEW YORKER Book Review, May 2010
MAIL & GUARDIAN: Mthethwa’s balancing act, April 2010

PUBLICATIONS

Zwelethu Mthethwa- New Works (Exhibition Catalogue, 2011
ZWELETHU MTHETHWA - new monograph from Aperture,2010

MEDIA

IMAGES
Zwelethu Mthethwa featured on Flak Photo, 3, 10, 17, 24 & 31 July, 2010
VIDEO
Zwelethu Mthethwa in conversation with Okwui Enwezor, Parts 1, 2, 3 & 4

Zwelethu Mthethwa is known primarily for his work in the photographic and video media. However, the pastels and paintings he completed early in his career were well recognised, and he continues to produce these works, mainly for a South African audience. Mthethwa’s work is traditional in the formal sense – his compositions are immaculate, his sense of line strong and his use of colour always significant. The integrity and honesty with which Mthethwa tells visual stories and provides his viewers with vividly evocative vignettes of his immediate word has earned him acclaim, both critical and popular, the world over.

Zwelethu Mthethwa was born in Durban in 1960. He holds diplomas from the Michaelis School of Fine Art, University of Cape Town and, the deserving recipient of the Fulbright Scholarship, Mthethwa holds a Masters in Imaging Arts from the Rochester Institute of Technology. Mthethwa’s work has been shown in over 100 exhibitions and can be found in a vast number of public and private collections worldwide.

Zwelethu Mthethwa PHOTOGRAPHY
Zwelethu Mthethwa CV

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Since Apartheid’s fall in 1994, South African photography has exploded from the grip of censorship onto the world stage. A key figure in this movement is Zwelethu Mthethwa, whose stunning portraits powerfully frame black South Africans as dignified and defiant, even under the duress of social and economic hardship. Working in urban and rural industrial landscapes, Mthethwa documents a range of aspects in South Africa—from domestic life and the environment to landscape and labor issues. His work challenges the conventions of both Western documentary work and African commercial studio photography, marking a transition away from the visually exotic and diseased—or “Afro-pessimism,” as curator Okwui Enwezor has referred to it—and employing a fresh approach marked by colour and collaboration.

Zwelethu Mthethwa PASTELS
Zwelethu Mthethwa CV

Back to “Zwelethu Mthethwa” Main