ART TIMES APRIL 2022 EDITION by SA ART TIMES

APRIL 2022 ARTTIMES.CO.ZA

Emerging South African Artist Auction 28 April 2022 Online Auction

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Art Times April 2022 Edition

CONTENTS Cover: Dylan Lewis, Cheetah Chasing Buck, Bronze Photo. Gerde Genis

10. M.O.L 28 - HERE IS WHERE WE MEET – HEDWIG BARRY Ashraf Jamal Column 18. A DARK EDEN - PARADISE LOST AND FOUND by Julia Freemantle 24. CALLING ALL SCULPTORS - SCULPTX 2022 The Largest Annual Sculpture Fair in South Africa 28. AN OUTDOOR ADVENTURE IN ART Anton Smit Sculpture Park 34. THE PERCH New sculpture on the NWU Potchefstroom Campus 38. THE CLAY MUSEUM The only one of its kind in South Africa 42. FYNARTS10 A Celebration of Sculpture and Ceramics 48. PARADISE PERPETUATED By Hendrik F. Theron 52. RECON(FIGURE) In conversation with Wilma Cruise by Jane Taylor 58. HEKKIE MOOS: RETROSPECTIVE Who was “Meester” Hekkie Moos? 64. Art UNLOCKED 20+ Artists | 2 Studios | 6 Group Exhibitions 70. MESH - THE FABRIC OF FRIENDS Triggers to Resonate Universally

Installation view of Hedwig Barry’s exhibition, Here Is Where We Meet at Nirox Sculpture Park, showing the works Johannesburg and Angel of History (LR.)

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Editors Note

SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

t is always a thrill to look forward to the April Art Times edition, as it is special one where we focus mainly on beautiful South African sculpture. I love all means of expression in art, but somehow sculpture is the only one where you can walk around it, touch and feel it, and even hug it. When the context of a garden or a landscape is almost as important as the sculpture itself. Sometimes, like Strijdom vd Merwe, where the landscape is the sculpture - far away from Gallery walls and museums. For me, I think I would have rather perhaps set up a sculpture garden than a gallery, as somehow it fits more true with the physical engagement of art and ideals. I get really quiet, deep, and emotional when walking around Dylan Lewis’s Sculpture Garden as it’s woven with the physical act of walking, breathing, smelling seeing, and touching. Art Fairs definitely have their place, but hands down an hour in Paradyskloof and I feel and remember more emotions than most visits to mass art malls. In having said this I also enjoy going to Tokara Sculpture Garden, as well as Anton Smit’s Sculpture Garden, The Norval, Zeitz MOCAA and the Everard Read Gallery, which all have superb viewing spaces. Certainly the best and only museum dedicated to Clay and ceramics- is at Rust en Vrede Art Gallery in Durbanville, which is always a treat to visit. I must say that I haven’t seen The Oliewenhuis Sculpture Garden as well as Nirox, but I’m saving this as a treat as a long overdue roadtrip - now that Covid is behind us. I am also pleased to see that Riebeek Valley- Art Unlocked is radiating it’s glory - from the most amazing creative town this year as well as the dynamic Hermanus FynArts 2022 which is blossoming and Melrose Gallery’s Sculptx is shining. We have also the famous writers Elza Miles writing on Hekkie Moos (showing at the most comprehensive Prince Albert Gallery) as well as Ashraf Jamal writing for us in this edition. Anyway that’s enough about this side of the Art magazine, I look more forward to hearing about your art experiences and receiving photos and your thoughts of art that you have seen lately.

Gabriel Clark-Brown

CONTACT ART TIMES Tel: +27 21 300 5888 109 Sir Lowry Road, Woodstock, Cape Town PUBLISHER Gabriel Clark-Brown editor@arttimes.co.za ADVERTISING & MARKETING Eugene Fisher sales@arttimes.co.za DIGITAL MEDIA & EXHIBITION LISTINGS Jan Croft subs@arttimes.co.za ART DIRECTION Brendan Body ARTGO CONTENT info@artgo.co.za Rights: the Art Times magazine reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the sa art times do not necessarily represent the official viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved. Errata: Hermanus FynArts - would like to apologise for omitting the name of Karin Lijnes from the list of artists who are exhibiting at Sculpture on the Cliffs - 2020. Her work, Freedom Tree comprises of a large steel mobile of five ceramic bird forms.

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CURRENT EXHIBITIONS CASTED Antoine Bourdelle, Dylan Lewis, Nandipha Mntambo, Anton van Wouw until 11 September 2022

THE JOHANNESBURG STATION PANELS Pierneef’s Journey STOREROOM SERIES Back by popular demand until 29 May 2022

IN-MOTION Art of the Space Age until 27 November 2022

Featured in CASTED Antoine Bourdelle (1861-1929) Woman with raised arms, 1905 Bronze Huberte Goote Collection

Entrance Complimentary Stellentia Road, Stellenbosch Tue – Fri: 10:00 – 17:00 Sat – Sun: 10:00 – 16:00 info@rupertmuseum.org 021 888 3344 www.rupertmuseum.org

M.O.L 28

HERE IS WHERE WE MEET – HEDWIG BARRY Ashraf Jamal

n three adjacent rooms at the Tate Modern, we find the paintings of Gerhard Richter, Mark Rothko, and Claude Monet – three different moments in abstraction. Richter’s paintings read as electrical static, the vertical energy field is starkly gouged, the colours blindingly harsh. In the case of Rothko, the mood is somnolent, the colours, while similarly kinetic, are muted, the energy field softly subterranean. In the single painting by Monet – my favourite – it is the natural world that emits its light and soul, vegetal matter adrift on a lake. I recall these paintings while looking at Hedwig Barry’s solo show at the Nirox Sculpture Park, the fruits of her residency. Like Monet, she speaks of the impact of light and colour, green especially, which is unsurprising given that Nirox is built upon an aquifer, an underground reservoir, created when a meteor struck a lake, plunging the water beneath the earth thousands of years ago. Like Monet’s paintings, especially his monumental works at Musée de l’Orangerie in Paris, Barry’s paintings, on reused canvases donated by a friend, display a similar interest in deliberately discordant mark-making. In What Painting Is, James Elkins describes Monet’s process beautifully: ‘To do what Monet did … it is necessary to make marks that have no set orientation and no uniform shape. Each mark has to be different from each other mark: if one slants downward, the next has to go up. If one is straight, the next must be arcuate. Lancet strokes must follow rounded ones, zigzags must be cut across by ellipses, thickened strokes must be gouged by thin scrapes. Any pattern has to be defeated before it grows large enough to be seen by a casual eye’. Pattern recognition is, I think, integral to the experience of the paintings by Rothko and Richter at the Tate Modern – they are formal states, no matter how electric or tremulous. In the case of Monet, however, it is the informal dissonance of energy fields, perceived in nature, which matter most. That Barry speaks

‘of things that cannot be resolved, that must be incomplete’, reveals that she, like Monet, understands that form requires formlessness, that art, after Walter Benjamin, also amounts to ‘the debris of history’. This suggests that Barry also shares an affinity with the paintings by Rothko or Richter. We are speaking of degrees of separation, because Barry adores the spirituality which she, like many of us, find to be the magical hidden ground – or aquifer – that feeds Rothko’s mysterious colour fields. While, like Richter, Barry also understands that ours is a nuclear age, an age which lives in the jaws of an inescapable existential threat. This because we are now as denatured as we were shaped by nature, as much geo-political and Anthropocene creatures as we remain tethered to a howling natural world. Tony’s Colours, a paint shop in Booysens, Johannesburg, is Barry’s grail. There she spends hours realigning swatches, struggling to understand the language of colours, their interface, congruency, discordance – dance. And it is undoubtedly the dance of colour that is omnipresent when looking at and experiencing Barry’s paintings. As one attendee at her walkabout asked – is her mark-making a form of writing? A script? After Monet, after Elkins, it is. Figure requires its ground, and vice versa, forms are shaped in-and-through nothingness, language is the subtraction and abstraction of a fundamentally unknowable world. In Barry’s case, that world – revealed through paintings and sculptures – is bathed in tones that are soft yet sheer – greens cool and warm, blues synthetic and elemental, cerulean, aquamarine, yellows and oranges that dart, are ever shifting. This because for Barry the world is never still, colour never one thing. This is especially the case in the ‘flip colours’ she uses, which alter when light, shadow, and perspective shifts. If sculpture appeals greatly to her, it is because, unlike a 2D painting, it exists in the round. We are compelled to circumnavigate, grasp the refracted angularity and softness of tones and forms.

Installation view showing the works Johannesburg, Angel of History, Arch and Marievale (LR.)

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Above: Tswalu (2021, automotive and oil paint on previously used canvas, 160 x 130 x 7 cm Opposite Page: Makuleke (2021), automotive and oil paint on previously used canvas, 160 x 220 x 7 cm

In Barry’s case, however, paintings and sculptures are not dissimilar forms, because in both what intrigues her most is the dynamism of objects, the sensations objects emit, and the inextricable relationship of the natural and unnatural realms. That she uses oils and automotive paint reveals this synergy. Automotive paint, unlike oils, is sheer, abstractly smooth, uniformly continuous – sprayed with the aid of a compressor. Oils, on the other hand, bear all the fragility and irresolution of the haptic – the painter’s hand. Both approaches are crucial. That Barry chooses to integrate automotive paint into her works in oils, thereby shifting their effervescent surface even further, tells us that the artist is prepared to experiment, always. The sculptures are made involuntarily, haplessly, by a machine used to compress scrapped cars. Made from single or welded sheets of aluminium, they suggest both industrial and biomorphic forms. What they become in the compressing process is never determined in advance. In short, the lack of control meets sublimity, or the element of wonder and surprise that distinguishes Barry’s ever restless and curious imagination. While the sculptures, to me, echo the works of Pop Expressionists – say Rauschenberg – they are not repurposed

objects. For Barry, the artists John Chamberlain and Lynda Benglis is a tighter fit. No upcycler, Barry uses aluminium sheets which are immaculate, designed for moulding the bodies of cars, which she, with the aid of a compressing machine, shapeshifts. Shapeshifting is crucial, as is the intangible dance of colour, because for Barry forms and tones are never uniform. It is the malleability of the world that enchants her. While a resident at Nirox, a group of weekenders heard the gushing sound of the compressor. Through the trees they saw a many-spangled large bright object which they mistakenly assumed to be a jumping castle in the process of being inflated. Excitement escalated as the children raced towards the scene. Notwithstanding the disappointment on realising this was no jumping castle, the error remains instructive. Barry’s sculptures possess the characteristics of a funhouse – they are gaudily twisted simmering sweet-wrappers, loudly playful excrescences – shapes as snarled as they are explorative. To see a vast snarling yet playful object perched on a green knoll is a delight. More angular than soft, more a jagged 3D form, they evoke origami, or the virtual fantasy of a 3D printer, objects that are fundamentally pristine and clinical. And yet, despite this austere quality, they are pretty, becoming, inviting, wholesome, easeful – joyous.

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Installation view showing the works Arch (2022), automotive paint on aluminium, 170 x 350 x 170 cm, and Tswalu (2021), automotive and oil paint on previously used canvas, 160 x 130 x 7 cm.

Sharkboy (2022) automotive paint on aluminium, 210 x 110 x 180 cm

It is joy that, in my view, makes Barry’s sculptures and paintings deserving of our care. They elevate life. They are never a beatitude, never merely consoling. Instead, they dance, frolic, express what is of far greater value than consolation – exuberance. If Rothko appeases an existential crisis – albeit unsuccessfully, given that he took his own life – and if Richter reminds us that ours is a radioactive and frighteningly nuclear moment – the on-going and tragic fallout of the two great European wars, or catastrophes – then it is Monet, who precedes both, whose pastoral vision Barry reveres most greatly. She is under no illusion that life is a pastoral idyll, she simply understands that we cannot sustain ourselves with holding onto it. Her meticulously selected colour palette is the story of this zest for the vivacity of life, its chemical and electric beauty, its dance, its balm and many-splendid pleasures.

The context in which her works were displayed at Nirox – against yellow rammed earth walls and raw soft-yellow pine – proved perfect. For LeRoy Croft, the Director of Programming, Barry’s paintings were ‘a pushback to the beige police’. Indeed. As I leave what is surely a delightfully inspiring show, Sven Christian, the newly appointed Curator for Nirox and the Eduardo Villa Will Trust Centre for Contemporary Sculpture, shows me a photograph he has taken. We see a luminous green praying mantis betwixt a field of blue and pink and an earthy wall resembling cork. Christian has perfectly captured what Hedwig Barry calls ‘the space between’ – between worlds, hearts, minds and souls, colour and form, the wondrous joy of the natural world and the dark foreboding of the Anthropocene. It is here, in this gnashing crux, that we must meet.

Life is harsh, humans cruel. But, like Monet, Hedwig Barry has chosen to ease our nervous, now hysterically fearful, condition.

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The Artist’s Garden

DYLAN LEWIS

A Dark Eden: Paradise lost and found Photography by Gerde Genis Text by Julia Freemantle www.dylanlewis.com/garden

Dylan Lewis Sculpture Garden Copyright Pardus Fine Art CC Photo David Ross

Above: Running Cheetah Pair II, Bronze Opposite Pages: White Rhinoceros, Bronze

ymbolic of so many things, and acting as a microcosm of the universe, creation and life, the garden is a self-contained universe. When imbued with an artist’s creative vision, it takes on still further layers of meaning. A metaphor for evolution and the human experience – and all the complexities, struggles and triumphs therein – the Dylan Lewis Sculpture Garden contains within it levels of symbolism and serves as a stage where nature and man, wild and tame, meet. Organic in the truest sense of the word, in that the garden’s creation wasn’t calculated, it has over time also become the most fitting context in which to experience, and understand Lewis’ body of work. ‘It was an unplanned project,’ he notes. Not unlike the process of creating an artwork, it emerged unexpectedly, a result of the process of making. Indeed this moulding of not only sculpture but also of the landscape itself has resulted in a rare ‘artist’s garden’, an entire realm reflecting a world view. The artist in essence sculpted a flat canvas of land – with every metre of the seven hectare expanse shaped, articulated and moulded, and two excavator operators essentially serving as a de facto extension of Lewis’ own

hands during the process. The artist had never sculpted on this scale before but found that the principles of the practice remained largely the same. ‘I felt like I was walking through a large surface of one of my sculptures,’ he notes. Applying the same techniques he would have done for a smaller work, he worked with the sightlines of the surrounding mountains – the garden forming part of a much larger composition that includes the landscape. While initially sculptures were placed, replaced or moved until they settled into the garden, they have now become intertwined with the space, creating a dialogue – the landscaping informed the placement of particular sculptures, while the nature of Lewis’ sculpture practice informed the forms excavated and moulded into the earth itself. Unusual in the context of sculpture ‘parks’ or gardens, Lewis’ creation is a consciously composed work in itself, a philosophical framework, rather than merely a platform upon which to display his pieces. And while the hardscaping – pathways, hills, buildings - is now complete, the garden continuously evolves through seasons, the natural order of time changing the vegetation and the dynamic between nature and sculpture.

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Above: Monumental Torso II Opposite Pages: Trans-Figure XXII, Bronze

It became evident to Lewis as he embarked on making the garden that he was attempting to express more than just the physical and found himself exploring a theme that runs consistently through his work - the counterpoint between tameness and wildness, where the mountain amphitheatre represents the untamed and the garden is an ordered manmade entity. ‘Exploring this tension allowed me to place the sculptures in the context within which they were created – as forms of nature,’ he observes. In addition to these ideas of wildness and containment, there exist other contrasts. The garden is a space in which to explore the conceptual realm – to delve into the idea of this tension not just on the physical plane, but on an emotional one. In this way it embodies the dichotomies and contrasts of life and the complexities of the human psyche. Within the world that is the garden - the sculptures themselves, and the interplay between the two – there exists a dialogue. With the sculptures expressing human emotion and complexity – a consistent theme that’s run through the Lewis’ work throughout his career – light and dark, calm and conflict. He’s quick to point out however that this darkness is not in a moral sense, but rather a reflection of the difficulties embedded in the human experience and even nature itself.

Lewis no longer sees dark and light in black and white or as moral opposites, but rather an impartial reality of existence. Explored in the shades of grey. ‘The human experience of a garden is often one of serenity and beauty – but what’s happening on another level, beneath the surface and invisible to the naked eye is also a reality, and just part of life. Nature is beauty, but it’s also death, decay, destruction,’ he adds. The garden is an impersonal expression of this contrast, and its ubiquity. In some ways, a tour of the garden gives insight into Lewis’ own mental world – offering a glimpse of the artist’s personal philosophical framework. ‘In taking people around the garden I talk to ideas which inform my own journey - emotionally and philosophically. So it’s an immersive experience in that sense,’ he says, and his sculptures express this constant dance through their symbolism – animalistic versus human, serenity and struggle. ‘All of nature has this dichotomy even a suburban garden.’ Visits to the Dylan Lewis Studio and Sculpture Garden are by appointment only. To make a booking request, please visit the website, call +27 (0)21 880 0054 or email reservations@dylanart.co.za

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CALLING ALL SCULPTORS Applications are now open for SculptX 2022 The largest annual sculpture fair in South Africa. www.themelrosegallery.com

e would like to invite established, midcareer and emerging sculptors to express interest in participating in SculptX 2022. This is the 5th instalment of the extremely successful sculpture fair that has become a valuable platform for the promotion and celebration of sculpture and the creators thereof. The fair consistently presents over 200 sculptures created by more than 90 sculptors in various spaces indoor and outdoor spaces within the Melrose Arch precinct in Johannesburg. Previous years have included the likes of Noria Mabasa, Pitika Ntuli, Willie Bester, Wilma Cruise, Andries Botha, Johannes Maswanganyi and Gordon Froud amongst numerous others. SculptX provides a valuable opportunity for emerging artists to present their works alongside some of the countries most acclaimed talents. We recognise that artists of colour and women have traditionally been underrepresented in terms of sculpture and our team puts much effort into trying to address these challenges.

Carol Cauldwell Rabbits Dandelion, 2021 Bronze, 77 x 36 x 35 cm Edition of 15

Our desire to be more representative and less exclusive provides the artists with more freedom in terms of what they choose to create and present, and this results in a wide assortment of materials, sizes, price points and theme’s. These have ranged from crystal, pottery, and clay to mixed media, wood, recycled materials, found objects, steel, fabric, bronze, and others. How to Apply: Artwork Submissions including the following information to be emailed to curator@ themelrosegallery.com by 1 May 2022: Artist CV.Brief Artist Bio (250 words). Artist/ Work statement (250 words max). High-resolution image of artwork(s), max 4MB. Artist Profile picture, max 2MB.

Carol Cauldwell Stargazer, Frogs, Bronze, 96 x 72 x 65 cm Edition of 15

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Simon Zitha, Sibongile, 2021 Bronze and stone 118 x 48 x 48 cm

Installation image of Kenneth Shandu The Seed, 2021, Garden hoes, steel, metal and lights 340 x 340 x 250 cm

Installation image of Wilma Cruise’s work presented at SculptX

We would also welcome any proposals for exciting projects such as monumental sculptures, installations, workshops, and dialogues that create a buzz around sculpture as an important genre. We prefer to avoid a theme or to limit the participating artists in terms of seniority, subject matter or medium so as to present as wide an array of quality sculptures and sculptors as possible. This allows talented emerging artists to show alongside many of South Africa’s most established names. We will confirm participating artists by 31 May. Works will need to be received in Johannesburg by the 5th August 2022. SculptX 2022 runs from 1 September to 2 October. For more information contact: curator@themelrosegallery.com and visit www themelrosegallery.com to see previous instalments. Installation image of Pitika Ntuli and Olwethu De Vos’s work at SculptX

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AN OUTDOOR ADVENTURE IN ART Anton Smit Sculpture Park, Gallery & Art Cafe Written by Schalk Schoombie www.antonsmit.co.za

he American sculptor Richard Serra, famous for his large-scale sculptures made for site-specific landscape, urban and architectural settings, believes the experience of the work is inseparable from the place in which the work resides.

In the same way, the work of the celebrated South African sculptor Anton Smit enhances and transforms some carefully chosen settings. One such environment is the Anton Smit Sculpture Park, a unique exhibition which is only 40 minutes’ drive from Pretoria and 60 minutes from Johannesburg. This art oasis spanning seven hectares adjacent to the Aqua Vista Mountain Estate, with a panoramic view of Bronkhorstspruit Dam, opened in 2002. A selection of 600 sculptures is on display to maximum effect in a serene garden and two art galleries. The artist’s creative hub, consisting of his studio and workshop, is also located here. Anton Smit’s powerful creations have been shown and lauded internationally, from Rome and Milan to Bonn, Amsterdam, Cologne, Singapore. His work has been included in private and corporate collections at home and abroad. Towering over the landscape is the male figure titled “Faith”, an enormous sculpture standing seven meters tall. This uplifting installation presents a fitting introduction to the emotional impact of Smit’s work, exploring the spiritual yearnings of man. His great heads and monumental African sculptures evoke narratives of suffering, reconciliation, glory and sublimation.

Outside Main Art Gallery, Photo by Richard Holmes

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Above: Sculpture Park, Faith with Loincloth. Opposite Page: Sculpture Park, Oblivion of the Waves.

Sculpture Park, Whirlwind-izandla-ziyagezana

Sculpture Park, In Moment IV

Inside the main art gallery, Speed Head, metal plated. (Detail)

“Creation continues incessantly through the medium of man,” Anton believes. “Man himself then is a mouthpiece, medium and meaning all in one, and his challenge as an artist is to create himself over and over again, finding new connotations and concepts in given shapes, figures and faces.” The secret to Anton’s success could be attributed to his courage and determination to forge ahead in the face of great difficulty. “Take big risks. Don’t fret about what others think. Do the most difficult thing on earth for you – do it for yourself.” Art lovers can explore the gardens and galleries at their leisure to discover the playful ingenuity of Anton’s work: floating and stretching figures, impressive heads, masks, hands, angels, warriors and abstract works. He likes to work with a variety of materials: steel, metal, fiberglass, and bronze. The two galleries are connected by the Art Café Coffee Shop, where visitors can relax indoors surrounded by beautiful paintings and sculptures or outside in the garden where one can sit down and enjoy a cup of brewed coffee whilst taking in the open air art exhibition. The menu offers a variety of light meals and excels in tasty breakfasts, scrumptious chicken strips & fish, as well as a selection of mouth-watering cakes and pastries.

A visit to the Park is the perfect outing for the whole family. Summer picnic baskets are available from the coffee shop, ideal for children and romantic couples. Book your spot and time in advance. No pets allowed. The Park expands the traditional concept of an art venue, ensuring a truly inspiring experience. The indoors gallery & art Café are only open during office hours, Tuesday to Friday, from 9 am to 4 pm, Saturday and Sunday from 9 am to 4 pm; closed on Mondays, open on public holidays. One of the galleries can also be booked for special weddings and other functions. For more info: WhatsApp Business: 065 511 6286 Marius: 0828808805 Karin: 0810460260 Tel. 012 8810004 Visit the website: www.antonsmit.co.za/ Instagram: anton_smit_sculptor Facebook: antonsmitsculpturepark Facebook: Art Café at ANTON SMIT Address: Black Eagle Ln, Aquavista Mountain Estate, Bronkhorstspruit, 1020

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North West University

THE PERCH Written by Nokukhanya Khumalo

n 2017, the North-West University came to the conclusion that there was a need to have an artwork that would be placed all over the three campuses, which are Vaal, Mafikeng, and Potchefstroom. The NorthWest University sent out a public artwork open call in 2019 for design proposals from artists. The strategic intent behind this was that there was a need to demonstrate a shared purpose and values in accordance with the North-West University’s mission to unite the three campuses. Having spent the better part of the last two years in a pandemic, on my return to campus in 2022, I was surprised to see that there had been a new sculpture on the Potchefstroom campus. Obviously, the sculpture did not appear from nowhere... It had been there for quite some time. The last time I was on campus was in 2020. The sculpture was wrapped up, so one could argue that this sculpture is not new. The sculpture is located on the grass in front of the Frans Du Toit building. It looks at the Solomon Tshekisho sculpture that is situated across the financial building on the Potchefstroom campus. The Frans Du Toit building is the language building. In 2020, I still had French as a module, and I would often pass it by without giving it any attention. So when I returned to campus this year, it felt like I was seeing it for the first time as it was finally unwrapped and erected. It took a moment to take the structure in, as it stands tall and is quite large. At first glance, one can get overwhelmed and intimidated by it as it feels as though it is hovering over you. I did not understand the significance of the sculpture, but I felt as though this sculpture was commissioned to convey some sort of meaning. Having seen some of the preliminary sketches, I got some confirmation on what I had felt. The structure is made from a multitude of connected steel tubes as well as some perforated plates. These come together to form a sculpture that imitates a Vachellia

and an eagle. The symbolism in Vachellia is quite fitting given that the sculpture is located at a university. A Vachellia is an African Acacia tree. Trees are often associated with strength as well as growth. Vachellia are no different. They are a symbol of regeneration, perseverance, and integrity. When looking at how the North-West University has been on a mission to integrate all three campuses into one, this serves as a perfect symbol of that unity. The university has a desire to grow and develop, it serves as a place for students to plant their own seeds and grow from the different things that they learn. This sculpture was given the name Perch (2021), which is a seat or other place that is high up and at times offers a great view of something below. The trunk of the Vachellia is thick, so it is symbolic of the solid foundation that the university offers to students. It then expands into branches that house a canopy, this shows one that the university also offers a place where students can branch out and explore different facets of themselves within the grounds of the university. Perch (2021) is symbolic of what the North-West University stands to offer students, for some it is an insight into what the world has to offer, for others the university offers a chance at being something great. Perhaps students will become someone who is admirable, like the structure itself. Artist biography Michele Mathison was born in Johannesburg, South Africa in 1977. He works with a multitude of materials as well as various found objects, which he reconstructs to highlight their multifaceted symbolic values. Mathison’s interest extends to sources from pockets of lived experiences, as found in the spaces in which people work, eat, and socialise.

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RUST-EN-VREDE GALLERY + CLAY MUSEUM www.rust-en-vrede.com

Above: Rust-en-Vrede Clay Museum Display. Opposite Page: Angela Gilbert, Process of Making and Carving a Bowl.

his complex is situated in the northern suburbs of Cape Town in Durbanville. This heritage building, originally built in the 1940’s as a jail, is an art-oriented community center and home to the Clay Museum with its extensive collection of mainly contemporary South African ceramics. A teaching studio is located next to the Clay Museum which provides classes for a variety of art and crafts as well as a venue for workshops. The Yoco Eatery and Whisky Library, a popular café serves light meals and refreshments both inside the building and on the shady patio outside. On the outer periphery of the complex are several studios housing different artists and craftspeople. Rust-en-Vrede hosts a variety of exhibitions throughout the year and is home to the biennial Portrait Awards. In keeping with the centre’s educational mandate, many of Rust-en-Vrede’s exhibitions are accompanied by walkabouts, talks and workshops.

In the heart of Rust-en-Vrede is the Clay Museum, the only one of its kind in South Africa, established in 1986 by Maarten Zaalberg. The museum contains an exclusive collection of ceramics that represents the various techniques of making, decorating and firing. This is highly appropriate to Durbanville’s history of having some of the best clay quarries and brickfields in the Western Cape. It was this aspect of Durbanville’s past that inspired the foundation of a Clay Museum. The collection on permanent display provides historical reference of 20th and 21st century South African ceramists and their work. Additions to the collection are ongoing through sponsorship and donations. A resource Centre within the Clay Museum contains South African and International reference material available for study by visitors, learners and students. Within the Clay Museum is a unique installation unit: The CUBE, consisting of 90

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Above: Christo Giles in the Clay Museum. Opposite Page: The CUBE, Connected, Martin Swart, Kate van Putten

Connected by Fire in the Clay Museum.

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The CUBE, People, Alessandro Pappada

small cube shaped spaces. The aim of the CUBE exhibitions is to promote South African contemporary ceramics and is managed by a team of ceramists and curators. Exhibitions are held every two months by artists selected for their creative excellence in different aspects of ceramic making. Established as well as emerging artists are given the opportunity to exhibit. All work in the CUBE is for sale and the commission on sales provides the sole source of funding for this space. Rust-en-Vrede Gallery & Clay Museum is a Non-Profit organisation and receives no public or private funding. The current installation in the CUBE is titled “Naked” and refers to ceramics without glaze. This group show explores ceramic techniques such as Naked Raku, Obvara, Sagger firing, Pit firing, Agateware, Burnished clay, and Raw clay. In July well known ceramist Clementina van der Walt will celebrate her 70th birthday with a special exhibition in the CUBE and Clay Museum.

Other CUBE exhibitions planned for 2022 are ”Imagine“, which will open in September, followed by “A Touch of gold“ in November, which celebrates Ceramics Southern Africa’s 50-year anniversary. Each new CUBE exhibition is included in the formal openings of exhibitions at Rust-en-Vrede. The CUBE offers the perfect opportunity to start an art collection, purchase that special gift or just enjoy contemporary ceramics within the context of the Clay Museum and the beautiful Rust-en-Vrede Gallery complex. For queries or information please contact Hamlin or Donavan per e-mail: rustenvrede@telkomsa.net www.rust-en-vrede.com Connect with Rust-en-Vrede via Instagram on @rust_en_vredegallery and with the CUBE and Clay Museum via Instagram on @cubeandclaymuseum

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FYNARTS10

A Celebration of Sculpture and Ceramics in a Spectacular Setting 10 – 19 June 2022 www.hermanusfynarts.co.za

he tenth anniversary offers the opportunity of looking back with thanks and gratitude, while at the same time, looking forward with confidence. In 2014 seven artists were invited to install eight sculptures at Gearing’s Point. These eight installations launched Sculpture on the Cliffs. This outdoor, site-specific art exhibition is unique and is free-to-the-public. The sculptures placed along the cliff tops, against the spectacular backdrop of Walker Bay celebrates diversity and inclusivity. The exhibition remains in place for 12 months until June 2023. In celebration of FynArt10 a bumper exhibition will be installed by fifteen artists, all of whom have previously taken part in this exhibition against this spectacular setting. The participating artists are: Dylan Lewis (2014), Jaco Sieberhagen (2015), Gavin Younge (2016), Wilma Cruise (2016), Brahm van Zyl (2017), Mark Chapman (2018), Haidee Nel (2018), Angus Taylor (2018), Frank van Reenen (2018), Sifisiso Mkhabela (2019), Right Mukore (2018), Ian Redelinghuys (2019), Izanne Wiid (2019),David Griessel (2020/2021), and Nanette Ranger (2020/2021). The exhibition will be opened on Saturday 11 June at 12:30. Venue: Gearing’s Point.

Ceramic, Ella Cronje

This year, Art in the Auditorium will again be the venue for the exhibition of small sculptures. Following on the theme of ‘looking back’, the exhibition will be a representation of artists who will exhibit on the cliffs as well as others who have taken part in Sculpture on the Cliffs over the years. In addition to the abovementioned artists, the Art in the Auditorium exhibition will also include Strijdom van der Merwe (2014), Gordon Froud (2015), Alex Hamilton (2015), Anni Snyman (2015), Sophia van Wyk (2019), Kevin Brand (2020/2021), and Karin Lijnes (2020/2021). Opposite Page: Mark Chapman, Welcome back, everyone

Ceramic, Catherine Brennan

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Above: Ceramic, Gretchen Crots Opposite Page: Ceramic, Andile Dyalvane

Ceramic, Ella Cronje

Ceramic, Hennie Meyer

Ceramic, Annelie Janse van Rensburg

Gavin Younge, Kyiv Ambulance, Steel construction, transitional objects, frosted glass, 2022, 70 x 120 x 50 cm. Photo Lucid Pictures, Cape Town. Opposite Page: Mine Dump. 2014. Solid, engraved granite block 80 x 130 x 55 cm, 1.7 tons, Photo credit, G Younge, Nirox

There is no ordinary The title of this year’s ceramic exhibition, once again curated by Liz Coates, refers to the variety of modelling, sculpting, carving and glazing by thirty-eight studio artists that exemplify a range of innovative expression of this earliest art form. The participating artists are Melissa Barker, Andree Bonthuys, Anton Bosch, Hanlie Bosch, Catherine Brennon, Sandile Cele, Jenny Chadwick, Mark Chapman, Gretchen Crots, Ella Cronje, Wilma Cruise, Jen de Charmoy, Helen Doherty, Carin Dorrington, Antoinette du Plessis, Andile Dyalvane, Susan Grundlingh, Farah Hernandez, Annelie Janse van Rensburg, Sonia Kastner, Lella Kondylis, Michelle Legg, Magry Malan, Ann Marais, Chuma Maweni, Billie McNaughton, Henie Meyer, Zizi Poswa, Rika Senekal, Nada Spencer, Lois Strong, Monica van den Berg, Maureen Visagie, Wiebke von Bismark, Christil von Vollenhoven, Tiffany Wallace, Zelda Weber and Bianca Whitehead.

The exhibition will be opened by Melissa Barker on Saturday 01 June at 11:00. Venue: Windsor Hotel. Opening hours: Daily from 09:00 – 17:00. Also on Saturday at the same venue, at 14:00, Andile Dyalvane will be in conversation with Shado Twala and Vuysile Mshudulu, Director: Directorate Arts, Culture and Heritage. Nada Spencer will present two ceramic workshops for young children on Saturday 11th June – the first in the morning and the second in the afternoon. On the following day she will offer a workshop especially for primary school art teachers, sharing ideas for fun projects suitable for different age-groups. View the full festival programme of exhibitions, music, theatre, dance, talks, workshops, demonstrations, tastings and children’s events at hermanusfynarts.co.za

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PARADISE, PERPETUATED IS Art - Tokara Sculpture Garden – 10 Year Anniversary By Hendrik F. Theron www.is-art-gallery.com

here is something undeniably special about an anniversary – a moment caught amongst the mechanical triggering of reflection and existential engagement. It’s fair to say, however, that this reflection is largely rooted in the distinct nature of one’s sentiment and nostalgia; those pillars which carry the vestiges, memories and remnants of one’s high points, low points and everything in between. Of cause and effect, none of these epochs of are more visceral than that of the socalled hallmark anniversaries – 10 years, 15, 20 and so on. Generally, and, under the institution of marriage, each of these milestones are bestowed with a specific designation and colloquial moniker – tin, crystal, porcelain, and so it goes. With the metaphorical marriage between IS Art Stellenbosch and the Tokara Estate – through its pioneering Sculpture Garden – now celebrating its 10th year of existence, its “tinanniversary” is upon it. When considering the popular culture surrounding this anniversary, it is said that one commonly celebrates and commemorates the tenets of both durability and pliability. It signifies that whilst something may be malleable and subject to change, it can nevertheless remain resolute – that it can be bent, but not broken. It goes without saying that in the past 10-years, if not for anything else, the Sculpture Garden has come to signify just that: a perpetually growing and changing vision, yet one that has remained a stoic and steadfast back-bone of contemporary, fineart sculpture within the Cape Winelands, and moreover, the country. To this end, from its ground-breaking inception, the Sculpture Garden has gone from strength to venerable strength, cementing itself as a relentless force of modern art and haven to countless of South Africa’s foremost sculptors and their works. Accordingly, the Sculpture Garden can also be seen to embody the notion of lieu de mémoire, which, similarly to an anniversary,

Strijdom van der Merwe, Totem I, II & III, Treated wood with brushed acrylic paint 300 x 22 x 3 cm

Above: Etienne de Kock, Consider Phlebas, Steel, 260 x 80 x 155 cm, 2019. Opposite Page: Angus Taylor, Dionysus, Carved Belfast granite, 420 x 600cm, Private Collection, 2017

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Jacques Dhont, Colonial Turn - Reproduction Camphor wood painted with enamel, 180 cm high

David Brown, The Boxer, Bronze, 40 x 34,5 cm

is an appreciation for that which has by human will or the workings of time become a symbol of heritage, or community – the Sculpture Garden of course representing this for its artists and their patrons. At its inauguration, Dr Stella Viljoen penned a preface to the initial Sculpture Garden catalogue titled, “Paradise Lost, a Garden Gained”, wherein she postulated the Sculpture Garden akin to that of the Garden of Eden. In her exposition, she proceeded to revel at how the Garden of Eden – together with the greater concept of “the garden” – may be seen as our first habitat, and perhaps the most natural of them all. Further to this, she cast a light upon how our modern, fastpaced, and metropolitan society has created a gaping divide between our existence and these lush, tranquil and

harmonious sanctuaries from which we came. Dr Viljoen’s articulation can be taken further, however, in that not only does the garden signify one of humanity’s most primal habitats, it also portrays an environment intertwined with the naturalistic appreciation and exposition of sculpture, and moreover, the pursuit of raw artistic expression. For as long as there has been an appreciation for the aesthetic, gardens have always come to signify sanctuaries for the resonant beauty which ebbs and flows through nature, and those who attempt to distil it. It follows that this synergy between the garden and the artist has been an institution from time immemorial, and as far back as Dante Alighieri – when reflecting upon the Garden of Eden – his Divine Comedy spoke of: “Those ancients who in poetry presented the golden age, who sang

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Egon Tania, None, Jacaranda and other hard woods, and paint Unique

its happy state, perhaps in their Parnassus, dreamt this place. Here, mankind’s root was innocent and here were every fruit and neverending spring; these streams – the nectar of which poets sing.” As one does on any anniversary, or moment of reflection, especially one as archetypal as that of the 10-year anniversary, the Sculpture Garden presents an exhibition of its most time-honoured artists, that have not only become synonymous with being the apex of contemporary sculpture in South Africa, but with the Sculpture Garden itself. From the brooding, poetic and lyrical manifestations of Sarel Petrus, Jacques Dhont and Kobus La Grange, to the playful and whimsical works of Marieke Prinsloo-Rowe, Wilma Cruise and Isabel Mertz, the Sculpture Garden brings

together a number of artists that have come to define their respective genres of contemporary sculpture and creative expression, including further Conrad Hicks, David Brown, Egon Tania, Etienne de Kock, Guy du Toit, Ian Redelinghuys, Ruhan Janse van Vuuren and Strijdom van der Merwe – all far from needing any introduction. As the adage goes, time gifted must always be celebrated – at every opportunity. With its 10-year anniversary, the Sculpture Garden aims to do just that, and more – not only celebrating what has been, but keeping focus firmly on what is to come. A toast to curating world-class contemporary sculpture, and to IS Art and Tokara, who will invariably persist in lovingly growing and grooming its garden, for many years to come.

RECON(FIGURE)

A solo exhibition by Wilma Cruise - IS Art Gallery, Stellenbosch 9 April 2022 – End May 2022 www.is-art-gallery.com

In conversation with Wilma Cruise by Jane Taylor

Jane Taylor: I’m going to begin by asking you about the enigmatic idea that this exhibition has something to do with politics and power. Wilma Cruise: Yes it does. In my latest series of exhibitions, I investigate the dynamics between the human animal and the non-human animal. Alice in Wonderland and Alice through the Looking Glass, provide the meta-metaphor to investigate the inversion of power between human animal and animals. Alice stands in as the cipher for human. In the upside-down rabbit hole world, it is never clear who Alice is. All sense of who she is falls away. She is not even sure of her size. ‘Who are you?’ asks the haughty caterpillar and a little later, the pigeon, who thinks she just might be a serpent, asks, ‘What are you?’ Alice does not have the answer to either question. The caterpillar’s question is significant. Who is Alice and, by extrapolation, who are we? Are we right to presume our position of superiority in relation to the animals? Do we really deserve our place on top of the Cartesian pile? Jane Taylor: That is obviously part of the unconscious of the exhibition. You talked about Alice not knowing if she was too big or too small. Scale is an enormous factor in your work. I’d really like you to think with us about what size means and about how the body engages with the work in relation to its size. Wilma Cruise: Scale is important especially when working with ceramics. Fired clay raises the spectre of the ‘art’ and ‘craft’ debate. Working small in fired clay has the implications of home industry and craft. It is the very last thing I wanted. I wanted my work to be confrontational and the only way to do that is for the work to enter the space of the viewer. In other words, to work on a human scale. Making things life-size, is like stamping

one’s foot, and saying, ‘Hey look, this might be a material associated with craft pottery and its emphasis on the interior of the vessel but this is also sculpture with a shift in emphasis to context and (horror of horrors), meaning. Ironically twenty-five years down the line I am making smaller figures. I use them in multiples to suggest scale and the monumental in the miniature. Jane Taylor: I also want to think about scale in relation to these very surprising horses. They are beasts of burden. They have such a sense of the weight of their lives upon them. And I was struck that these horses have riders, be it of an allegorical kind. Can you give me some idea of how these horses got riders? One is a baboon, one is a figure with a pig’s mask. Wilma Cruise: This is where I worked intuitively. I can look retrospectively and say this is what a work means. But, at the time, it was just let’s put a rider on the horse and see what happens. Poor Horace had been knocking around in bronze material for about ten years before I thought of giving him a rider. What I’ve done with Horace is to undermine the normal trope of the horse in art, which is of magnificence, movement and grace – and yes, power. The usual mode of depiction of this animal is to elevate the horse on a plinth with a male hero on top, in what I call a phallic configuration. Jane Taylor: What is so exhilarating about this conversation is that it pulls together so many aspects of your being. The passion for making, your commitment to the image and also this regard for live beings and our interspecies relation. Wilma Cruise: The whole drive for me within the Alice series of exhibitions is to equate animal beings with human beings without anthropomorphising them.

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Falling Horse & Rider (with drawing), 2009, Bronze edition of 5, AP1, 57 x 73 40 cm

Above: Fragile, 2021, Mixed media & collage on stretched canvas, 2 x 3m Opposite Page: Poor Horace Herd II, 2-4 horses with riders, 2021, Resin horse with bronze riders edition of 1/ 5

Anthropomorphising is the ultimate danger when you work with images of animals. I want people to feel what the animal is feeling without making the animal human, or a metaphor, or a cipher for human. It must be in itself, of it itself, that animal. Jane Taylor: Can you tell us about this rather extraordinary being, this sculpture of a baboon with its own instruments in its hands. Wilma Cruise: I wanted to equate, at least empathetically, a baboon with humans, and human emotions, and this is where I skate very closely to anthropomorphism. This particular baboon has been given a pair of knitting needles. She is called Rita, which was my mother’s name. Jane Taylor: So relation is something that is key to your work, and to your thinking. That what you are crafting and putting into the world is various different figures and they are engaging with one another. So many of your figures are asking me to address or acknowledge their existence. Can you talk a bit about relation in your work? Wilma Cruise: I’m interested in the space between. Between you and me there is a space

which is pregnant with the interaction we are having that subsumes the other conversation in human symbolic language. It is possible to have a similar non-verbal communicative space between humans and animals. The French philosopher, Derrida had an encounter with his cat. He was having a shower, he was naked and he saw his pussycat looking at him (that is the word he used, ‘pussycat’). He realised this wasn’t just any cat, this wasn’t just feline, this was a unique individual being and he was ashamed (as a human) to be seen naked. The fact of the matter is that animals do communicate with us and we have the instinctual ability to communicate with them. Jane Taylor: I want to turn for a moment to your vast canvases which are drawings of your diaries. They are enigmatic, strange and whimsical things. There is a doodle here, a drawing there, a note to self. Can you tell us a little bit about how these function? The diary page is obviously of a much smaller size and these enormous canvases are of a completely different scale and medium. They address us in different ways, a tiny sketch of something is suddenly now much larger. Is this a way or recycling thought?

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Pointing South, 2021, Mixed media & collage on stretched canvas, 2 x 3m

Wilma Cruise: Yes, it is. It started off as notetaking which I exhibited – in a box – for the first time at the Goodman Gallery in 1993. I noticed how people were interested in the thought processes. The ‘diary’ is in no way a formal study for the sculpture. I try and keep it as a stream of consciousness and don’t think too much when I am creating them. They started out as 100 A4 pages which I exhibited hung together so they made a very large composite work. And then the diary pages started to grow, they got bigger and bigger. For my doctoral show they were A0. Now they are 2 x 3 metre canvases! In a way I’ve inverted the notion of the diary as something that is closed, secretive and belonging only to that person. I like to think of my diary pages as an available parallel text that complicates rather than explicates the ideas implicit in the art works. Jane Taylor: I want to come back to the question of relationship in your work because I remember being so moved by seeing a sculpture of two baboons that seemed to be of a matriarchal baboon figure sitting with an adolescent and the way that they inhabit the space on the bench is so different. But what was marvellous about it is that you left plenty of space on the bench, so that passers-by,

so moved, could sit down next to the baboons. Particularly moving in the time of COVID when people were reluctant to sit beside one another. Wilma Cruise: I was in Hermanus where the sculpture was displayed in a public space. A small boy sat down next to the baboons. At a time when baboons are much vilified, unfairly so, it was encouraging to see a small child have that interaction, which I hoped would extrapolate into a positive feeling towards real baboons. Jane Taylor: I find that so moving because obviously there is a whole history of the ideology of us turning other beings into instruments for our gratification and it’s so marvellous to see you invert that relationship and work at rekindling the live being in our experience of the animal. Wilma Cruise: Yes, I like to invert the Cartesian question which is not can they talk, but can we listen? Opening: Saturday 9 April 2022 at 11:00am

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Unearth the wilderness within.

HEKKIE MOOS: RETROSPECTIVE Prince Albert Gallery 11 May to 18 July 2022 Written by Elza Miles www.princealbertgallery.co.za

Young Girl, 1991, oil pastel, 170mm x 205mm

Above: Annunciation, 1996 - powder pastel, 405mm x 405mm Opposite Page: Young Couple, 1975 - oil pastel, 315mm x 430mm

he Prince Albert Gallery celebrates its 20th anniversary by honouring the late Hekkie Moos. Who was “Meester” Hekkie Moos? He (born in Oudtshoorn on 16 January 1940 - died in the Prince Albert Hospital on 15 December 2020), taught English and Art at the Prince Albert Primary School in North End, he created art in which the Mother archetype dominates, he was also choir master of the Dutch Reformed Church in North End. During the week he taught, produced art and on Sundays, clad in his black gown positioned himself in front of the choir then raised the tuning fork and divine music followed. When he was free of his duties, he captured images of women and children, usually girls, not only on quality paper but any odd piece of scrap such as cash slips and bottoms of cigarette boxes. With ‘tuning forks’: his Bic pens, pencils, pastels, charcoal, conté crayons, paint brushes, even his wife’s eye shadow, rouge, lipstick; he made music for the eye. Deeply devout, his obsessive

accumulating pieces of throwaway paper, recalls the Lord’s command: “Gather up the fragments that remain, that nothing be lost” (St John 6:12). At the beginning of his career, Moos made a study of Impressionism and Post Impressionism. Eventually the impact of Expressionism took over and the art of Edvard Munch (1863-1944) appealed to him. Consequently, one of the most fascinating discourses ensued in South African art. The Young Couple by Moos of the Karoo interacts with The Kiss and Vampire by Munch of Norway. Sensitively Moos captures the intimacy between two teenagers, showing the boy in profile and the girl en face. Their eyes are closed, shutting out their surroundings. Their intimacy recalls both abovementioned pieces by Munch. Moos fits the boy’s profile into the oval of the girl’s impassive face. Similar to the Vampire she absorbs her partner and an aspect of the archetypal great mother manifests itself.

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Shepherds, 1995 - oil pastel and charcoal, 230mm x 196mm

Above: Landscape, 1979 - watercolour with pen and ink, 130mm x 118mm Opposite Page: Women and Child, 1986 - oil pastel, 363mm x 542mm

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Portrait, 2000 - oil pastel and koki pen, 120mm x 110mm

It is in the portrait of his wife Glenda, who bore him three daughters, that Moos explores the archetypal matron. She, dressed in an elegant white night gown reigns from the matrimonial bed. Nothing escapes her scrutiny. Above her head against the wall hangs a painting of a reclining nude. Thus, the twofold aspect of matrimonial bliss is expressed: passing and enduring. As a result, the nude personifies eternal happiness as temporal trappings like clothes are unimportant.

There are two exceptional instances in which men dominate the scenes: The Magi and The Shepherds. Both groups are en route to a designated place. Soon the wise men of the East, will start their journey, follow the star to Jerusalem. Subsequently they will pay their respects in Bethlehem and by divine message learn not to return to Jerusalem. Joyfully with arms and staff raised into the air, the shepherds keep rushing through the night on their way to the designated place.

Somewhere in the open air two young women meet. The one in the forefront with her back turned to the viewer opens her hands raising her arms. She hails and blesses the humble lady who demurely stands in front of her and listens with her bowed head. The one in the forefront, dynamic in pose, transforms into the angel forecasting the birth of the Saviour. The word is spoken and the humble listener, Mary, is impregnated and will deliver a child. In this ordinary encounter there is no need for halos or angelic wings, the white of the angel’s garment and in the words of T. S. Elliot, ‘the blue of Mary’s colour’ do suffice.

The Prince Albert Gallery will celebrate the art of Hekkie Moos in a retrospective exhibition from 11 May until 18 July 2022. Images: Young Couple (1975) Glenda ((1998) Annunciation (1996) The Magi (1995) Shepherds (1995) Portrait (2000)

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Art UNLOCKED

20+ Artists | 2 Studios | 6 Group Exhibitions @ArtUnlockedRiebeekValley

‘

eauty lies in the eye of the beholder,’ said Plato, and that’s the premise on which we’ve based Art UNLOCKED 2022 in Riebeek Kasteel, Western Cape, to be held in May this year. This, the second Art UNLOCKED weekend, will showcase the work of 20+ artists in their studios and shared spaces in the popular little Swartland town which is known for its natural beauty, thriving communities of artists working in a wide range of media, and exceptional food and wine offerings. The first evening of this year’s Art UNLOCKED event coincides with Riebeek Kasteel’s ‘First Friday’ weekend starting on 6 May, the theme of which is “All things Olive”. Because the Riebeek Valley’s famed Olive Festival won’t be taking place this year, Riebeek Kasteel’s farms, restaurants, shops, delis and boutiques will pull out all the stops to show the valley’s wine and olive products in their very best light.

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Above: Louis Gerryts, Die trane die rol oor jou bokkie, 2021, digital collage, 25x 37cm Top Left: Wiehan de Jager, MULTIPLIXATION III, 2022, digital collage printed on Hahnumühle Museum Etching 350gms archival paper, 50x40cm

Above: Gordon Williams, Protea Light on Night, 2022,oil on mounted canvas, 41x41cm. Opposite Page: Kevan Moses, Fable of the three wise men, 2021, oil on canvas, 100x75cm

Tanya Majo, After Irma I, 2021, collage magazine paper, 27.5x21.5cm

Garth Meyer, Viking Urn, 2022, ceramic

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Louisa gerryts, What you are not, 2021, digital collage, 30x30cm

Artists participating in the event include illustrator and designer Louisa Gerryts, known for her botanical and ornithological works; potter Garth Meyer, who also produces large sculptural thrown decorative work; expressionist/impressionist painter Gordon Williams, whose vivid palettes are his unique signature; architect turned painter and printmaker Kevan Moses; multimedia artist Tanya Majo, known for her monumental panoramic collage landscapes; illustrator and artist Verné Jordaan; and contemporary artist, illustrator and visual-communication designer Wiehan de Jager. No tickets are required for the event, which takes place on 7-8 May 2022, but we strongly advise that you book overnight accommodation and/or make restaurant reservations ahead of time.

The shared venues are sponsored by the Royal Hotel, Riebeek Valley Museum and Kasteel Motors, and the art happening is in collaboration with Arts Town Riebeek Valley. For accommodation packages contact Shawn Hewitt from Riebeek Valley Tours and Transfers on goodintentconnections@gmail.com Riebeek Valley Tourism and Rooms in Riebeek also offer accommodation on www.riebeekvalley. info and www.roomsinriebeek.co.za For more information regarding this event please contact Helen Weber on h.m.weber@ gmail.com or 072 0733 972. Also, check out our Facebook/Instagram profiles for updates and details nearer the time: @ArtUnlockedRiebeekValley

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MESH - THE FABRIC OF FRIENDS RK Contemporary Riebeek Kasteel 3 – 24 April 2022

www.rkcontemporary.com

olleen Alborough, Emma Willemse, Gwen Miller, and Mandy Conidaris were fellow-lecturers in the Visual Arts Department at Unisa between 2008 and 2012. By then, they had formed bonds which manifest today as a tight-knit friendship and a porous sieve for each to explore her thinking and artmaking processes. “When we were offered this exhibition, the title MESH seemed appropriate to describe our work concepts as individual artists and honour our creative alliance. We all draw on the personal as triggers to resonate universally, and here we speak of our different understandings of mesh as related to our works.” For Colleen, mesh represents the fabric that structures our lives. Our societies have regulations. Our cities are grid-like, and we move through a mapping of roads, places, and land. Communication networks, seen and unseen, thread their way between our lives. Circles of friends and family are tied closely. Interconnectedness provides security, belonging, and certainty, but Colleen is aware of how easily this fabric can disintegrate when invaded by unstructured threats. Her work has evolved through a lifetime of living in Johannesburg, a city familiar yet threatening, one that causes anxiety, underpinned by its inhabitants’ survival needs. Emma’s work has long explored issues of displacement and place-making. She believes that to reclaim the remains of traumatic experience and transform them into artworks can set off a parallel shift in the psyche - selfrescue materialised through immersion in the creative process. Recently, she has begun a salvaging expedition, collecting remnants of urban decay and retrieving fragments of her own older artworks to recreate and restructure into new artwork. For Emma, the support of a network of trusted, like-minded allies is a safety-net for enabling creative freedom.

Gwenneth Miller, Listening to silence, 2021, Canon Lucia Ex inks on Hahnemuhle Paper, 57x61cm

Colleen Alborough, No_26, 2018 Ink on Fabriano 21x15cm Opposite Page: Emma Willemse, Retrieve, 2022, Digital print on Hahnemühle 45 x 63 cm

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Mandy Conidaris, Silver olives of the moon and Golden olives of the sun (dyptich), 2020, Linocut, 39 x 61cm

Gwen considers fungi – a species neither plant or animal - and their mycelia as a metaphor for the striving to connect to the inaudible, the in-between transformations of life. The mycelial mesh is a massive, entangled, hidden world that we know little of. Gwen’s artworks explore the fruiting bodies of fungi, but hint at the mycelial layers that echo the folds of our synapses where memory is buried in our cells. Her work is a subtle reflection on how life continues beyond trauma, and how the complex biology of our own emotional beings are as hidden as fungi’s energy.

her unrealistic hope that a sense of peace may be reached through negotiation and compromise. She uses her techniques to imprint the complexities of such experiences onto virgin paper using various inks.

For years Mandy’s work has dealt with the inner impact of human experience. Her recent series, ‘Extending the olive branch’, comments on the divisive nature of contemporary life from the politics of our time through to our most intimate relationships - while sheltering

www.rkcontemporary.com art@rkcontemporary.com 32 Main Street Riebeek Kasteel

A mesh as a noun is a material network, an interlaced structure holding things together. As a verb, it suggests something entwined, pulled together, brought into harmony. As a concept, mesh supports yet allows passage, and symbolises here the support of friendship. - Mandy Conidaris

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Art, antiques, objets d’art, furniture, and jewellery wanted for forthcoming auctions

Edoardo Villa, Flight, welded steel construction SOLD R70,000 View previous auction results at www.rkauctioneers.co.za

011 789 7422 • Bram Fischer Centre, Lower Ground, 95 Bram Fischer Driver Cnr George Street, Ferndale, 2194

A Good Read

MEET ERIC TURQUIN, THE ART HISTORIANDETECTIVE WHO KEEPS FINDING MULTIMILLIONDOLLAR OLD MASTERS HIDING IN PLAIN SIGHT

The French expert has a knack for spotting masterpieces, and hopes his experience helps reignite a passion for the once sleepy field. First Published on Artnet by Naomi Rea, March 23, 2022

French art expert Eric Turquin in November, 2020. Photo by Martin Bureau/AFP via Getty Images.

or Old Master experts, coming across a “sleeper”—that is, a lost or previously misattributed masterpiece—is a once-in-acareer kind of event. But whenever you hear about a major sleeper sale in France, one particular name comes up again and again. That name is Eric Turquin, a 70-year-old specialist who has become a titan in the field. Three years ago, Turquin wasn’t very wellknown outside of the small world of Old Master paintings. But that changed in 2019, when he uncovered the holy grail—a previously unknown work by Caravaggio. Since then, it seems like the hits won’t stop coming. That same year, an expert from his small but powerful Parisian firm uncovered a rare Cimabue painting hanging above someone’s stove, which sold for $26.8

million. In June 2021, it was a Fragonard that had been gathering dust on an apartment wall, before it sold for $9.1 million. Last month, a small auction house in Toulouse made $4 million on a long-lost Bernhard Strigel after one of Turquin’s team recognized the subject matter as a pendant to another religious panel in the Louvre Abu Dhabi. When I called Turquin to talk about the Strigel, he had also just discovered a famous still-life by Chardin, which is slated to be sold at Artcurial on March 23. “We don’t have magic dust, but we do have a method of working which helps us to make these discoveries,” Turquin told me over the phone. The secret? Teamwork.

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Jean Simeon Chardin’s Le panier de fraises des bois, displayed at the Cabinet Turquin in Paris, on January 20, 2022. Photo by Stephane De Sakutin/AFP via Getty Images.

Turquin’s handpicked team includes Philippine Motais de Narbonne, an academic who trained in the auction world, Stephan Pinta, a seasoned restoration expert, as well as two researchers, three archivists, and a fleet of five interns. Together, they carry out around 15,000 appraisals a year, taking a 5 percent commission when a lot is sold. In 2021, the business made somewhere between €20 million and €30 million. “Of course, we have a gut feeling and this is very, very important. In mathematics, people call it intuition,” Turquin said. “It’s essential, but that intuition has to be checked because it can drive you towards mistakes.” The business works with around 350 small-tomedium auction houses that do not have inhouse expertise. Pauline Maringe, who owns ArtPaugée, the Toulouse house that sold the Strigel, has been working with Turquin since she founded her company in 2018. “Cabinet Turquin is one of the best-known old paintings expertise firms in France today,” she told Artnet News, adding that its archives on the French market are “unrivaled”.

The firm is additionally attractive because it does not deal in paintings, simply attributions. It has been a game-changer for regional auction house’s like hers, which previously might have to turn to a competitor like Christie’s or the Hôtel Drouot to authenticate a work, and which might swoop in to clinch the sale. “Today a painting of this quality can be sold just as well in provincial auction houses such as ours, thanks to a good communication and the possibility of online sales,” Maringe said.

French art expert Eric Turquin in November, 2020. Photo by Martin Bureau/AFP via Getty Images.

A visitor takes a picture of the painting Judith Beheading Holofernes (1607) by Caravaggio, at Drouot auction house on June 14, 2019 in Paris. Photo by Chesnot/Getty Images.

Passport to Success Turquin, whose parents were farmers, was first introduced to collecting by his great grandmother, who turned him onto stamps, then silver, and porcelain. As a teenager, he would spend summers in London trawling the Chelsea antiques market for treasure, soon moving on to sales at Sotheby’s and Christie’s. After studying at the prestigious École du Louvre in Paris, he trained as an auctioneer at Drouot. Initially a contemporary specialist who was immersed in the vibrant Parisian art scene in the 1970s, Turquin decided to switch categories, feeling that it would give him a stronger position in the market. “It struck me that expertise in that field didn’t have the value and the importance that it has in more difficult fields like Old Master drawings, paintings, manuscripts, and sculptures,” he said. “You don’t need experts in contemporary art. You need an eye, you need an art advisor, but you don’t need an expert. In Old Masters, believe me, you do need experts. I need experts.”

The pivot paid off, and Turquin was picked up by Sotheby’s London in 1979, when the house was looking for an expert in French paintings. There, he studied under the crème de la crème of specialists, including Philip Pouncey, the ex-curator of Italian drawings at the British Museum, Neil MacLaren, the ex-deputy keeper at the National Gallery, and Derek Johns, who is still active today as a well-respected dealer. Turquin managed to work his way up from an entry-level position as a cataloguer to become head of the Old Master paintings department in 1985. When he eventually left Sotheby’s, he sold his flat in London, and put the proceeds—£150,000 at the time—towards a trove of art books from Thomas Heneage. He then set about recruiting talent to go into business for himself in Paris, in 1987. “Pictures—particularly on the continent and mainly in France—they lose their attribution. They lose their history, they lose their passport, basically,” Turquin said. “And it’s our job to give them a new passport.”

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Wheel of Fortune The Caravaggio discovery that made his firm an international name came at perhaps the most challenging juncture of Turquin’s decades-long career. The attribution was the result of what Turquin described as a five-year battle to persuade the field, including many long-time friends. “It was a very exhausting, very tiring, and very energy consuming process, but at the end a triumph,” he said. If the ongoing saga over the $450 million Salvator Mundi attributed to Leonardo da Vinci has taught us anything, it is that such opinions can divide even the most seasoned experts (and that unqualified people often tend to weigh in when there is an exciting price tag attached). “There is something objective in paintings. There is the paint itself, the pigments, the oil, the panel, or the canvas, the signature,” Turquin said “but what makes the value of a picture is 100 percent subjective.” The Caravaggio win transformed Turquin’s firm from a small, local French business into an international name. “In my opinion, Eric Turquin is among the outstanding figures involved in the art market, not only for the quality and range of works of art handled, but for the research to which he and his team are committed,” said Keith Christiansen, the former chair of the Metropolitan Museum of Art’s department of European painting. For his part, Turquin is still in disbelief: “If I had been told three years ago that people would spend millions on pictures based on my description without seeing them, I would not have believed it,” he said. “But now they do it.” Market Resuscitation Success stories like Turquin’s make the unfashionable Old Masters market look sexy—a much needed boost for the field as the old guard ages out. Add to that decades of sleepy activity and complaints about a lack of supply means that younger people have been deterred from entering the fray. Turquin conceded that the Old Masters market was “half dead” a decade ago, but that it has been recovering over the past five years. This was actually accelerated

by the lockdown, and the improvement of online access to sales, which has broken down the barriers to entry for collectors. Today, Turquin sees new buyers dipping their toes into the market: “They are much younger, with a totally different approach to paintings—and to money also,” he said. “I’m very optimistic for the market.” These new buyers often come from the contemporary art market, where the approach to collecting is not as different as people might assume. Aficionados of both contemporary art and Old Masters are bargain hunters who want make a discovery. “There is a notion of involvement when you buy a contemporary artist, because you are betting on him. You’re banking on him. You’re gambling on him,” Turquin said. “You have the same with Old Masters. People have always bought Old Masters because they challenged the attribution, or they challenged the fact that this school of painting was forgotten and needed to be truly worth more.” Addressing questions about lack of supply to the market, Turquin listed off several periods in history when the market was suddenly flooded, including the early 20th century when the Nazis in Germany, and the Soviets in Russia, began to sell off property from museums. “Who would have believed, in 1914, that Catherine II’s paintings would come on the market? Not only did they come on the market, but they came by the hundreds,” Turquin said. “And who would have thought, even 15 years ago, that there would be so many pictures that were looted during World War II that would come back on the market, sold by their rightful owners?” With such potential inventory, Turquin added, there is a strong demand for expertise and he sees plenty of scope for his young interns. Meanwhile, he is beefing up his own business to make sure it survives his retirement. But he’s reluctant to give up his work just yet. It’s the curse of all those who are passionate about their job. As Turquin put it succinctly: “I can do nothing else in life.”

KEVIN ATKINSON - ART AND LIFE

The first comprehensive monograph devoted to the legendary Cape Town artist, educator, cultural activist, philosopher and shaman, Kevin Atkinson (1939-2007)

KEVIN ATKINSON – ART AND LIFE provides an indispensable introduction to Atkinson, a major figure in the story of South African art, art history and art education. Emerging in the 1960s, Atkinson gained a formidable reputation as a daring and forward-thinking artist fully engaged by his South African context and the plurality of ideas and styles that characterised international contemporary art from the mid- 1940s. His remarkable output, which encompasses drawing, printmaking, painting, sculpture, environments and performance, is the expression of an artist who, in his own words, was “in time, on time, all the time”. Atkinson’s tenure as a teacher, particularly at the Michaelis School of Fine Art, where he was once a student, also informs his considerable legacy. Extensively illustrated with fine examples of Atkinson’s paintings, drawings, graphics and public commissions, this book explores Atkinson’s professional achievements and lasting impact through a diverse ensemble of voices, including that of the artist. Marilyn Martin’s biography offers an essential overview of Atkinson’s creative trajectory from the 1960s onwards. Martin, who also edited this book, draws on numerous contemporaneous reports to provide a solid portrait of the artist

and the provocations of his practice. She writes extensively on Atkinson’s production in different media, his posthumous exhibitions, his cultural activism, and his role as innovative educator. The book also includes an introduction to “Plato’s Cave”, Atkinson’s underground studio in Observatory, Cape Town, now a legacy to the nation. Complementing this broad overview, Kevin Atkinson – Art and Life features informative contributions – by family members, fellow artists, former colleagues and students, as well as close friends – discussing particular aspects of Atkinson’s prolific and multifaceted output, as well as significant events and achievements in his personal life and work. These contributions provide distinct viewpoints and authentic voices. Atkinson and his artist-educator wife, Patricia Pierce-Atkinson (1942-1994), are remembered by their daughters Lisa Atkinson-Clor and Carla Atkinson, and Lea Leigh recounts the last decade of the artist’s life as his new partner. This book concludes with a poem, Always a Verb, that artist Marlene Dumas, a former student of Atkinson, wrote for the artist’s memorial service in 2007, and a portrait of the artist by Dumas from 1974.

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Business Art

STEPHAN WELZ & CO. A chance for upcoming artists to showcase their work www.swelco.co.za

here is no doubt that the last two years have caused even seasoned investors to become uneasy with the state of contemporary art, but as we navigate our way through these times, values have stabilised, and in some cases, have even increased during the Covid-19 pandemic. With the meteoric rise of contemporary art and the growing interest in local emerging talent, investment-grade art has never been more accessible or profitable for investors. Art collecting is no longer limited to the wealthy elite. Stephan Welz & Co. proudly offers works by many blue-chip artists and is now also creating a space and market for fresh upcoming local talent. A number of emerging artists have advanced considerably in popularity in recent years, with many art professiaonals agreeing that their role in the market has evolved and increased significantly. By providing a platform for emerging artists to showcase their works, and an opportunity for collectors to invest in artists breaking into the contemporary art world, we are not only supporting the artists’ careers but also are also investing in the future of South African art. Investing in works by emerging artists offers multiple benefits, not limited to newfound accessibility and affordability, with additional potential of steadily increasing value. By purchasing works before an artist becomes established in the market, a collector is likely to have reduced competition for artists works and should be able to acquire them at lower prices. By supporting emerging artists, one can closely monitor their career progression, maturity within their medium, and conceptual evolvement – all the while supporting burgeoning talent within the local contemporary art market. In addition, the investment risk is also lower. Joe turpin (Soth African 1995-), Service is A Spectrum, Oil on canvas, 600mm diameter Price - R18 000 - R22 000

Stephen Langa (South African 1995-), Mother of the moon, Charcoal & soft pastel on grey chipboard, 90,5cm x 69,5cm, Framed, PRICE – R25 000 -R30 000

Mpumelelo Buthelezi (South African 1944-) U’mpumeleloingilosi, Archival Bartya Photo Paper, 50cm x 50cm, PRICE - R12 000 R18 000. Opposite Page: Thabiso Dakamela (Zimbabwean 1994), Words spoken in silence 3, Acrylic on canvas, 154cm x 107cm Framed, PRICE- R68 000 – R78 000

Our upcoming Emerging Artists sale features a large selection of young South African artists who are making their mark in the industry.

wood, leather, or other materials using a soldering iron), conceives work that is rooted in femininity, consciousness, and the full expression of oneself. She portrays an array of emotions from a black woman’s lens, with her chosen subject matter being predominantly black women at different stages of their growth. She envisions a world where black beauty can be fully expressed and appreciated without the need for it to be substantiated. Madiba has been a recipient of the Blessing Ngobeni Art Prize.

Joe Turpin, a Johannesburg born visual artist who focuses on mixed media installations that distort fundamental ideas related to memory and identity. Centred around his Jewish heritage, the works challenge existing cultural paradigms related to migration and persecution. Turpin is currently completing his MFA at the Pratt Institute, New York. Soweto based visual artist Leonard Baloyi’s figurative works employ pallet knives to create his unique textural exploration of feeling, emotion, and the human experience. His line work starts abstractly, chaotically, until the intertwined playful scribbles expose the underlying figure. Working mostly in oil, pastel, and charcoal, his work draws inspiration from the people and places he inhabits. Baloyi has exhibited extensively throughout South Africa. Phenyo Melody ‘Mel’ Madiba, a Gauteng based pyrographer (the art of drawing on

Zimbabwean born Thandazani Ndlovu’s work mainly engages with societal issues relating to the education system in Sub-Saharan Africa. Primarily utilising mixed media, acrylics, ink, pastels, and oil – the work mirrors the artists’ background. Self-taught and working in a shoe factory in Bulawayo, Ndlovu started with a series that highlighted lesser-known tribes and cultures within the region. With several commissions and exhibitions already under foot, Ndlovu has permanent works in both the Newtown Workers Museum Cottages, and the National Gallery of Zimbabwe.

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Candice Kramer (South African 1974-) Solitude, Oil paint, printand ruston steel, 114cm x 90cm (framed) Price - R55 000 - R65 000

Mel Madiba (South African 1993-), Lindiwe, Pyrography and pigment on paper, 60cm x 42,8cm, PRICE- R28 000 – R32 000

Pimville born Mpumpelelo Buthelezi studied photojournalism and documentary photography at Market Photo Workshop. Buthelizi’s work has been widely exhibited locally and in Europe. His photographic work, predominantly encompasses themes of South African resistance, the ‘Born Free’ generation, and the Fees Must Fall protest movement. His works correlate significantly with the work of Zanele Muholi, who mentored him during an online artist residency. Buthelezi currently lives and works in Johannesburg.

Stephen Langa is a Johannesburg based artist originally from Limpopo, working primarily with watercolour and charcoal. Langa’s portraits depict (in the artists own words) “individuals busy with different or coordinated activates from daily life”, with a compositional layout that leans toward the more formal or “academic” style. Colour usage is muted, but the use of highlight adds a lyrical element to the works. Currently pursuing printmaking at Artist Proof Studio, Langa continues to develop his visual language moving from naturalistic depiction to a more muted form of expression.

Thabiso Dakamela, born and raised by a single mother in Johannesburg, draws most of his inspiration from his innate admiration for women and mothers. His work makes vibrant use of colour and brushstroke. Bright and warm colours highlight the faces and figures of his portraits, inspiring positivity in times of turbulence. Using largely acrylic, oil, charcoal, and mixed media, Dakamela develops textual and tonal variations to bring his subjects to life. Dakamela currently lives and works in Johannesburg.

Stephan Welz & Co. are proud to present these new voices to the contemporary art scene and invite investors and art lovers alike to parttake in what is to be a very riveting journey. For more information visit our website at www. swelco.co.za or contact us on 011 880 3125

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INVITATION TO PARTICIPATE Proposals welcome for South Africa’s largest annual sculpture fair. Large works in public spaces and a captivating sculpture focused group exhibition in the gallery and other indoor spaces throughout Melrose Arch.

Submission Deadline: 1 May Confirmation of Acceptance: 31 May Receipt of Artworks: 5 August Opening: 1 September Exhibition: 1 September to 2 October 2022 Larger works to remain for extended periods depending on agreement with the artists. Email portfolio, bio, proposals or questions to curator@themelrosegallery.com t h e m e l ro s e g a l l e r y. co m

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ARTGO

APRIL 2022 NEW GALLERIES, ONGOING SHOWS AND OPENING EXHIBITIONS

Anton Smit Sculpture Park, Sculpture Translucent Cathedral Photo by Richard Holmes

ARTGO: APRIL 2022

OPENING EXHIBITIONS

ANTON SMIT SCULPTURE PARK, GALLERY & ART CAFE

DYLAN LEWIS SCULPTURE GARDEN PARADYSKLOOF RD, PARADYSKLOOF, STELLENBOSCH WWW.DYLANLEWIS.COM

NWU GALLERY

SALON NINETY ONE A GARDEN MARCH PAUL SENYOL WWW.SALON91.CO.ZA

SELECTION OF 600 SCULPTURES IS ON DISPLAY TO MAXIMUM EFFECT IN A SERENE GARDEN AND TWO ART GALLERIES. WWW.ANTONSMIT.CO.ZA

THE PERCH - MICHELE MATHISON WORKS WITH A MULTITUDE OF MATERIALS AS WELL AS VARIOUS FOUND OBJECTS, WHICH HE RECONSTRUCTS TO HIGHLIGHT THEIR MULTIFACETED SYMBOLIC VALUES. FRANS DU TOIT BUILDING AT NWU WWW.SERVICES.NWU.AC.ZA/NWU-GALLERY

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Daor Contemporary Coode Crescent Port of Cape Town, 8001 SARONSBERG CELLAR GALLERY A PERMANENT EXHIBITION OF CONTEMPORARY SOUTH AFRICAN ART WHILST ENJOYING SOME OF OUR AWARD-WINNING WINES. WWW.SARONSBERG.COM

(Enter from South Arm Road, through the security booms)

www.daor.co.za | info@daor.co.za +27 71 624 7130 | +27 64 941 3316

Art Times_Display Listing_Social_2.indd 2022/03/23 1 12:22

THE CAPE GALLERY FREDERIKE STOKHUYZEN SOLO EXHIBITION 03/04/2022 UNTIL 23/04/2022 WWW.CAPEGALLERY.CO.ZA

RK CONTEMPORARY RIEBEEK KASTEEL MESH - THE FABRIC OF FRIENDS COLLEEN ALBOROUGH, EMMA WILLEMSE, GWEN MILLER, AND MANDY CONIDARIS. 03/04/2022 UNTIL 24/04/2022 WWW.RKCONTEMPORARY.COM

ARTGO: APRIL 2022

OPENING EXHIBITIONS

ART PARIS 2022 GRAND PALAIS ÉPHÉMÈRE ON THE CHAMP-DE-MARS 07/04/2022 UNTIL 10/04/2022 WWW.ARTPARIS.COM

GROUND ART CAFFE VUJÀ DÉ: THE STORIES WE TELL OURSELVES - BY SIMON DE HAAST 07/04/2022 UNTIL 31/05/2022 WWW.GROUNDARTCAFFE.CO.ZA

OLIEWENHUIS ART MUSEUM HANDS UP COLLECTION, AN EXHIBITION BY THE SOUTH AFRICAN QUILTERS’ GUILD (SAQG) TEACHERS’ FORUM 07/04/2022 UNTIL 22/05/2022 WWW.NASMUS.CO.ZA

ART IN THE YARD THE MAGIC & THE MYSTERY A SOLO EXHIBITION BY HELEN VAN STOLK 09/04/2022 UNTIL 09/05/2022 WWW.ARTINTHEYARD.CO.ZA

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RUST-EN-VREDE GALLERY

IS ART GALLERY RECON(FIGURE) SOLO EXHIBITION WILMA CRUISE OPENS 09/04/2022 WWW.IS-ART-GALLERY.COM

DANCE OF ORDER AND CHAOS A COLLABORATIVE EXHIBITION BETWEEN PRINTMAKERS JUDY WOODBORNE AND MICHELE D’ARGENT, INSPIRED BY THE GAME SNAKES AND LADDERS (MOKSHA PATAM) WHICH ORIGINATED IN INDIA. 09/04/2022 UNTIL 14/05/2022 WWW.RUSTENVREDE.COM

RUST-EN-VREDE GALLERY JULIA VAN SCHALKWYK SOLO EXHIBITION COLD WAX AND ENCAUSTIC PAINTINGS 09/04/2022 UNTIL 14/05/2022 WWW.RUSTENVREDE.COM

RUST-EN-VREDE GALLERY MATERIAL DIVINE CURATED BY VUSI BEAUCHAMP AND DONAVAN MYNHARDT. 09/04/2022 UNTIL 14/05/2022 WWW.RUSTENVREDE.COM

ARTGO: APRIL - SEPT 2022

OPENING EXHIBITIONS

RUST-EN-VREDE CLAY MUSEUM

PRINCE ALBERT GALLERY BIG SKY SOLO EXHIBITION BY JANET DIRKSEN 15/04/2022 UNTIL 15/05/2022 WWW.PRINCEALBERTGALLERY.CO.ZA

ART UNLOCKED

HERMANUS FYNARTS FESTIVAL 2022 CELEBRATES ITS TENTH ANNIVERSARY 10/06/2022 UNTIL 19/06/2022 WWW.HERMANUSFYNARTS.CO.ZA

THE CUBE: NAKED FEATURING UNGLAZED CERAMICS SUCH AS NAKED RAKU, OBVARA, SAGGAR FIRING,PIT FIRING, AGATEWARE, BURNISHED CLAY AND RAW CLAY. 09/04/2022 UNTIL 18/06/2022 WWW.RUSTENVREDE.COM

20+ ARTISTS | 2 STUDIOS | 6 GROUP EXHIBITIONS RIEBEEK VALLEY MAY 2022 FACEBOOK/INSTAGRAM @ ARTUNLOCKEDRIEBEEKVALLEY

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60 Church Street, Cape Town 0214235309 web@capegallery.co.za Saturday 10am - 1pm weekdays 9.30am - 4pm

Solo Exhibition by Frederike Stokhuyzen

PRINCE ALBERT GALLERY BIG SKY HEKKIE MOOS: RETROSPECTIVE 11/05/2022 UNTIL 18/06/2022 WWW.PRINCEALBERTGALLERY.CO.ZA

On show from April 3rd to 23 April

THE MELROSE GALLERY

SCULPTX 2022 CALLOUT INVITATION TO ESTABLISHED, MID-CAREER AND EMERGING SCULPTORS IN PARTICIPATE IN SCULPTX 2022 01/09/2022 UNTIL 02/10/2022 WWW.THEMELROSEGALLERY.COM

ARTGO: APRIL 2022

ONGOING SHOWS

OLIEWENHUIS WALKING ON A RIM OF LIGHT, A SOLO EXHIBITION BY DIANA PAGE 24/02/2022 UNTIL 10/04/2022 WWW.NASMUS.CO.ZA

131 A GALLERY GROUP EXHIBITION MICHAEL AMERY, MJ LOURENS, OLIVIÉ KECK AND ASHA ZERO 24/03/2022 UNTIL 29/04/2022 WWW.131AGALLERY.COM

IS Art is celebrating 10 years at Tokara Wine Estate with an exhibition of sculptures by prominent South African artists including: Wilma Cruise, Angus Taylor, Conrad Hicks, David Brown, Egon Tania, Etienne de Kock, Guy du Toit, Ian Redelinghuys, Isabel Mertz, Kobus la Grange, Sarel Petrus, Jacques Dhont, Ruhan Jansen van Vuuren and Strijdom van der Merwe. The exhibition runs until the end of April 2022. A catalogue of the work is available. :

IS Art: 021 883 9717 or gallery@isart.co.za Tokara Wine Estate: Helshoogte Pass, Banhoek Tokara Deli: 021 808 5950 Tuesday – Sunday from 09h00 to 17h00

IS SCULPTURE AT TOKARA DELICATESSESN UNTIL 30/04/2022 WWW.IS-ART-GALLERY.CO.ZA

EVERARD READ CIRCA JHB INTERLUDE LIONEL SMIT 24/03/2022 UNTIL 30/04/2022 WWW.EVERARD-READ.CO.ZA

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16 Harry Smith Street Bloemfontein

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In stranger times_Art Times April_set up for print 21 February 2022 11:53:10 AM

ARTGO: APRIL 2022

ONGOING SHOWS

GALLERY 2 SOLO EXHIBITION JENNY STADLER 2022 19/03/2022 UNTIL 30/04/2022 WWW.GALLERY2.CO.ZA

ART@AFRICA POP UP EXHIBITION AT ABLAND 35 LOWER LONG – CAPE TOWN FOOLS GOLD BY PAUL KNEEN ONGOING WWW.ARTATAFRICA.ART

ART@AFRICA DUSKLAND ODYSSEY SOLO EXHIBITION BY DAVID GRIESSEL ONGOING WWW.ARTATAFRICA.ART

GALLERY AT GLEN CARLOU MORPH A SOLO EXHIBITION BY HELENA HUGO 20/03/2022 UNTIL 01/05/2022 WWW.GLENCARLOU.COM

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www.artistproofstudio.co.za

Our digital gift cards are the perfect gift because it allows anyone the freedom and flexibility to choose one—or more prints online!

gallery@artistproofstudio.co.za

GALLERY AT GLEN CARLOU

INTERLUDE GROUP EXHIBITION FEATURING WORKS BY ADELE SHERLOCK, ERIKA SUTER, GRIETJIE HAUPT, JENNY STRONG & YOKO REIJN. 20/03/2022 UNTIL 01/05/2022 WWW.GLENCARLOU.COM

STEVENSON JHB BIRD SOUND ORIENTATIONS1 RAHIMA GAMBO 26/03/2022 UNTIL 06/05/2022 WWW.STEVENSON.INFO

ARTGO: APRIL - AUGUST 2022

ONGOING SHOWS

OLIEWENHUIS ART MUSEUM IN STRANGER TIMES: THE ART BANK OF SOUTH AFRICA 2021 NEW ACQUISITIONS EXHIBITION 03/03/2022 UNTIL 08/05/2022 WWW.NASMUS.CO.ZA

ST. LORIENT AND THE VIEWING ROOM ART GALLERY GROUP EXHIBITION SPIDERMAN 60TH 26/03/2022 UNTIL 30/05/2022 WWW.STLORIENT.CO.ZA/THE-VIEWING-ROOM.CO.ZA

LA MOTTE MUSEUM THREADS OF SYNERGY SOUTH AFRICAN TAPESTRY ART / UNTIL WINTER 2022 TAPESTRIES BY THE STEPHENS TAPESTRY STUDIO AND ARTISTS ROBERT HODGINS, WILLIAM KENTRIDGE, SAM NHLENGETHWA, CECILY SASH AND CECIL SKOTNES. WWW.LA-MOTTE.COM/PAGES/MUSEUM

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John Muafangejo (1943 - 1987) They are shaking hands because they are longing, Linocut

Woodstock arts hub at 109 Sir SA LowryPRINT Road, Woodstock, Cape Town, South Africa. THE GALLERY Tel: 021 300 0461 / Email: info@printgallery.co.za

PRESENTS

Thinking of selling? Contact us for an obligation free valuation Johannesburg Cape Town 011 880 3125 021 794 6461 info@swelco.co.za ct@swelco.co.za Upcoming Auction: Cape Town | 28 & 29 June 2022

Cape Town Premium June 2022 Auction | Featured Lot: Jacob Hendrik Pierneef | LANDSCAPE - EASTERN FREE STATE | R400 000 - 600 000

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ART TIMES APRIL 2022 EDITION

Articles inside

Art UNLOCKED

HEKKIE MOOS: RETROSPECTIVE

RECON(FIGURE

AN OUTDOOR ADVENTURE IN ART

THE CLAY MUSEUM

CALLING ALL SCULPTORS - SCULPTX 2022

A DARK EDEN - PARADISE LOST AND FOUND

FYNARTS10

M.O.L 28 - HERE IS WHERE WE MEET – HEDWIG BARRY

PARADISE PERPETUATED

THE PERCH