Gallery 2 RMB Turbine Art Fair 2018 Catalogue by Gallery 2

GALLERY 2

THEMBA KHUMALO AUDREY ANDERSON ROSEMARY JOYNT DANIELLE MALHERBE FIONA POLE LAUREL HOLMES RAMARUTHA MAKOBA

MANUELA KARIN KNAUT KARIN DAYMOND KYRA PAPE MARIA LEBEDEVA CARL ROBERTS ROSS PASSMOOR

THEMBA KHUMALO

Themba Khumalo, Its a long way to go, Charcoal on Paper, 90 x 141 cm, 2015

Out of the box, Etching , 420 x 325 mm

Waiting for their turn. Etching, 450 x 325 mm

The safe zone, Etching, 440 x 690 mm

Ukuwamba ukubona, Etching, 440 x 690 mm

Night Walker, Etching, 350 x 405 mm

The Helper, Etching, 450 x 325 mm

Themba Khumalo, Crossing the Bridge II, Etching, 73.5 x 83.5 cm,

AUDREY ANDERSON

Audrey Anderson, Magalies still life, with lizard, in on canvas, 50 x 80cm

Audrey Anderson, Wanderlust terrain 7, Ink on Canvas, 70 x 70cm

Audrey Anderson, Rockpool Swim 1, Ink on Canvas, 25 x 25cm.

Audrey Anderson, Rockpool Swim 2, Ink on Canvas 25 x 25cm

Audrey Anderson, Rockpool Swim 3, ink on Canvas 25 x 25cm.

ROSEMARY JOYNT

Rosemary Joynt, Perfect Storm, Oil on Canvas, 80 x 95 cm

Johannesburg based artist, Rosemary Joynt actively immerses herself in her work to uncover intersecting relationships between abstraction and representation pertaining to nature. With considerable experience exhibiting with galleries such as Rust en Vrede and exposure at Turbine Art Fair, her work has become known for its dream-like manner. As part of her creative process, Rosemary embarks on an intuitive practice of collecting fragments of images, interrogating their links to the physical and the spiritual. She approaches the canvas as a conceptual space, where obscure patterns coincide in such a way to present subtle instances of order and harmony. She renders nature as a moving force through the bleeding of colour and the rippling of line as they mimic the fluctuating energy between earth and sky.

Rosemary Joynt, Dominion, Oil on canvas , 107 x 127 cm, 2018

Rosemary Joynt, Rise and Fall, Oil on canvas, 87.5 cm x 104.5 cm

DANIELLE MALHERBE

Danielle Malherbe, Pool with leaf litter, Oil on canvas, 60 cm x 60 cm, 2017

Danielle Malherbe, Winter reflection, 60 cm x 60 cm, Oil on canvas, 2017

Danielle Malherbe, Poetic encounter, 30 x 30 cm, oil on canvas, 2018

Danielle Malherbe, Pool's edge, 30 x 30 cm, oil on canvas, 2018

Danielle Malherbe, Petal fall, 30 x 30 cm, 2017

Danielle Malherbe, Nocturne, 1m x 1m, oil on canvas, 2018

Danielle Malherbe, Nocturnal, Oil on canvas, 1 x 1 m, 2017

FIONA POLE

Fiona Pole, Carborundum etching on rives arches paper, Paper size 23 x 35.5 cm, Image size 6.3 x 19.2 cm, 2018

Fiona Pole, Ponte and Tower, Carborundum etching on rives arches paper, Paper size 23 x 35.5 cm, Image size 6.3 x 19.2 cm, 2018

Fiona Pole, Raven, Carborundum etching on rives arches paper, Paper size 23 x 35.5 cm, Image size 6.3 x 19.2 cm, 2018

Fiona Pole, Carborundum etching on rives arches paper, Paper size 23 x 35.5 cm, Image size 6.3 x 19.2 cm, 2018

Fiona Pole, Hilbrow Tower, Carborundum etching on rives arches paper, Paper size 35.5 x 23 cm, Image size 19.2 x 6.3 cm, 2018

LAUREL HOMES

Laurel Holmes, Upsurge I,II,III, IV, Oil on canvas 80 x 80 cm, (40 x 40 cm each), 2018

RAMARUTHA MAKOBA

Ramarutha Makoba explores themes of community and family relationships in his recognizable charcoal, pastel and acrylic drawings. In the drawings the grit of daily life is interspersed with brightly coloured trees and portraits of people from his community. Makoba dedicates much of his out of his studio giving back to his community. He sees his role as an educator as empowering the children he works with in helping them see a future beyond their current situation, lifting their blindfold and opening their minds and eyes to what is possible. Representing the family unit as a tree, he says that if your nurture these children and their families you allow their roots to take hold and to give them a future worth working towards. Makoba quotes Tyler Perry: â&#x20AC;&#x153;I have this tree analogy when I think of people in my lifeâ&#x20AC;ŚIt goes like this: Some people come into your life and they are like leaves on a tree. They are only there for a season. You can't be angry at them, it's just who they are. There are some people who come into your life and they are like branches on a tree... In most cases they can't handle too much weight. But again, you can't be mad with them, it's just who they are. If you can find some people in your life who are like the roots of a tree then you have found something special...Their job is to hold you up, come what may, and to nourish you, feed you and water you.

Momma oya mosonog, Silkscreen, 140 x 100 cm, Edition of 10

Pap oya monosong, Silk screen, 140 x 100 cm, Edition of 10

Silk screen, 140 x 100 cm, Edition of 10

MANUELA KARIN KNAUT

About the artistic work of Manuela Karin Knaut Manuela Karin Knaut’s paintings can be compared to a balancing act between colour, shape and line, surface and space, abstraction and object, image and writing. The individual, coloured surfaces are applied to the canvas with strong brush strokes and are continuously worked over. Integrated into the process of painting, are more or less defined objects, everyday utensils from the thick of life, which are sometimes contoured in a linear manner or depicted flat, painted over or partially exposed. Regarding the content of her work, the artist puts strong emphasis on architectural and building themes, also in her paintings, for a few years now – the subject matter „house“, „dwellings“ as well as the connected term „home“ in its broadest sense, is artistically questioned from different angles and displayed in a multi-layered approach. Essential questions around the life of a mother, daughter and woman, deal with these essential prime elements of human existence. Love, protection, loss – but also simpler questions, such as the aesthetics of the immediate structure of ones surroundings, hold the sum total of the creative diversity in Manuela Karin Knaut’s work together like brackets. A good example of this in Knaut’s work, are the already mentioned “unreasonable spaces”, which have been realised in numerous galleries and art exhibitions. In her paintings, the artist combines an enormous variety of materials and with this approach stays true to her style of art in an unafraid manner, which she realizes over and over in large room installations. She uses collage, strings, staples, alters sewed objects she found, on or inside her world of images. There is spraying involved and complementing with silk-screen printing. In Knaut’s colour-intensive imagery world, you can find similar layering, stapling and combining in the same way as with her room objects. The confrontation with and combination of painting and working with different materials on canvas leads inevitably to a journey of discovery into the playful-sensual and most of all energy-laden artistic world of Manuela Karin Knaut, which leaves much room for one’s own stories, inviting thoughts to roam.

Manuela Karin Knaut, Day one of my other life, Oil on canvas, 45 x 45 cm

Manuela Karin Knaut, a place for your dreams, Mixed Media on canvas, 45 x 45 cm

Manuela Karin Knaut, Packing for leaving, Mixed media on canvas, 45 x 45 cm

Manuela Karin Knaut, Fragola, Mixed media on canvas, 45 x 45 cm

Manuela Karin Knaut, Reading through the diaries, Mixed media on Canvas, 45 x 45 cm

Manuela Karin Knaut, Rewind Memories, Oil on canvas, 45 x 45 cm

Manuela Karin Knaut, One of these days, Oil on canvas, 45 x 45 cm

Manuela Karin Knaut, Great views and South African blessings, Oil on canvas, 45 x 45 cm

Manuela Karin Knaut, Flower bed, Oil on canvas, 45 x 45 cm

Manuela Karin Knaut, Seeing is believing, Oil on canvas, 45 x 45 cm

KARIN DAYMOND

Karin Daymond, Signs of Life I, oil on canvas, 85 x 85cm, 2018

My lichen paintings have become a meditation. They are not intended as botanical studies, but take their cue from natural patterns and rhythms. The translation into paint is absorbing, and allows me to become completely absorbed in the paint application and mixing. The little world that I create on the canvas is very absorbing, and I love the feeling of finding a place for each mark. Lichens are a form of life that is often overlooked. They are a combination of a fungus and a bacteria in one organism. They change according to weather, moisture, which rock/tree face they grow on. So although one gets identifiable species, they are all unique according to the conditions they grow in. I like this concept.

Karin Daymond, Signs of Life II, oil on canvas, 85 x 85cm, 2018

KYRA PAPĂ&#x2030;

Kyra PapĂŠ, ISL02 and ISL03, ink and sugar, 70 x 50 cm (paper size â&#x20AC;&#x201C;each) , 2018

My artistic practice has for the most part been a direct response to my physical experiences. I work specifically with melted sugar and engage with it in relation to my severe allergy with it and how the alien relation manifests through art. My body of work focuses on materials and materiality in order to engage with how encounters between the object, material and viewer are able to evoke a sensual and metaphorical experience. Whilst having a focus on materiality and the object-material-viewer embodiment, I explore materials and their fluid existence. My work also explores the conversation between two manifestations of form; the contained and the fluid. The amorphous (shapeless mass) and geometrical mark making are explored in relation to the temporal and ever-changing material of the sugar, which aims to speak towards issues around the abject and the uncanny. My primary interest is in the boundaries or non-boundaries that are being pushed, destabilised or contained. The sugar once melted is in an everlasting state of change, through which the chemical structure allows for transformational moments to occur, moments that disrupt stagnant structures.

MARIA LEBEDEVA

Maria Lebadeva, Flurry, watercolour on paper, 13.5 x 15.5 cm

Maria Lebadeva, For-fig's-sake, watercolour on paper, 17 x 17 cm

Maria Lebadeva, Gather, watercolour on paper, 13 x 13 cm

Maria Lebadeva, Juicy, watercolour on paper, 19 x 16 cm

Maria Lebadeva, Mermaid, watercolour on paper, 22.5 x 16.5 cm

Maria Lebadeva, Swing-swing, watercolour on paper, 14 x 14 cm

Maria Lebedeva, Midnight-Oil, 15 x 13.5 cm, watercolour on paper, 2018

Maria Lebedeva, Douglas, 10 x 11cm, watercolour on paper, 2018

Maria Lebedeva, Chester, 10 x 11cm, watercolour on paper, 2018

Maria Lebedeva, Easy,-Tiger, 13 x 11cm, watercolour on paper, 2018

Maria Lebedeva, Four-and-Twenty, 20 x 20 cm, watercolour on paper, 2018

Maria Lebedeva, Midsommar, 18 x 14.5 cm, watercolour on paper, 2018

Maria Lebedeva, The-Thing-is..., 18 x 14 cm, watercolour on paper, 2018

Storytelling is the primary driving force behind my work, inspired greatly by my irrational love of children's picture books (which I obsessively collect), and my work as an illustrator. Illustration generally implies creating a visual storyline as an accompaniment to text, and I am greatly inspired by writing, where words I read or hear trigger an image, or vice versa. My work almost always starts with a story or notion, a daydream or observation â&#x20AC;&#x201C; something that triggers an idea which begs to be expressed visually. Folklore and fairy tales have always been my greatest inspirations, and I like to combine these playful influences with a good dose of everyday reality, resulting in some whimsical dissonance. Ultimately, I hope to encourage an audience to engage with my illustrations, to interpret and make associations, and to create stories of their own.

CARL ROBERTS

Carl Roberts, Picasso People, 25 x 23 x 7cm, cast bronze and stone, 2018, Edition of 7

Carl Roberts, Skinny Dipper, 20 x 33 x 6 cm, cast bronze and stone, 2018, Edition of 7

ROSS PASSMOOR

As part of the artistâ&#x20AC;&#x2122;s creative PHD at the Wits School of Art, Ross examines some of the ongoing moments of making that constitute artist practice. His exhibitions, Afterlife, currently on show at the Wits Art Museum, seeks to offer through an ongoing series of alterations and engagements, a cross section of this particular research process that is without beginning or end. Afterlife Builds on Tunnel Vision, a solo exhibition at The Point of Order in 2017, which explored an 800-metre abandoned train tunnel running under suburban Hilton in KZN. Taking the experience of walking through the tunnel as a starting point, Ross Passmoor interrogated the relationship between past and present by exploring the tunnel as a ruin in addition to a monument. The result was a series of installations and sculptures made from materials he worked with at the original site, as well as materials found in his garden in Blairgowrie and surrounding suburbs. This entanglement of past and present is further developed in his practice as he explores some of the ways in which the use of discarded materials can generate a sense of history and a rootedness to place. Through display, Ross questions the materials previous life in relation to an as yet unarticulated future. The problems and potentials of

translating time and space find resonance in the accumulated afterlife of found materials collected around Johannesburg suburbia.