everard read C A P E TO W N
Previous page: detail from 'Breaking Point', oil on canvas, 150 x 150 cm Opposite: detail from 'Fascination', oil on canvas, 140 x 200 cm
BREAKING POINT
Din n er is o ver. T h e g ue sts h a v e l e f t . T h e tab l e i s a muddl e of empty p lates a n d a l m ost- e m pt y g l a s s e s . Burn t-out match es, s c ra p s o f pa p e r a nd ot h e r d i s ca rde d tat h ave b een l ef t b eh i n d b y th e d epa rte d . T h e room i s va ca n t .
Ca r yn Sc rimge our 's bi rd 's - e y e v i e w pa i n t i ng s of tab l e -tops are a b l e to fa s c in ate on a pure l y v i s ua l l e v e l . T h e my ri ad ca ptivatin g deta i l s i n ea ch pa i nt i ng a re a pl easure to exami n e, a temptatio n to touch . S cr i m ge our 's s ki l l at portray i n g th e p h ys ica lity o f j u xta p os e d obj e cts i s to be mar vel l ed at — th e s h immerin g s h a dow of a w i ne g l a s s on t h e cl oth b en eath , th e lig h t g lin tin g of f t h e t i n e s of a n un us ua l a nd i n tri cate fork .
T h es e pa in tin g s a re de ce pt i v e l y bea u t i f u l , h owe ver. Th oug h s eemin g l y em pt y of p e op l e , h e r ta bl e s ca pes are remarkab l y f u l l o f life. O f l ong i n g , d e s pa i r, con n e ct i on , of h umour, a lien atio n a n d l ov e .
Clu es a re g iv e n to u s t h rou g h t h e ch oi ce an d composi ti on of
si g n i f i can t peri od i n Scri mgeou r's life when t hose around
o b jects . A s im pl e box of pa st i l l e s w e ets a nd a marsh mal l ow
seemed n ear th ei r person al b reaking points ( shown by t he
f is h a re pa in te d i n i ncre d i bl e deta i l n e xt to f i n e ch i n a an d
over-turn ed pl ate, th e di scarde d cigarette, t he empt y
s ilver c u tler y. T h e y a re e l e vate d to t h e status of treasure, of
ch ampag n e b ottl e).
s o meth in g m ore t h a n t h e y a p p ea r to be . S cri mgeour pai n ts o b jects in to s i g n i f i ca nce be ca us e t h e y a re h ol ders of memor y,
W h i l e occasi on al l y cr y pti c or personal, t he paint ings remind
n ot ju st o f co m m e rci a l va l ue . A ch ocol ate l ady -b i rd i s a
us of oursel ves. It i s our own h oarded postcards and
remin d er o f ea r l y ch i l dh ood's un f ul f i l l e d l o n g i n g s.
memori es, our i n h eri ted di sh es and idiosyncrasies, t hat draw us to Scri mgeour's work as much as her remarkable technical
Ea c h o f th e b ea ut i f u l l y ca pt ure d t h i n g s co n tai n s a trace of a
sk i l l . W e are l ef t wi th a sen se o f shared experience and
h u ma n life. W e ca n l ook be y on d t h e g l os s y surface of th ese
del i g h t .
p erfectly pa inte d ta bl e -top s i n to l a y e r s of fasci n ati n g s ig n if ica n ce.
T h e titl e p iece of t h e s h ow, 'B rea ki n g Poi n t', ref l ects th i s stratif ied a est h et i c pe r fe ct l y — i t re fe r s to b oth th e b reak i n g in o f h er d a u g h te r 's ne w ba l l et poi nte s h o es, as wel l as a
'Desolation', oil on canvas, 100 x 150 cm
Seashells are souvenirs of being somewhere once — and not wanting to let go.
'Hen Party', oil on canvas, 50 x 200 cm
'Dinner Politics / Child's Play', oil on canvas, 100 x 140 cm
A s p rin k lin g o f to r n n e w s pa pe r s a cts a s a ba c k-drop to th e
Th e wooden “b ui l di n g b l ock s of our nat ion” are next to Zuma,
politica l ga mes a nd m a n i p u l at i ons w h i ch pe r meate our l i ves
pl aced on top of a torn referen ce to his homestead, Nkandla.
i n So u th Af rica .
Th e ti n of b ul l y b eef an d i ts ‘Bul l Brand’ label sum up his pol i ti cal ch aracter : h i s ten den c y to spe w out garbage and to
Th e cen trep iece on t h e ta bl e , a g ra v y boat w i th th e ol d SA
b ul l y h i s di ssen ters i n to sub mi ssi o n.
R a ilwa ys coat o f a r m s , i s a re fe re n ce to t h e “gravy trai n” (n ow empty) th at h a s f u e l l e d t h e l i fe st y l e s of cor r upt pol i ti ci an s.
Th e ti n stan ds con f ron ti n g th e b ott le of Mrs Ball’s chut ne y.
In s id e th e g ra vy boat a re dea d be e s , a st i n g i n g referen ce to
Th i s wel l -k n own b ran d ref l ects th e character of anot her
fa il ed B EE p o lic i e s .
promi n en t person al i ty l i n ked to ou r polit ical landscape, T huli M adon sel a. Her rel en tl essn ess i n light ing fires under anyone
Th e ma in p rota gon i st i n a l l t h i s , Ja cob Zu m a , i s represen ted
(regardl ess of th ei r pol i ti cal af f i l i at ions) has earned her t his
by th e B u n n yk in s pl ate . T h e n um e rou s ra bbi ts ref l ect h i s
reputati on . Th e scorpi on n ext to her, a reference to t he now
mu ltip l e wiv es and of f s pr i ng . T h e ch i cke n foot refers to h i s
-def un ct i n vesti gati ve un i t , sti l l co nve ys menacing t hreats
te n d en c y to h id e be h i n d t ra di t i on w h e n con f ron ted wi th
across th e tab l e.
i ss u es . T h e a s para g us s pea r on t h e pl ate i s a tri b ute to Brett M u rra y’s in fa mo us a r t w or k ‘T h e S pea r ’, w h i ch caused such
Hel en Z i l l e's pl ate depi cts Tab l e Mountain, t he region under
con tro v ers y w h e n e x h i bi te d i n 2 0 1 2 .
h er con trol . Th e g rapes h i n t at th e ongoing farm st rikes in t he
a rea . T h e f l o ra l tea cup a l l ude s to h e r d e rogator y n i ck n ame,
trade -mark J oh n n y Wal ker gol d whisky replaced by a bott le of
th e ' M a d a m'.
ch eap Tassen b erg wi n e. Hi s ol d enemy, Nando's, waits pati en tl y to h el p wi pe th e eg g off his face.
B la d e Nzima n de 's ba d l y cra cke d pl ate i s a sy mb ol of fai l ed co mmu n is m: h i s bl ata nt doubl e sta nda rd s as l eader of th e
Scattered across th e tab l e are torn ne wspapers, in reference
SACP, th e l ip s e r v i ce h e pa y s to com m un i s m an d h i s total
to th e secrec y b i l l , wh i ch woul d see any unfavourable
immers io n into ca pi ta l i st cul t u re .
i n formati on cen sored b y th e ruling part y, ensuring t hat we
A n d o f co u rs e t h e re i s a re fe re n ce to Jul i us M al ema, th e b l ack
stumb l e b l i n dl y i n to th e f uture.
s h eep o f th e fa m i l y. O nce s o re v e re d by t he masses, h i s p o litica l d o wn fa l l m a r ks t h e e nd of h i s l a vi sh l i festy l e, h i s
Scrimgeour's work is often concerned with memory and its role in our lives. Music can provide one of the strongest evocations of the past, even if that past has been deeply buried. Though music boxes are romantic objects, the memories brought to mind can be painful, pricking like the sharp porcupine quill laid on a plate. In these cases, the nearby bottle of absinthe is required.
'The Music Box', oil on canvas, 100 x 140 cm
'The Mixing Bowl' is a commissioned piece which
The all-seeing eyes of the mother, with an
intertwines the unique historical background of a
interest in ophthalmology, keep a steady watch
specific family with the universality of family life.
over the children, with a finger placed on her lips to quiet them. The father, an anaesthetist, has
The family's ancestry, English/Dutch on one side,
within his reach a bottle of Ouzo, renowned for
and Croatian/Greek on the other, is woven
its “anaesthetic” qualities.
together throughout the painting. It forms part of the three children's lives, while at the same time
The tea set draws on the English ancestry, while
becoming background as they grow up in an
the postcard from Rhodesia and the zebra plate
entirely different environment. They are, as
reflect the time spent there. The Croatian
implied by the yo-yo, “made in South Africa”.
coaster, Greek Ouzo and Dutch plate all reflect the diversity of one unique family, whose past
The nursery rhyme 'What are Little Boys Made
continues to live on through their children. This all
of?' (with its snails and sugar) and other universal
plays out against a background of peacock
generalisations still apply.
feathers, a universal symbol of immortality.
'The Mixing Bowl / Sugar & Spice', oil on canvas, 85 x 140 cm
'The Thin Red Thread of Fate', oil on canvas, 150 x 150 cm
An old Chinese proverb states that “an invisible
The latter seems to suggest that your destiny
red thread of fate connects those who are
has been found by someone else, and that they
destined to meet, regardless of time, place or
are living out your life. This gives rise to a sense
circumstances. The thread may stretch or tangle
of futility, knowing that we might never find what
but will never break.” This is a comforting thought
we think should be our destiny, despite our
for us as we search for meaning and purpose in
constant searching. The closed box and the
our lives.
folded yellow fortune slip imply that what we seek is unattainable and that our efforts are
Scrimgeour, however, compares this romantic
futile.
idea to more menacing prophecies actually found in fortune cookies:
The sharpened blade placed in the centre is an
“Your problem just got bigger, think, what have
insinuation that perhaps there are no other
you done.”
options, no other futures.
“Your fortune is in another cookie.”
The mesmerising effect of fish in water in 'Fascination' is calming and relaxing, while at the same time implying that something is hidden just below the surface, something not yet in full view.
'Fascination', oil on canvas, 140 x 200 cm
The soft pink of 'Breaking Point' disguises its menace. Scrimgeour painted it in reaction to people around her slowly but surely reaching points in their lives at which they moved in irrevocably different directions. The discarded cigarette, the unopened sweets, the overturned plate, the empty champagne bottle all imply a sense of finality.
'Breaking Point', oil on canvas, 150 x 150 cm
Highschool reunions are a time to celebrate and reminisce. They are also, however, a time to present a front to others, with lies, deceptions and silly cover-ups. The painted needle book is labelled 'Happy Home', but its contents hide a sharp truth. The cough syrup hints at underlying disease. The Pinocchio pencil has a long nose from all the tall tales. Scrimgeour implies that for many of us there is a need to present an image of happiness to the world, despite underlying currents of discord.
'Reunion', oil on canvas, 75 x 150 cm
'Untitled', oil on canvas, 150 x 150 cm
BIOGRAPHY Caryn Scrimgeour was born in Johannesburg in 1970, and has lived in Cape Town since 1972. In 1991 she graduated from the University of Stellenbosch with a BA in Fine Art. 2014 BREAKING POINT solo exhibition, Everard Read, Cape Town 2013 CENTENARY group exhibition, Everard Read, Johannesburg 2013 POSSESSED group exhibition, Everard Read, Cape Town 2013 SYDNEY ART FAIR group exhibition with Everard Read, Johannesburg, Sydney 2012 CONUNDRUM solo exhibition, Everard Read, Johannesburg 2012 JOHANNESBURG ART FAIR group exhibition with Everard Read, Johannesburg 2012 WINTER group exhibition, Everard Read, Cape Town 2012 SMALL WORKS group exhibition, Everard Read, Cape Town 2012 INDIA ART FAIR group exhibition with Everard Read, Johannesburg, New Delhi 2011 JOHANNESBURG ART FAIR group exhibition with Everard Read, Johannesburg 2011 15TH ANNIVERSARY group exhibition, Everard Read, Cape Town 2011 SELF PORTRAIT group exhibition, Rust en Vrede, Durbanville 2010 SUMMER group exhibition, Everard Read, Cape Town 2010 VIEW FROM THE SOUTH group exhibition, Everard Read, Cape Town 2009 SEX, POWER, MONEY group exhibition, Everard Read, Cape Town 2009 SUMMER group exhibition, Everard Read, Cape Town 2008 THE CITY group exhibition, Everard Read, Cape Town 2008 FRAGILE, FERTILE DECEPTIONS solo exhibition, Everard Read, Cape Town 2007 ARTWORDS II group exhibition, Rust en Vrede, Durbanville 2006 SEVEN DEADLY SINS group exhibition, Rust en Vrede, Durbanville 2006 SOLO EXHIBITION Everard Read, Johannesburg 2004 WOMEN'S DAY group exhibition, Rust en Vrede, Durbanville
This exhibition catalogue is published in conjunction with Caryn Scrimgeour's solo exhibition 'Breaking Point' 2014 by Everard Read, Cape Town All images copyright
©
Caryn Scrimgeour
Design & text by Lena Sulik 'Dinner Politics' and 'Mixing Bowl' text by Caryn Scrimgeour