et al. | a group exhibition

et al. |

a group exhibition

28 APRIL – 08 MAY 2013

M a a i k e B a k k e r | N i a l l B i n g h a m | B r e t t M u r r a y | C h r i s t i a n N e r f | Ta m a r a O s s o | S e a n S l e m o n C r a i g ( A c t u a l l y ) S m i t h | M J Tu r p i n | M a r y Wa f e r | Q u i n t e n E d w a r d W i l l i a m s Curated by Neil Nieuwoudt and Brendan Copestake

From 28 April – 08 May NIROXprojects at Arts on Main, Johannesburg will be hosting a group exhibition of talented young to more established and well-known South African artists. The exhibition will play host to varying mediums from painting, lino cuts, photography and sculpture to installation based work. All of these combined to form an interesting juxtaposition of artistic styles and genres.

The exhibition opens on Sunday 28 April 2013 at 12pm.

et al. | a group exhibition | Installation view | NIROXprojects and Parts and Labour | 2013

MAAIKE BAKKER M a a i k e g rew up i n Pre to ri a. S h e obtained her B A in visual art at the Unive r si t y o f So ut h Afr i ca . As a st ud e nt she p a r ti c i p a t ed i n art co mpe ti ti o n s such as Absa Atelier and has since also p a r t i ci p a t e d i n v a r i o us g r o up sho w s. She i s c u r r e nt ly i n t he p ro ce ss o f o b tai n ing her M A in fine art at the University o f Jo ha nne sb ur g .

Th e w a y t hi ng s are (2013) (mi rro r piece) Th is a rt w o rk co n si sts o f an i n stru ction m anual exhibited alongside an ins t a l l a t i o n. T he ma nua l fe a t ur e s a l l t he t e chni ca l d a ta ( d i mens i o n s an d p l ace me n t) of the accom panying installation. The ma nua l s a r e ma ss- p r o d uce d a nd no t e d i t i o ne d , th e r e b y enc o uragi n g th e au di e n ce to take one. The installation consists of v a r i o us p i e ce s o f mi r r o r, cut t o p r e - d e t e r mi ne d d im ens i o ns s p e ci fi e d i n th e man u al. The work serves the function of em bo d yi ng t he v i si t o r a nd a l so a i ms t o b e co me a r e f l e c t i o n o f t h e space an d e xh i b i tion context it’s exhibited in. The work i s t hus d e fi ne d b y i t s sur r o und i ng s a nd p r e se nt s a n ew ex p eri e n ce e ach ti me i t i s exhibited. T his rupture and displacem e nt a ffe ct s o ne s k no w l e d g e o f t he und e r st a nd i ng of th e a rt o b j e ct i tse l f, i t p e rv ades out actions, ideas and interpretation, w hi ch a r e t hus co nst i t ut e d b y t he i nst a l l a t i o n of th e w o rk i t se l f, care fu l l y i n structed by the m anual provided. _ _ _ _ _ _ / _ _ _ _ __ ( 2013) Th is p i ec e p la ys w i th th e atte mpt to secure and conserve an artwork. It co nsi st s o f v a r i o us cha i ns a t t a che d t o d o o r l o ck s, a l l ow i ng t he ch ai n to b e l o cke d i n m ultiple ways, trying to sim ultaneou sl y co nt a i n t he w o r k . The p i e ce i s b a se d o n i t s va r ia b i li t y. I t offe rs mu l ti p l e al te rnatives that it can be exhibited. T he s l i d e r s ca n co nne ct i n v a r i o us w a ys, a l l o w i ng t he a u d ienc e i s enco u rage d to i n te rv ene and to change the m anner in which t he sl i d e s a r e co nne ct e d b y fi x i ng t he cha i n i nt o d if f e rent f o rmati o n s. Th e pi e ce i s accom panied by an instruction m anual w hi ch sho w s so me a l t e r na t i v e s i n t e r ms o f ho w th e c ha i ns c a n b e fi xe d .

The Way Things Are | Mirrors | Dimensions variable | Maaike Bakker | 2013

------/------ | Chains | Dimensions variable | Maaike Bakker | 2013

Now Museum | Dust on 300gsm Fabriano paper | A3 | Maaike Bakker | 2013

Installation view | Underdog by Niall Bingham | ____/____ by Maaike Bakker | et al. | 2013 (photo credit: Laetitia Lups)

Installation view | ____/____ by Maaike Bakker | Watchman and Reappropriated Field by Quinten Edward Williams | et al. | 2013 (photo credit: Laetitia Lups)

NIALL BINGHAM Niall Bingham was born in Pietermaritzburg in 1981, where he studied Fine Art at the University of KwaZulu-Natal, completing his BAVA (Hons) in 2005. Whilst studying printmaking under Vulindlela Nyoni, he developed a passion for the medium. He spent his second year of studies at Kansai Gaidai University in Japan on an exchange program, learning the language and training in Sumi-e painting and Japanese ceramic techniques.

His interest in printmaking led him to the David Krut Print Workshop (DKW) in Johannesburg, where he collaborated and printed for top South African artists including William Kentridge, Diane Victor, Paul Stopforth, Willem Boshoff, David Koloane and many others.

Underdog | Linocut | 131 x 222cm | Edition of 5 | Niall Bingham | 2013

Untitled | Linocut | 65,5 x 50,5cm | Edition 8/9 | 2011 | Niall Bingham (collaborative work with MJ Turpin)

B R E T T M U R R AY B r e tt M urra y stu di e d at th e Un i v ersity of Cape Town where he was awarde d hi s Ma st e r’s o f F i ne Ar t s d e g r e e i n 1 9 8 8 w i t h d is tinc t i o n. Th e ti tl e o f h i s d i sse rtation is ‘A Group of Satirical Sculpture s Ex a mi ni ng So ci a l a nd Po l i t i ca l Pa r a d o x e s in the So ut h A fri can C o n te xt’. As an undergraduate he won Irm a Stern Scho l a r shi p s i n b o t h 19 8 1 a nd 1 9 8 2 . H e w o n t he S imo n Ga rs o n Pri z e fo r th e mo st Prom ising student in 1982 and was award e d t he Mi cha e l i s Pr i ze i n 1 9 8 3 . As a p o st g r a d ua te st ud ent he re ce i v e d a Hu man Sciences Research Council bursary, a Un i v e r si t y o f Ca p e To w n Re se a r ch Scho l a r shi p , th e J ules Kra me r G ran t an d an Irm a Stern Scholarship.

H e h a s ex hi b i t e d e xte n si v e l y i n S outh Africa and abroad. From 1991 to 19 9 4 he e st a b l i she d t he scul p t ur e d e p a r t me nt a t th e U ni v ers i t y o f S te l l e n b o sch , where he curated the show ‘T hirty Sculpt o r s fr o m t he We st e r n Ca p e ’ i n 19 9 2 . In 19 9 5 h e c ura t ed , w ith Ke v i n Bran d , ‘S c urvy’, at the Castle of Good Hope in Ca p e To w n. T ha t ye a r he co - cur a t e d ‘ Jung e Kunst A u s Z ud A f ri k a ’ fo r th e Hän e l G al lery in Frankfurt, Germ any.

I n 1 99 9 , B ret t co -fo u n d e d , wi th artists and cultural practitioners Lisa B r i ce , Ke v i n Br a nd , Br uce G o r d o n, And r e w Put t e r, S u e Wi lli a m s o n, Ro b e rt We i n e k and Lizza Littlewort, ‘Public Eye’, a Sect i o n 2 7 co mp a ny t ha t ma na g e a nd i ni t i a t e a r t p r oj ec t s i n t he p u b l i c are n a wi th the aim s to develop a greater profile for p ub l i c a r t i n Ca p e To w n. The y ha v e i ni t i a t e d p r oj ec t s o n Ro b b e n Isl an d , wo rke d with the cities health officials on aids a w a r e ne ss ca mp a i g ns a nd i ni t i a t e d o ut d o o r s c u l p t ure p ro j e cts i n cl u d i n g ‘Th e Spier Sculpture B iennale’. He curated ‘ H o me p o r t ’ i n 2 0 0 1 w hi ch sa w 15 a r t i st s cr e a t e s ite s p ec i f i c t e xt base d wo rks i n Cape Town’s waterfront precinct. Public Eye ha v e i nt e r fa ce d w i t h cul t ur a l fund i ng b o d ie s a s c o ns ult a n ts an d h o ste d mu lti-m edia events across the city.

H is so lo s ho w s i n cl u d e : ‘W h i te Bo y Sings the B lues’ at the Rem brandt Gal l e r y i n Jo ha nne sb ur g i n 1 9 9 6 , ‘ I l o v e Afr i ca ’ a t th e B ell- Ro b erts G al l e ry i n C ape Town in 2000, ‘Us and T hem ’ at the Axis G a l l e r y i n N e w Yo r k i n 20 0 3 a nd ‘ Sl e e p Sl e e p ’ a t the G o o d man G al l e ry i n J o h an nesburg in 2006. His solo show, ‘Crocodil e Te a r s’ , w a s he l d a t b o t h t he Ca p e To w n a nd Joh annes b urg b ran ch e s o f Th e G o odm an Gallery in 2007 and 2009. His rec e nt sho w, ‘ H a i l To The T hi e f’ , w a s he l d a t t he Good m a n Ga lle ry i n C ape To w n i n 2010. Murray was included on the Cuba n Bi e nni a l o f 1 9 9 4 , a nd sub se q ue nt l y hi s w o r k s w h e re ex hi b i t e d at th e Lu d wi g Museum of Contem porary Art in Germ any. H e w a s i ncl ud e d o n t he g r o up sho w, ‘ Sp r i ng tim e i n C hi le’ at th e Mu se u m o f C ontem porary Art in Santiago, Chile. He w a s a l so p a r t o f t he t r a v e l l i ng sho w ‘ L i b e r a t e d Voic es , C o nt em po rary Art Fro m S outh Africa’ which opened at the M useum fo r Afr i ca n Ar t i n N e w Yo r k i n 19 9 8 . H i s w o r k f or m ed p a rt o f th e sh o w s ‘Mi n ( d )fields’ at the Kunsthaus in B aselland, Sw i t ze r l a nd i n 20 0 4 a nd ‘ T he G e o p o l i t i cs o f Ani ma ti o n‘ a t t he C e n tro An d al u z de Arte Contem poraneo in Seville in Spain i n 2 0 0 7 . H e w o n t he Ca p e To w n U r b a n Ar t co mp e tit i o n i n 1 9 98 th at re su l te d i n the public work ‘Africa’, a 3.5 m etre br o nze scul p t ur e , b e i ng e r e ct e d i n Ca p e To w n’s c ity c ent re. H e w o n , wi th S te faans Sam cuia, the com m ission to produce a n 8 x 3 0 me t r e w a l l scul p t ur e fo r t he fo ye r o f th e C a p e To w n In te rn ati o n al C o n v ention Centre in 2003. In 2007 he com p l e t e d ‘ Sp e ci me ns’ , a l a r g e w a l l scul p t ur e fo r th e U ni v ers i t y O f C ap e To w n ’s me dical school cam pus. He was nom inated a s t he St a nd a r d Ba nk Yo ung Ar t i st o f t he ye a r in 2 0 0 2 .

B r e tt w o rk s i n C ap e To w n , S o u th Africa, where he lives with his wife Sane l l Ag g e nb a ch, t he i r d a ug ht e r L o l a a nd so n Ka i .

Praise Singer | Bronze | 68 x 42 x 44cm | Brett Murray | 2008

Installation view | et al. | a group exhibition | 2013 (photo credit: Laetitia Lups)

Installation view | et al. | a group exhibition | 2013 (photo credit: Laetitia Lups)

CHRISTIAN NERF “ Th e … w o rk i ng w i t h … pri n ts are the first in a series of editioned works i n w hi ch I a sse ss w ha t l e a r ni ng s ca me f r om w o rk i ng wi th n u me ro u s i n d i viduals ov­­er the past 23 years. All of the se p e o p l e ha v e b e e n my t e a che r s a nd w i t ho ut e xc ep t i o n I hav e be e n tau gh t a l e sson. Not all of m y cohorts have been ar t i st s l e t a l o ne k no w i ng w ha t w e w e r e d o i ng fe l l u n d er w ha t i s kn o w n as art.

M a n y o f m y ea rl y co l l abo rati o n s w ith artists were fairly unsophisticated a nd co nst i t ut e d o f ha ng i ng o ut t o g e t he r a nd b e i ng e a ger t o a c t i v ate so me sh are d fantasies. As tim e past and partnerships w e r e e x ha ust e d I b e ca me mo r e e na mo ur e d w i t h w h a t c a n c o me fro m cl o se n e ss, to not only think alike but to m erge and al l o w fo r a t hi r d v o i ce t o e me r g e ; a ful l y fl e t che d b e in g w i t h a ll th e tri mmi n gs san s body. A voice, speaking its m ind. We, t he a r t i st s, d o i ng w ha t w e a r e t o l d b y t hi s o t he r th a t i s b o t h a li e n an d fami l i ar.

With ea c h relati o n sh i p d i sman tl e d and all but the keywords discarded I at t e mp t t o st r i p t he w o r d s a w a y a nd w ha t r e ma i ns a r e t hes e k ey sto n e s. Th e se are a shorthand of m y relationships: individua l co mp l e x a d v e nt ur e s, i nv e st i g a t i o ns a nd e xp eri ment s .

B y r e d uc i ng t he co mpl e x pro je cts down to a few words and allowing these t o l e a d me t o a symb o l I a m co nfr o nt e d w i t h th a t w hi c h rem ai n s. It i s th i s th i ng that is of value, perhaps even useful. Al b e i t he a v i l y co d e d i t funct i o ns no t a s b e gin ni ng , m i dd l e o r e n d b u t rath er at a point in an already running tune w i t h co unt l e ss i nt e r cha ng e a b l e d i r e ct i o ns. A w i n w in s c ena ri o i n wh i ch n o th i n g i s l ost, everything counts. T hese sym bols a r e i nst r ume nt s, mul t i p ur p o se t o o l s.

I l oo k f o rw a rd to sh ari n g ke rn e l s from tim e spent working with Justice a nd w i t h Se b a st i a n, w i t h Zha r ne a nd Mo she k w a , K a th ry n, B a rend (agai n ), Wad d y, Ed, Willem , Crispian, Abdulrazaque, Se b a st i a n a nd o t he r s a nd a s a l w a ys w o r k i ng w i t h You …”

‌working with Douglas‌ | Two colour Polymer Photogravure on Zerkall Intaglio 250gsm | Edition of 20 | 52,5 x 38,3cm (paper dimension) Christian Nerf | 2012

Greenhouse | Wooden sculpture (work in progress | Dimensions variable | Christian Nerf | 2012 - present

TA M A R A O S S O Ta ma ra O s s o w o rke d as a pro fe ssi onal ballet and contem porary dancer bef o r e p ur sui ng a ca r e e r i n fi ne a r t a s a p a i nt e r. She d a n ced w i t h nu me ro u s co mp an i e s, m ost notably; Free Flight Contem porary D a nce Co mp a ny, Ba l l e t The a t r e Afr i k a n a nd T he Re a l l y U s ef ul Gro u p . S h e co mp l e ted her B A Fine Art degree and is current l y co mp l e t i ng he r MA d e g r e e a t WITS U ni v e r si t y.

H e r w o rk a nd re se arch i n v o l v e s e x perim enting with how characteristics o f p e r fo r ma nce a nd p a i nt i ng b e co me co nfl a t e d .

Wor k i ng w i t h two tradi ti o n al l y di stinct languages engages the idea of tra nsl a t i o n; t he co mmuni ca t i o n o f t he me a ni ng o f a s ou rc e la ng u age ( p e rfo rman ce ) by m eans of an equivalent target langua g e ( p a i nt i ng ) . At t e mp t i ng t o t r a nsl a t e e l e me nt s of on e la ng ua ge i n to th e o th e r al ways risks inappropriate spill-over of s o ur ce l a ng ua g e i d i o m a nd usa g e i nt o t he t a r g e t l a n g ua g e t ra nsl ati o n . O n th e o th e r hand, spill-over’s have im ported useful so ur ce l a ng ua g e ca l q ue s t ha t ha v e e nr i che d t he ta r get la ng ua g e s. C o n si ste n tl y working between elem ents distinct to eith e r d i sci p l i ne p r o d uce s e r r o r s o r mi sund e r st a nd in g s w hi c h requ i re n e go ti ati o n an d an elem ent of invention which tends t o o b scur e a na l ysi s o f t he na t ur e o f r e l a t i o nshi p s w h ic h a re emph asi z e d b y co n trasts, com plications and intim ate exchanges.

Ta ma ra ’s ex hi b i ti o n cre di ts i n cl u de; WIT S M artinessen Prize finalist 2007 , 20 0 8 , 2 0 0 9 . She sho w e d i n a g r o up e x hi b i t i o n titl ed B ey o nd th e Li n e at Th e G o ethe Institute in 2008. She had her gradua t e e x hi b i t i o n, Vi r t ua l l y Re a l a t t he Sub st a t i o n a t Wi t s i n 2 0 0 9 an d was a fi n al i st in The Sasol Young Signatures Com petit i o n 2 0 0 9 . In 20 1 1 she ha s b e e n p a r t o f in d e pend ent e xh i bi ti o n s; Pro ce ss this/ at the M ichaelis Gallery in Cape To w n, Sa t e l l i t e Sp a ce s a t Ma i n St r e e t L i fe i n Joh annes b urg an d Th e Art o f Asse mblage Exhibition: A group show of em er g i ng a r t i st s a t t he Jo b ur g F r i ng e - 21 - 2 5 S e p tem b er. I n 2012 sh e e xh i bi te d once again at the M ichaelis Gallery in a n e x hi b i t i o n t i t l e d SEE/SAW 25 Jul y – 8 Aug ust .

Artist vs Artist (performance piece) | Vinyl print on glass |90 x 120cm | Tamara Osso | 2013

SEAN SLEMON S e a n Slemo n, is a S o u th Afri can artist who lives and works in B rooklyn, N Y. H is dra w i ng , s cu l p tu re an d i n stal lation is drawn from the debate around so ci a l e q ua l i t y t hr o ug h a n e mp ha si s o n na t ur a l r e s ou rc es a s a scape go at i n u rb an spaces and how they are distributed p o l i t i ca l l y. A w i nne r o f t he Sa so l N e w Si g na t ur e s a w a rd i n 2 0 0 5 afte r so l o sh o ws at the Prem ises, and subsequently m oved t o t he U S t o o b t a i n a n MFA fr o m Pr a t t Inst i t ut e , h e r e c ei v ed f un di n g to ward th e d egree from the National Arts Council of So ut h Afr i ca . H e a t t e nd e d t he Sk o w he g a n Scho o l of Pa i nt i ng a nd S cu l p tu re i n 2007 and held a solo show at M agnanM etz Ga l l e r y i n 20 0 8 . At t hi s t i me he w a s p a r t i ci p a t i ng in a C ha s ha ma S tu d i o re si d e n cy. He has exhibited on num erous group exhib i t i o ns, b o t h i n t he U SA, So ut h Afr i ca a nd Si e na , I ta l y. H e rec eiv e d a gran t fro m the Foundation for Contem porary Art fo r hi s r e ce nt sho w a t Br o d i e St e v e nso n g a l l e r y i n Joh annes b urg i n S o u th Afri ca. He recently held his second solo exhibition a t Ma g na nMe t z g a l l e r y e nt i t l e d T he Sun St a nd s S til l , a c c o mp a n i e d b y a catal o g and funded through USA Artists.

I n 2 0 1 2 he a t te n d e d a re si d e n cy at the Nirox Foundation outside Johanne sb ur g , So ut h Afr i ca a nd p r o d uce d ne w p r i nt s, d r a wi ng s a nd artwo rk fo r a so l o i n July of 2012 at NIR OXprojects, Arts on Ma i n, Jo ha nne sb ur g .

The Premises | Lazer cut mild steel | Edition 5/7 | 60 x 45 x 15cm | Sean Slemon | 2005

The Premises | Etching | Edition 2/7 | | Sean Slemon | 2005

C R A I G ( A C T U A L LY ) S M I T H B or n i n 1 9 6 1 , Smi th grad u ate d from art school at age 18, m ajoring in Paint i ng a nd Ar t H i st o r y. Aft e r 2 ye a r s i n t he N a v y, h e s t a rt ed a c are e r i n p h o to grap h y, working as an assistant photographer fo r 5 ye a r s a t L o ui s i n p ho t o g r a p hy/ F a shi o n a nd F r a n k G ro s s i n po rtrai tu re / co mmercials.

I n 1 9 8 7 Sm i t h mo v e d to th e me di um of painting and started working as a sce ni c a r t i st i n Eur o p e a nd So ut h Afr i ca . D ur i ng th e s e y ea rs he al so e xh i bi te d i n Johannesburg, South Africa.

Du r in g 1 9 9 0 - 1 9 97 h e mo v e d , fro m scenic art to set design and eventually Pr o d uct i o n D e si g n. In 19 9 8 he mo v e d t o Ca p e Town w here he starte d a se t b u i l ding com pany called Upset. Design and bui l d i ng se t s b r o ug ht t he t w o p a ssi o ns o f p a in t i ng a nd ph o to grap h y to ge th e r, and he has always regarded them as lar g e i nst a l l a t i o ns w he r e he g e t s t o cr e a t e hi st o r y a n d cha ra c t er o u t o f n o th i n g.

S m it h c urrent l y re si d e s i n Jo h an nesburg, South Africa where he is focus si ng o n hi s p a i nt i ng a nd e x hi b i t i ng hi s w o r k o n va r io us g ro up e xh i bi ti o n s l i ke th e Joburg Fringe 2011 and 2012 and m ore r e ce nt l y a t t he Ka l i shni k o v v G a l l e r y i n B r a a mf o nt ei n, J o h an n e sbu rg.

Installation view | et al. | a group exhibition | 2013 (photo credit: Laetitia Lups)

Fractural Distraction | Oil on canvas | 130,5 x 110cm | Craig (Actually) Smith | 2012

Untitled Girl (Untitled) | Oil and enamel on canvas | 46 x 46cm | Craig (Actually) Smith | 2011

Blinded by Her Opinion | Oil on canvas | 61 x 61,5cm | Craig (Actually) Smith | 2013

Can’t see the Wood for the... | Oil on canvas | 60 x 80,5cm | Craig (Actually) Smith | 2010

MJ TURPIN M u r ra y Turp i n ( M18J 92T) B or n: J o ha nnesb u rg,S o u th Afri ca 1 982 Ed u c a t i o n: B a ch e l o r o f Fi n e Art ( Honours), University of the Witwatersrand . So ut h Afr i ca . l oc a li t y : L i v ed an d wo rke d i n S o u t h Africa,Netherlands, B elgium . Current l y w o r k s a nd l i v e s i n Jo ha nne sb ur g .

Cu r r ent c o nc epts an d th e mati c e x ploration include: identity/geom etry(Di a sp o r a ) , so ci o - p o l i t i cs, g e o g r a p hy, b l k ho l e s, th e c o s m o s a n d v i o l e n ce .

Ga l l ery F o und e r an d D i re cto r: Th e kalashnikovv Gallery and Consultancy AN D Sa t e l l i t e Sp a ce s// T he unt i t l e d G a l l e r y Exh ib i t i o n Seri e s.

A r tis t s s t a t eme n t: b od y o f w o rk i n pro ce ss(re se arch and production developm ents on going) - no st a t e me nt ma d e a s o f ye t .

void neo 7 | Dimensions variable | Kiaat, laser cut steel and spray paint | Edition of 1 | MJ Turpin | 2013

I see the future, hopefully one day you will too | Serigraph | A2 | Edition of 7 | MJ Turpin | 2012

M A RY WA F E R “ On e o f t he re cu rri n g th re ads i n m y work is the notion of visibility and inv i si b i l i t y, co ncr e t e a nd co nce p t ua l v i si b i l i t y, e vid enc e o f c iti z e n sh i p, ways o f belonging to and possessing the physical a nd i ma g i ne d sp a ce s w e o ccup y. The ove rw helmi ng l y ch al l e n gi n g mate r iality of these spaces dem ands a consta nt na v i g a t i o n, a t t e nt i o n a nd v i g i l a nce , a p e r p et ua l re- n e go ti ati o n an d re -i nterpretation of the particular im agined a nd r e a l sp a ce s w e o ccup y.

F or me p a i nt i ng i s a co n ce ptu al p ractice that operates as a platform for i nv e st i g a t i ng so ci a l a nd ur b a n r e a l i t i e s. Pa i nt i ng of f e rs t he p o s si b i l i ty o f b o th b u i l ding up com plex layers of m eaning and si g ni fi ca t i o n, a nd a t t he sa me t i me t he p os s i b i li t y o f su b tracti o n an d d i stillation, enabling suggestions of real and i ma g e d a b se nce s a nd p r e se nce s.

I u s e m y o w n ph o to grap h s as p re l i m inary sketches for m y paintings: the in i t i a l p ho t o g r a p h a nd my sub se q ue nt a b st r a ct i o n r e p r e s ent a la y e re d ap p ro ach to i nducing visibility, and reveals the m ult i p l e l e v e l s o f me d i a t i o n t ha t fr a me t he e xp eri enc e o f an u rb an ‘ re al i ty’. B y this I m ean that I attem pt, through my p a i nt i ng s t o r e v e a l t ha t w hi ch i s no t v i si b l e th r ou g h a p urel y re p re se n tati o n al im age. The im ages are initially captur e d b y t he ca me r a a nd t he n r e - t ho ug ht , r e - in v es t ed b y th e p ai n tb ru sh .

B e c a us e o f t hi s p o ssi b i l i ty o f mu l tiple layers of signification, and the proc e sse s o f d i st i l l a t i o n a nd l a ye r i ng o f i nfo r ma t i o n, I b e li ev e t ha t p ai n ti n g can fu n cti on as a theoretical and political practice i n w hi ch t he a ct o f ma k i ng v i si b l e i s a p o l i t i ca l a c t a g a i ns t i nv i si b i l i ty.”

Installation view | et al. | a group exhibition | 2013 (photo credit: Laetitia Lups)

Die | Acrylic on Canvas | 120 x 160cm | Mary Wafer | 2011

Q U I N T E N E D WA R D W I L L I A M S “ I w a s b o rn i n Vry b u rg i n th e No rthern Cape, and live and work in Johanne sb ur g . An N a t i o na l Scho o l o f t he Ar t s k i d , I f ol l o w ed o n t o atte n de d th e Un i versity of the Witwatersrand. Here I comp l e t e d a Ba che l o r s o f Ar t i n F i ne Ar t i n 20 0 5 .

Cu r r ent ly I a m at th e fi n al stage s of a Masters Degree of Fine Art at this i nst i t ut i o n. T he t i t l e o f t hi s cur r e nt p r o j e ct i s S ome C o m b i na ti o n s: Praxi s, Mu l ti modal Art Research and Com plex Environme nt s. Thi s p r o j e ct l o o k s a t p r a x i s, t he mu ta t i o n b et we e n re l ati o n sh i p s of bodies, as a way to situate artistic wo r k si mul a t i o usl y a s r e se a r ch o f e nv i r o nme nt s, a n d i nt erv ent i o n s i n to e n v i ro n me nts. ​ M y f a s c i na t i o n w i th th e fo rmati o n of environm ents has led to an interest i n t he p hi l o so p hy o f co mp l e x i t y, a nd i n a r t- m a k i ng , a s acti v i ti e s wh i ch m ay contribute to thinking through and g ui d i ng mo v e me nt t hr o ug h t he ​​​​​​​​​​​​​​​​​​​u np r e d i ct a b i l i t y a n d u nc ert a i nt y o f l i fe . ​ A r t- m a k i ng may b e th o u gh t o f as a process which intersects with other bo d i e s a nd b e co me s co mp l i ci t i n t he fo r ma t i o n o f e n vir o nm ent s . W h e n th at th o u gh t is entertained, for m e at least, seem ing l y a r b i t a r y d e t a i l s o f i nt e r a ct i o n i n t he w o r l d b e c o m e p ro f o un d i n te rse cti o n s. T his has led to an interest in installation a nd p e r fo r ma nce , a s w a ys t o co p e w i t h, o r p a r ti c i p a t e i n th e co mp l e xi ty o f the world. Often, however, an interaction ma y b e so me t hi ng d i ffe r e nt t ha n a w o r k o f a r t , a n d m a y ha v e a di ffe re n t se t o f potentials in the world. These ways of w o r k i ng ma y i nco r p o r a t e ma ny o t he r mo d a l i t i e s, f or ins t a nc e, p ai n ti n gs, drawi n gs, videos, conversations, objects, lectur e s, w a l k s a nd so fo r t h. Thr o ug ho ut t he w e b si t e , a w eb s i t e w hi ch o n l y cap tu re s aspects of m y work, there are anecdotes a nd d e scr i p t i o ns o f w o r k s o r p r o ce sse s. ”

Watchman | Acrylic and Charcoal on Canvas | 2 x 2m | Quinten Edward Williams | 2013

Reappropriated Field | Acrylic and Charcoal on Canvas | 2 x 2m | Quinten Edward Williams | 2013

click on image to gain access to actual panoramic view on the web

Panoramic installation view | et al. | NIROXprojects and Parts and Labour | 2013

For further information please contact: Neil Nieuwoudt T: +27 72 350 4326 E: neil.nieuwoudt@gmail.com Brendan Copestake T: +27 84 455 0255 E: info@partsandlabour.co.za www.partsandlabour.co.za

NIROXp r o je c ts | A RTS O N M A IN | M A B O NENG PRECINCT | JO HA N NESBURG 2 4 9 F ox S t r e e t, c n r M a i n R d , A rt s O n M ain +27 72 350 4326 www.niroxarts .c om