BROE
DER BOND PIERRE LE RICHE
Contents Broederbond 4
Figure 1 (cover page) The Rainbow Room
Endnotes
26
Eindnotas
29
Bibliography
30
List of Illustrations
34
Biography
38
Acknowledgements
40
Broederbond I would not have guessed that I would ever make art for the sake of gay activism. Not because of a sentiment of dislike towards the lesbian, gay, bisexual, transgender and intersex community, but rather with the knowledge that being gay in South Africa was becoming more acceptable. The end of apartheid saw the discontinuation of laws against homosexuality, and in 2006 South Africa was the first African country to implement a Civil Union Act, superseding the timeworn Marriage Act of 1961 (http:// www.mtholyoke.edu/~ famak20o/classweb/wp/ southafrica.html). The government finally projected the idea that homosexuality was acceptable.
Ek sou nooit kon raai dat ek kuns ter wille van gay aktivisme sou skep nie; nie omdat ek ‘n hekel het aan die lesbiese, gay, biseksuele, transgender en interseksgemeenskap nie, maar eerder omrede gay-wees in SuidAfrika meer aanvaarbaar geword het. Met die val van apartheid is wetgewing teen homoseksualiteit opgehef, en in 2006 het Suid-Afrika die eerste Afrikaland geword om ‘n Wet op Siviele Verbintenisse te promulgeer, waardeur die uitgediende Huwelikswet van 1961 ontsetel is (http://www. mtholyoke.edu/~famak20o/ classweb/wp/southafrica.html). Uiteindelik het die regering gewys dat homoseksualiteit aanvaarbaar is.
Figure 2
4
The Rainbow Room (detail 1)
It was not until earlier this year when I read an article about the lives of coloured transgender men from Cape Town that I realised that South Africa was unfortunately still stuck in a sociological contradiction: the article stated that living a gay lifestyle was acceptable, but being gay was not (www.allafrica.com/ stories/201004080844.html). Being homosexual meant betraying your own masculinity, your male peers and your family. This information had me questioning the ideals and values of masculinity in society, but also the sources of masculinity in different cultures. With this I decided to trace masculine hegemony through history, particularly focusing on my own Afrikaner heritage, in an attempt to better my understanding of the current social issues surrounding homosexual acceptance in Afrikaner1 culture. 6
Dit was eers vroeër hierdie jaar, toe ek ‘n artikel oor die lewe van transgender mans in die Kaapse kleurlinggemeenskap gelees het, dat ek besef het SuidAfrika is steeds vasgevang in ‘n maatskaplike teenstelling: volgens die betrokke artikel is ‘n gay lewenstyl aanvaarbaar in die gemeenskap, maar gay-wees as sulks, nie (www.allafrica.com/ stories/201004080844.html). Om homoseksueel te wees verraai mens jou manlikheid, jou manlike eweknieë en jou familie. Vanuit hierdie siening het ek die ideale en waardes van manlikheid in die gemeenskap, en ook die bronne van manlikheid in verskillende kulture, begin bevraagteken. Ek het op die spoor van manlike oorheersing deur die geskiedenis gegaan, en veral gefokus op my eie Afrikanererfenis, in ‘n poging om my begrip van die huidige maatskaplike kwessies rondom homoseksuele aanvaarding in die Afrikanerkultuur1 te verbeter.
In 1918 the AfrikanerBroederbond was established as a corrective measure for numerous socio-economic and political events2 that “reduced the Afrikaner to a slave in the land of his birth” (O’Meara 1977:160). The Broederbond was an elitist3 society that vowed to restructure the Afrikaner economy, but also to further Afrikaner nationalism and culture, and to gain control over the South African government (O’Meara 1977:160). Up until 1994, when the Broederbond came to its end, it became infamous for its secretive dealings, political interference and male dominance. The Broederbond became a beacon of Afrikaner pride and is considered one of the main influences of Afrikaner hegemonic masculinity (Du Pisani 2001:158). The ideal of this hegemony required the Afrikaner male to be religious, honest, reliable, committed and hard working. Deviations, particularly homosexuality, were not tolerated.
In 1918 is die AfrikanerBroederbond gestig as ‘n regstellende maatreël teen verskeie sosio-ekonomiese en politiese gebeure2 wat “die Afrikaner verlaag het tot ‘n slaaf in sy geboorteland” (O’Meara 1977:160) [my vertaling]. Die Broederbond was ‘n uitgelese3 groep wat hulself daartoe beywer het om die Afrikaner-ekonomie herop te bou, maar ook om Afrikaner-nasionalisme en Afrikaner-kultuur uit te brei en om beheer oor die SuidAfrikaanse regering te verkry (O’Meara 1977:160). Tot 1994, toe die Broederbond tot ‘n einde gekom het, was dit berug vir sy geheime handelinge, politiese inmenging en manlike dominansie. Die Broederbond het ‘n baken van Afrikanertrots geword en word beskou as een van die belangrikste invloede op Afrikaneroorheersende manlikheid (Du Pisani 2001:158). Die ideaal van hierdie hegemonie het van die Afrikanerman vereis om godsvresend, eerlik, betroubaar, toegewyd en hardwerkend te wees. Afwykings, veral homoseksualiteit, is nie geduld nie. 7
After the National Party’s loss4 of political power in 1994, Afrikaner hegemonic masculinity translated itself into rugby. Rugby became a game of politics in its own right and represented the puritan ideals of the Afrikaner male – a type of subconscious succession of the Afrikaner-Broederbond. The 1995 Rugby World Cup victory for the Springboks was an incredibly significant moment for the Afrikaner. Many still consider it proof of male superiority: the possibility of the Afrikaner male as a “super race” (Du Pisani 2001: 166).
Met die Nasionale Party se verlies4 aan politieke mag in 1994 is Afrikaneroorheersende manlikheid uitgedruk in rugby, wat ‘n politieke spel in eie reg geword het. Rugby het die puriteinse ideale van die Afrikanerman verteenwoordig en as sulks die onbewustelike erfgenaam van die AfrikanerBroederbond geword. Die Springboksege in die Rugbywêreldbeker van 1995 was ‘n beduidende gebeurtenis vir die Afrikaner. Dit word dikwels steeds beskou as bewys van manlike meerderwaardigheid: die potensiaal van die Afrikanerman as ‘n “superras” (Du Pisani 2001: 166).
Figure 3
Uncovered balls (detail)
9
This body of work is an amalgamation of my own experiences as a white Afrikaner male growing up in post-apartheid South Africa, but it also takes a look at the Afrikaner society of the present, particularly focusing on masculine ideals versus homosexuality. The title ‘Broederbond’ does not only refer to the roots Afrikaner masculine hegemony has in history, but also the potential for a more caring and accepting society: a true brotherhood. The most noticeable aspect of this installation is the overwhelming use of colour: the gay flag (red, orange, yellow, green, blue and purple) is a reminder that the South African Constitution was the first in Africa to outlaw discrimination against homosexuality, whereas pink has global associations with femininity and the counteraction of disorder (http://www.news24. com/SouthAfrica/News/ SA-set-to-recognise-gayflag-20121006). 12
Hierdie versameling werke bring my ondervindings as ‘n blanke Afrikanerman wat na apartheid in Suid-Afrika grootgeword het byeen, maar kyk ook na vandag se Afrikanergemeenskap, met die fokus op die manlike ideaal teenoor homoseksualiteit. Die titel, ‘Broederbond’, verwys dan na die geskiedkundige wortels van Afrikanermanlike oorheersing, maar terselfdertyd ook na die moontlikheid van ‘n samelewing wat meer omgee en mekaar meer aanvaar: ‘n ware broederskap. Wat dadelik opval aan die installasie is die oorweldigende gebruik van kleur: die gay vlag (rooi, oranje, geel, groen, blou en pers) dien tot herinnering daaraan dat die Suid-Afrikaanse Grondwet die eerste in Afrika was om diskriminasie op grond van seksuele oriëntasie te verbied, terwyl pienk wêreldwyd in verband gebring word met feminiteit en as teenwig teen wanorde (http://www.news24. com/SouthAfrica/News/ SA-set-to-recognise-gayflag-20121006).
These colours are activated with the use of yarn bombing5, comprising more than 18 000 metres of woven, knitted and spanned acrylic yarn. Yarn bombing attempts to familiarise and reclaim cold and sterile spaces; in this case, a traditional Afrikaner living room in the midst of the 1995 Rugby World Cup final on televisiona. It also assists with the creation of juxtaposition.
Hierdie kleure word geaktiveer deur die gebruik van yarn bombing5, en die installasie bevat meer as 18 000 meter geweefde, gebreide en gespande akrielgare. Yarn bombing is ‘n poging om vertroue te skep in koue, steriele spasies en hulle te herwin; in hierdie geval, die woonkamer van ‘n tradisionele Afrikanergesin in 1995 te midde van die televisie-uitsendinga van die Rugbywêreldbeker-eindstryd.
The rugby match displayed on the television is muted. Whilst growing up, my sexuality was never discussed. In this body of work the tables are turned: dialogue is of the utmost priority.
a
a
Figure 4 (pages 10 - 11)
In die uitstalling is die klank van die rugbywedstryd gedemp. Toe ek grootgeword het, is my seksualiteit nie bespreek nie. In hierdie versameling werke is die bordjies verhang: dialoog is van uiterste belang.
The Rainbow Room (ceiling detail 1)
Figure 5
Video still 1: 1995 Rugby World Cup Final match
Figure 6
Video still 2: 1995 Rugby World Cup Final match
13
Juxtaposition plays a vital role in this body of work: it generates awareness of the relationship that seemingly conflicting issues such as masculinity and homosexuality can have. This is particularly evident with the substantial amount of rugby balls, which I will yarn bomb during the exhibition period as part of a performance that addresses the predominant identity crises gay Afrikaner males experience in postapartheid South Africa. The act of covering the balls in carefully knitted covers is a metaphorical act of superimposing my own identity onto the traditional male hegemonic identity. It creates the possibility to change the expectancies of Afrikaner masculinity to something more accessible and friendly to gay men, effectively subverting the preconceived, super-imposed ideas of Afrikaner masculine hegemony. 14
Yarn bombing skep ook naasmekaarstelling, en diĂŠ jukstaposisie speel ‘n belangrike rol in hierdie versameling werke deur die verhouding uit te wys tussen skynbaar botsende sake soos manlikheid en homoseksualiteit. Dit blyk veral uit die groot aantal rugbyballe wat ek as ‘n uitvoerende kunskomponent gaan yarn bomb gedurende die uitstalling, wat die oorwegende identiteitskrisisse van gay Afrikanermans in post-apartheid Suid-Afrika aanspreek. Om balle met noukeurig-handgemaakte oortreksels te bedek dien as metafoor daarvan om my eie identiteit af te stempel op die tradisionele manlikoorheersende identiteit. Dit skep die moontlikheid om die verwagtinge van Afrikanermanlikheid te verander na iets meer toeganklik en vriendelik teenoor gay mans, en daardeur die vooropgestelde idees van Afrikaner-manlike oorheersing te ondermyn.
Figure 7
Broederbond installation (detail 1)
Steven Cohen, a performance artist who is well known for his public intervention and concepts of sexual identity within queer and Jewish subcultures, had a particularly significant influence on this body of work. In his work Ugly girl at the rugby6 (not illustrated) he shows up dressed in drag at a rugby game at Loftus Versfeld. Cohen playfully others the rugby-loving Afrikaans people by placing himself in their territory and turns the simple act of buying a ticket into something more confrontational. Cohen’s elaborate use of drag makes this even more dramatic, and provokes the spectators. The dramatic nature of his costume, which is essentially queer in appearance, draws on the subconscious discomfort the spectators feel towards homosexuality and this provokes them: he is immediately unwelcome. Although my own subject matter relates to Cohen’s work, my intentions are different: my presence in the installation gives the viewer 16
Steven Cohen, ‘n uitvoerende kunstenaar bekend vir sy openbare inmenging en sy konsepte van seksuele identiteit binne queer en Joodse subkulture, het ‘n besonderse invloed gehad op hierdie versameling werke. In sy werk Ugly girl at the rugby6 (nie geïllustreer) daag hy tydens ‘n rugbywedstryd by Loftus Versfeld op, in drag. Cohen other die rugbymal Afrikaners speels deur homself in hulle grondgebied te plaas en maak die taak om ‘n kaartjie te koop meer konfronterend. Sy uitspattige queer kostuum dra by tot die drama en lok die ondersteuners uit deur te speel op hul onderbewuste ongemak jeens homoseksualiteit: hy is dadelik onwelkom. Alhoewel my onderwerp verband hou met dié van Cohen, is my bedoelings anders: my teenwoordigheid in die installasie gee die kyker die kans om sy of haar lewenservarings rakende homoseksualiteit
the chance to discuss his/ her personal life experiences regarding homosexuality in Afrikaner culture. This effectively breaks the silence gay men experience in Afrikaner culture, but also leaves myself as the artist empowered: my art creates a dialogue (figure 8) between myself and the viewer, constantly reminding him/her of the possibility that they can find a new identity beyond the expected norms of society (De Villiers 2008: 122).
in die Afrikanerkultuur te bespreek. Dit stel ten doel om die stilte wat gay mans in die Afrikanerkultuur ervaar te verbreek, maar bemagtig ook my as kunstenaar: my kuns skep ‘n dialoog (figuur 8) tussen my en die kyker, waardeur hy of sy herinner word dat dit moontlik is om ‘n nuwe identiteit te vind buite die norms van die samelewing (De Villiers 2008: 122).
Figure 8
Broederbond performance
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Through the Looking Glass (figures 10 & 11) is an incredibly intimate exploration of my own identity within the Afrikaner culture. While it speaks of personal vulnerability, the layering and casting process used to create the work also addresses the typecasting I have experienced from my own culture. This self-portrait is a depiction of the way I saw the world whilst growing up: my looking glass. The work is placed outside the yarnbombed room as a constant reminder of a previous, more naïve sense of self and a newly found identity beyond the preconceived ideals of my own culture.
Through the Looking Glass (figure 10 - 11) is ‘n baie intieme verkenning van my identiteit binne die Afrikanerkultuur. Die skeppingsproses – hars vul laagsgewys ‘n gietvorm – weerspieël die kulturele verwagtinge wat aan my gestel is om te vervul. Terselfdertyd spreek die werk van persoonlike kwesbaarheid – dit is tekenend van hoe ek die wêreld gesien het terwyl ek grootgeword het: my spieël. Die plasing van die werk buite die yarn-bombed kamer is ‘n konstante herinnering aan my vroeëre, meer naïewe sin van self en my nuutgevonde identiteit buite die vooropgestelde idees van my kultuur.
Figure 9 (pages 18 - 19) Knitting (detail 1) Figure 10
Through the Looking Glass (back detail)
20
Figure 11
Through the Looking Glass (installation view)
21
‘Broederbond’ investigates the history of Afrikaner masculine hegemony in an attempt to validate the acceptance of homosexuality in Afrikaner culture. The body of work does not use vigorous activism to promote change, but rather becomes an activism that invites the viewer to grow. My art strives to open discussion among Afrikaners, and South Africans, about homosexuality in an attempt to strengthen cultural bonds and to promote cross-cultural acknowledgement and brotherhood. ‘Broederbond’ ondersoek die geskiedenis van Afrikanermanlike oorheersing ten einde die aanvaarding van homoseksualiteit binne Afrikanerkultuur te bekragtig. Dit gebruik nie kragtige aktivisme om verandering te bewerk nie, maar word eerder ‘n aktivisme wat die kyker uitnooi om te groei. My kuns streef daarna om gesprek oor homoseksualiteit te begin tussen Afrikaners, en SuidAfrikaners, en poog daardeur om kulturele bande te versterk en te bevorder, en om interkulturele erkenning en broederskap te bevorder.
Figure 12
The Rainbow Room
23
Endnotes During the course of this essay the term ‘Afrikaner’ refers to white South Africans with an Afrikaans-speaking, Calvinist background and/or upbringing.
1
“The 1913 split in the South African Party produced confusion and bitterness among Afrikaners, particularly in the Northern provinces. This was compounded by the violent suppression of the Rebellie, the execution of Joupie Fourie and the imprisonment of its leaders by the Botha government. Agriculture was depressed and the influenza epidemic raged. The squeeze on land and effects of the Rebellie drove increasing numbers of rural whites into the cities, accelerating the problem of ‘poor whiteism’” Quoted from O’Meara (1977: 159).
2
In this particular case ‘elitist’ refers to a small group of Afrikaans male “intellectuals” (O’Meara 1977: 167).
3
The Afrikaner lost his political power in April 1994 when the National Party lost the general elections to the ANC in South Africa (http://electionresources.org/za/).
4
Yarn bombing, or guerilla knitting, is a type of graffiti where knitted yarn is used as a medium (in stead of paint or chalk) to create a non-permanent work of art. It is the intention of yarnbombing artists to intervene in and reclaim cold and sterile spaces, making it more personal and inviting.
5
Steven Cohen, Ugly girl at the rugby (1998). Medium unknown, dimensions unknown. Collection unknown. Illustration available at http://vweb.isisp.net/~elu@artslink. co.za/stevencohen/objects/walkpark.jpg
6
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Figure 13 (pages 24 - 25) The Rainbow Room (ceiling detail 2)
Figure 14
Rainbow Loom (detail)
Eindnotas In hierdie essay verwys die term ‘Afrikaner’ na blanke SuidAfrikaners met ‘n Afrikaanssprekende, Calvinistiese agtergrond en / of opvoeding.
1
“Die verdeling van die Suid-Afrikaanse Party in 1913 het verwarring en bitterheid onder Afrikaners gebring, veral in die noordelike provinsies. Hierdie gevoelens is vererger deur die Botha-regering se gewelddadige onderdrukking van die Rebellie, die teregstelling van Joupie [Jopie] Fourie en die tronkstraf opgelê aan die rebellieleiers. Boerdery het gely en die griepepidemie het gewoed. Hierdie faktore het groot getalle landelike blankes na die stede gedryf en daardeur die ‘armblanke’-probleem vererger.” [My vertaling uit] O’Meara (1977: 159).
2
In hierdie spesifieke geval verwys ‘uitgelese’ na ‘n klein groep manlike Afrikaanse “intellektuele” (O’Meara 1977: 167).
3
Afrikaners het hul politieke mag verloor in April 1994 toe die Nasionale Party in die algemene Suid-Afrikaanse verkiesing verslaan is deur die ANC (http://electionresources.org/za/).
4
Yarn bombing, ook genoem guerrilla-brei, is ‘n tipe graffiti waar gebreide gare gebruik word as medium (in plaas van verf of kryt) om ‘n nie-permanente kunswerk te skep. Dit is die bedoeling van die yarn-bombing kunstenaar om in te meng met koue en steriele spasies en dit te herwin, om daardeur dit meer persoonlik en aanloklik te maak. 5
Steven Cohen, Ugly girl at the rugby (1998). Medium onbekend, afmetings onbekend. Versameling onbekend. Illustrasie beskikbaar by http://vweb.isisp.net/~elu@artslink. co.za/stevencohen/objects/walkpark.jpg
6
Figure 15
Riempiesbank (detail)
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Bibliography Butler, J. 1993. Critically queer. http://www9.georgetown.edu/faculty/ irvinem/theory/JudithButler-CriticallyQueer-1993.pdf (accessed 29 July 2012) De Villiers, CH. 2008. Identity politics and the body in selected contemporary artworks. MA dissertation, University of South Africa, Pretoria. Du Pisani, K. 2001. Puritanism transformed (Changing men in South Africa). University of Natal Press: Pietermaritzburg. Myer, T. 2010. The practical epistemology in seeing oneself while listening to others. http://www.thefreelibrary.com/The+practical+epistemology +in+seeing+oneself+while+listening+to+others-a0276999773 (accessed 23 June 2012) O’Meara, D. 1977. The Afrikaner Broederbond 1927-1948: Class Vanguard of Afrikaner Nationalism. The Journal of South African Studies 3. Stefanova, I. 2007. Performance art in public space. Cultural Management and Cultural Policy in the Balkans master thesis, University of Arts in Belgrade, Belgrade. www.allafrica.com/stories/201004080844.html (accessed 29 July 2012) www.electionresources.org/za (accessed 29 July 2012) http://www.mtholyoke.edu/~famak20o/classweb/wp/southafrica.html (accessed 30 August 2012) http://www.news24.com/SouthAfrica/News/SA-set-to-recognise-gayflag-20121006 (accessed 6 October 2012) Figure 16
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The Rainbow Room (detail 2)
List of Illustrations Figure 1. The Rainbow Room, 2012. Wood, acrylic yarn, rugby balls, 3000 x 3000 x 2800mm. Pierre le Riche, Cape Town (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 2. The Rainbow Room (detail 1), 2012. Wood, acrylic yarn, rugby balls, 3000 x 3000 x 2800mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 3. Uncovered balls (detail), 2012. Rugby balls, dimensions variable. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 4. The Rainbow Room (ceiling detail 1), 2012. Wood, acrylic yarn, rugby balls, 3000 x 3000mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 5. Video still 1: 1995 Rugby World Cup Final Match, 1995. Television recording. Pierre le Riche, Cape Town. Figure 6. Video still 2: 1995 Rugby World Cup Final Match, 1995. Television recording. Pierre le Riche, Cape Town. Figure 7. Broederbond installation (detail 1), 2012. Mixed media, dimensions variable. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 8. Broederbond performance, 2012. (Photographed by Noeleen Kleve. Reproduced with permission of Noeleen Kleve.) Figure 9. Knitting (detail 1), 2012. (Photographed by Hannes Mouton. Reproduced with permission of Hannes Mouton.) 34
Figure 17 (pages 32 - 33) The Rainbow Room (ceiling detail 3)
Figure 10. Through the Looking Glass (back detail), 2012. Wood, acrylic yarn, resin and rice paper, 330 x 450mm. Pierre le Riche, Cape Town.(Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 11. Through the Looking Glass (installation view), 2012. Wood, acrylic yarn, resin and rice paper, 330 x 450mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 12. The Rainbow Room, 2012. Wood, acrylic yarn, rugby balls, 3000 x 3000 x 2800mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 13. The Rainbow Room (ceiling detail 2), 2012. Wood, acrylic yarn, rugby balls, 3000 x 3000mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 14. Rainbow Loom (detail), 2012. Acrylic yarn and resin, 190 x 190mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 15. Riempiesbank (detail), 2012. Wood, leather and acrylic yarn, 1520 x 700 x 650mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 16. The Rainbow Room (detail 2), 2012. Wood, acrylic yarn, rugby balls, 3000 x 3000 x 2800mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.)
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Figure 17. The Rainbow Room (ceiling detail 3), 2012. Wood, acrylic yarn, rugby balls, 3000 x 3000mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 18. The Rainbow Room (detail 3), 2012. Wood, acrylic yarn, rugby balls, 3000 x 3000 x 2800mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 19. Knitting (detail 2), 2012. (Photographed by Hannes Mouton. Reproduced with permission of Hannes Mouton.) Figure 20. Broederbond installation (detail 2), 2012. Mixed media, dimensions variable. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.) Figure 21. The Rainbow Room (detail 3), 2012. Wood, acrylic yarn, rugby balls, 3000 x 3000 x 2800mm. Pierre le Riche, Cape Town. (Photographed by Pierre le Riche. Reproduced with permission of Pierre le Riche.)
Figure 18
The Rainbow Room (detail 3)
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Biography Pierre was born in 1986 in Port Elizabeth and grew up in Cape Town where he matriculated in 2005. Since then, he has been involved in the art and design industry: he studied interior design at the Cape Peninsula University of Technology before moving to London, where he worked as a student interior architect at KCA International. Pierre works as a freelance artist and designer from his studio in Woodstock, Cape Town, whilst completing his Bachelor of Visual Arts degree at the University of South Africa.
Figure 19
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Knitting (detail 2)
Acknowledgements This exhibition was not possible without the ongoing support of my family, friends, lecturers and fellow students and artists Particular thanks goes out to Hannes Mouton for his constant encouragement and utmost patience.
Figure 20
Broederbond installation (detail 2) Figure 21 (back page)
The Rainbow Room (detail 3)
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