AT THE TABLE An exhibition by ThePrintingGirls 17 April - 8 May 2021 Spin Street Gallery, Cape Town
Emma Wilemse Georgina Berens Kristen McClarty Laurel Holmes Lucy Stuart-Clark Marelise van Wyk Mariette Momberg Natasha Norman Neeske Alexander Noeleen Kleve Yolanda Warnich
Emma Willemse
In the homes where I lived since I was very small, the table was the hub of sharing. Not only were meals shared, but the table was the site where tentative exchanges developed and grew into vibrant conversations in which anecdotes, stories, retold tales and recollected rumors were revealed, narrated and embellished. Inevitably, these interactions left traces behind that shaped my awareness and realization of the world. In the works on this exhibition, I seek to record halfremembered segments of the narratives that encapsulate the sharing that happened at the tables in the homes where I lived. The monotype printmaking technique, as a way to produce a unique print, evokes the transience of this process of longing for those times around a table: just like the once-off imprints of cloth or pieces of garments are traces of the real objects, a fleeting memory is a remnant of the real event.
Emma Willemse Remembering the boat circle 2020 Monotype on Fabriano Rosapina 285 gsm 1/1 Unique work 494 x 484mm R 7 800 Framed
Emma Willemse One last time: Jenny’s frock 2020 Monotype on Fabriano Rosapina 285 gsm 1/1 Unique work 1127 x 785mm R 20 100 Framed
Emma Willemse The things we leave behind no1 2020 Monotype and linocut on Fabriano Rosapina 285 gsm 1/1 Unique work 1127 x 785mm R 20 100 Framed
Emma Willemse 101 ways to long for a home (segment) 2013-2020 Artist’s book installation, parquet floor blocks, paper, linocut, monotype and digital prints Size variable Not for sale
Georgina Berens
My work reflects upon that moment of interpretive magic while one’s eyes adjust to the light or when just on the brink of wakefulness. These recent prints articulate a sense of space and the feeling of a comfortable yet temporary dwelling. A swirling darkness floods out into the corners, expressing a darkly indefinable sense of home, somehow unmistakably either there or not. Details are ambiguous. Whether this space is inviting or terrifying depends on your own sense of safety in a strange place. The sweetness of a candle laid out for the convenience of a guest is reflected in the quiet attention to detail of harmoniously delicate lines. We can almost see the little flame flickering, and the dark shadows on the wall moving with it. The short candle may burn out any second, and the strange, absorbing scene will vanish with it.
Georgina Berens 2021 At the table Drypoint Edition of 4 450 x 440 mm R2 500 framed R1 500 unframed
Georgina Berens 2019 Guest Stone lithograph with chine collé Edition of 15 540 x 430 mm R4000 framed R3000 unframed
Georgina Berens 2019 Plinth Lithograph Edition of 15 770 x 570 mm R4000 framed R3000 unframed
Kristen McClarty
My work centres around personal interaction with my surroundings, spaces, circumstances and how I respond to those things. I use the subject matter to illustrate my response to what happens around me, the nature of life and the course it takes. The last year has found me in a state of flux. A time of empty nests and shifting roles. Of unclear paths ahead and unavoidable rerouting. A time of loose tendrils flying in the wind and escaping being pulled in. Of having to rethink, pivot, learn and learn again, make and remake. In this time, certain spaces have grounded me, providing permanence and assurance. It is to these places that I crept again and again, to settle myself and calm my ‘unravellings’. These are the spaces I present in a series of multilayer reduction woodblocks – layers of monotone, slowly built up to achieve the quiet and permanence of the place. In this time, I have resumed a habit of sitting quietly and making watercolour sketches of what I see. An attempt to capture the essence of the surroundings. These tiny water colours have morphed into Mokuhanga prints – woodblocks done in the Japanese style, in water colour. My botanical contact print and slow stitch piece records this same time of turmoil and opportunity and slog and resistance and acceptance and happiness. Thoughts and feelings brought to the table and committed to the cloth.
Kristen McClarty 2021 A Thursday morning Reduction woodblock print Edition of 12 485 x 750 mm R6 070 framed R4 750 unframed
Kristen McClarty 2021 To Witsands Reduction woodblock print Edition of 10 430 x 575 mm R5 220 framed R4 150 unframed
Kristen McClarty 2021 To Misty Cliffs Reduction woodblock print Edition of 10 430 x 535 mm R4 950 framed R3 950 unframed
Kristen McClarty 2021 Crayfish Factory Reduction woodblock print Edition of 10 430 x 365 mm R4 600 framed R3 750 unframed
Kristen McClarty 2021 A Sunday afternoon Multiblock Japanese Mokuhanga Edition of 20 130 x 155 mm R850 unframed
Kristen McClarty 2021 Why not? Stitched thoughts in uncertain times Monotype botanical eco print and freehand slow stitch 385 x 725 mm Framed R5 900
Laurel Holmes
This theme links so much of what Cape Town, as mother city, as the capital of mother nature in South Africa, means for me. There is a deep sense of history, and a cultural diversity that is particularly rich here in this city: the diversity I experience daily: people, food, traditions. There is remarkable variety in the natural areas immediately around me, a light that’s different to further inland where I came from, and sea, land and mountains which play a differing role in the many lives gathered here. I will be using rocks, stones and bones in the works made for this exhibition. Implicit here is the strength of the ‘pull’ of this particular city and its surrounds on a level that is more than just a visual one.
Laurel Holmes 2021 Rocks and hard places III White ground etching, chine collé and collagraph Edition 1/1 640 x 460 mm R4 300 Framed
Laurel Holmes 2021 Rocks and hard places IV 2/2 Monotype, white ground etching and chine collé Edition 1/1 555 x 380 mm R3 100 Unframed
Laurel Holmes 2021 Rocks and hard places IV 1/2 Monotype Edition 1/1 640 x 460 mm R4 300 Framed
Laurel Holmes 2021 View from Slangkop II Linocut and monotype Edition 1/1 440 x 350 mm R3 600 Framed
Laurel Holmes 2021 View from Slangkop III Chine collé and collagraph Edition 1/1 440 x 350 mm R4 300 Framed
Laurel Holmes 2021 Remains I Etching print on paper clay 170 x 150 mm R 500 Unframed
Laurel Holmes 2021 Remains II Linocut print on paper clay 170 x 160 mm R 500 Unframed
Laurel Holmes 2021 Tidelines Collagraph print on paper clay 170 x 170 mm R 500 Unframed
Lucy Stuart-Clark
When we began discussing how to theme and name our exhibition, everything revolved around our beautiful mountain and the people who lie at its feet. The colloquial name for Cape Town, “Mother City” inspired concepts of nurturing, home-making and motherhood. Natasha Norman mentioned that one of the earliest names for Cape Town was ‘Hoerikwagga’, Mountain in the Sea - a comment that set my imagination on a journey! Ever since, my thoughts have been full of long, intrepid, brave, mad sea journeys, the arrogance of colonialism and the historical feminisation of land as a woman there to be conquered. Inspired by early colonial maps, famous paintings, old South African books, and a collection of engraved copper plates from a Victorian printmaking ancestor, I experimented with combining my love of ceramics, printmaking and collage. Using prints taken those engraved plates and fragments of text and images from old books, my collages and sculptures play with the space between word and image, setting a narrative in motion depending on the associations of the viewer.
Lucy Stuart-Clark 2019 -2021 Terrific Odds (Adam & Eve) Watercolour monotype sketch with mixed media collage on board 700 x 600 mm R6 400 Framed
Lucy Stuart-Clark 2021 These Hot Spells Engraving with collage Edition 1/1 275 x 385 mm R2 400 Framed
Lucy Stuart-Clark 2021 Losing No Time Engraving with collage Edition 1/1 255 x 235 mm R1 200 Framed
Lucy Stuart-Clark 2021 First of All Engraving with collage Edition 1/1 290 x 345 mm R2 400 Framed
Lucy Stuart-Clark 2021 Sooner or Later Engraving with collage Edition 1/1 410 x 310 mm R2 400 Framed
Lucy Stuart-Clark 2021 Good Hope Glaze painted earthenware with transfer prints and gold lustre detail 145 x 115 x 265 mm R3 500
Lucy Stuart-Clark 2021 Great Cold Harbour Glaze painted earthenware with transfer prints and gold lustre detail (with loose glaze painted vase) 133 x 260 x 285 mm R4 800
Lucy Stuart-Clark 2021 High Feelings Glaze painted earthenware with transfer prints and gold lustre detail 185 x 125 mm diameter R3 500
Lucy Stuart-Clark 2021 IN A FLURRY Glaze painted earthenware with transfer prints and gold lustre detail 150 x 190 x 200 mm R4 800
Lucy Stuart-Clark 2021 Le Déjeuner Sur l’Herbe (In Hopes) Glaze painted earthenware with transfer prints and gold lustre detail 125 x 150 mm diameter R3 500
Lucy Stuart-Clark 2021 Long Reach Glaze painted earthenware with transfer prints and gold lustre detail (with loose terrastigliata and pitfired vase) 195 x 170 x 240 mm R4 800
Lucy Stuart-Clark 2021 Restless Glaze painted earthenware with transfer prints and gold lustre detail 105 x 125 x 100 mm R2 800
Lucy Stuart-Clark 2021 MADONNA ON THE ROCKS (HE INSISTED) Glaze painted earthenware with transfer prints and gold lustre detail 105 x 140 mm diameter R2 800
Lucy Stuart-Clark 2021 Madonna On The Rocks (A Rapid, Dainty, Climber) Glaze painted earthenware with transfer prints and gold lustre detail 205 x approximately 320 mm diameter R4 800
Lucy Stuart-Clark 2021 I Believe There Are Crocodiles In Our Rivers Now Glaze painted earthenware with transfer prints and gold lustre detail 145 x 80 x 80 mm diameter R2 800
Marelise van Wyk
“My creative process has always been inspired by the cycle of life and the evidence of the passing of time – extinctions developing into new creations decaying into extinctions again...“ Living in Simon’s Town, essentially at the foot of the Table Mountain Range, I am constantly reminded of history and how it influenced the development of our unique stories. Our current SA culture has all the previous versions just slightly visible. The biggest impact on the lives of early peoples at the Cape shores was without doubt that which came from the sea... South Africa was to be changed forever by decisions taken by foreign powers in Europe motivated by various goals; expanding kingdoms, wealth, religion and influence. In these particular works I am engaging with historical impacts on our stories with specific reference to the impact on the circumstances of women in South Africa.
Marelise van Wyk 2020 At your service Mixed print collage (etching cut-outs and antique embroidery pattern chine collé) 400 x 400 mm Edition 1/1 R1800.00 Unframed
Marelise van Wyk 2019 (dis)comfort Mixed print collage. (Etching on dried (silkweed) algae with drypoint on tetra-pack plate) 705 x 495 mm Edition 1/1 R4500.00 Framed
Marelise van Wyk 2019 of palaces and time Mixed print collage. (Etching on dried (silkweed) algae with etching and print from found plate) 705 x 495 mm Edition 1/1 R4500.00 Framed
Marelise van Wyk 2019 Servitude Drypoint on tetra-pack plate 500 x 400 mm Edition 1/1 R3500.00 Framed
Marelise van Wyk 2020 Domestic Mixed print collage. (Drypoint etching on plastic, drypoint on tetra-pack, print from found plate and found antique label) 445 x 355 mm Edition 1/1 R4000.00 Framed
Marelise van Wyk 2021 Home Talk Print collage. (Etching, Etching on dried algae, antique magazine pages) 650 x 450 mm Edition 1/1 R2000.00 Unframed
Marelise van Wyk 2021 Motherhood Print collage. (Etching, Etching on dried algae, antique magazine pages) 650 x 450 mm Edition 1/1 R2000.00 Unframed
Marelise van Wyk 2020 Duster Line-up Mixed print collage (Etching cut-outs, collagraph and antique embroidery pattern chine collé) 400 x 400 mm Edition 1/1 R1800.00 Unframed
Marelise van Wyk 2019 Never forgotten Printed from found plate – ghost print 450 x 995 mm Edition 1/1 R5000.00 Framed
Marelise van Wyk 2020 Dust 2 Collagraph with antique embroidery pattern chine collé 380 x 380 mm Edition 1/1 R1200.00 Unframed
Mariette Momberg
Fifty five years have passed since District Six was declared a “whites only” area under the Apartheid Group Areas Act. What followed was the forcible eviction and displacement of approximately 60 000 people over a 15 year period and the complete obliteration of this once vibrant, cosmopolitan neighbourhood. The first demolitions began in 1968 and the only buildings left untouched were places of worship. Non-White members of the District Six community were forcibly moved to purpose-build townships on the outskirts of the city. Desolate windswept places lacking social cohesion, diversity and historical connection. These areas continue to suffer the brunt of post-apartheid inequalities (including higher rates of violence and unemployment). This body of work is the result of (re)learning our collective national history, giving power to those whose voices we tried to silence. An exploration of displacement, our historical interwoven connection to a place and the omnipresent visual remembrance of the mountain whose shadow bore witness to the lies our history books told. Please contact District Six Museum for more information. https://www.districtsix.co.za. COVID 19 has had a devastating effect on the museum and donations to ensure the preservation of this national treasure is needed. A percentage of the sale of this body of work will be donated to the museum. Reference images that influenced these works are credited with thanks to Jan Greshoff.
Mariëtte Momberg 2021 Denudation Multi block linocut Edition 1/3 830 x 690 mm R4500 Framed
Mariëtte Momberg 2021 Displaced Digital linocut collage Varied Edition size: 1/20 Paper size: 1200 x 850mm Framed size: 1305 x 960mm Framed price: R9500 Unframed price: (A1) R3200 Unframed price: (A2) R1800
Mariëtte Momberg 2021 Hanover Street Linocut on reclaimed board Edition size: 1/10 Paper size 600x420mm R3200 Unframed
Mariëtte Momberg 2021 Hanover Street Linocut String on reclaimed board. Edition size: 1/10 Board size: 730x600mm R4200
Mariëtte Momberg 2020 Drowning in my thoughts II Reduction linocut Edition size: 1/5 Paper size 380x370mm Framed size: 480x450mm R2800 Unframed R3600 Framed
Mariëtte Momberg 2020 Moederloos Multi block linocut Edition size: 1/20 Paper size 380x370mm Framed size: 480x450mm R2200 Unframed R3200 Framed
Natasha Norman
My work is deeply inspired by my experiences of the natural world. In the manifestation of the shifting layers and planes of marks and tones is an elementary, sensory memory of place. My artistic subjectivity is influenced by my experience of Shinto and Zen philosophies concerning the relationship between humans and nature. I hope to engage an empathic imagination in my practice that I believe is vital to recovering humanity’s concern with ecology and environmental wellbeing. The series of monotype prints made for this exhibition explore the various views of Table Mountain as a marker of class, access, wealth and opportunity. There is the historic view of early seafarers arriving in Table Bay by ship or the aerial view of the escarpment from arriving aeroplanes. Some see the Table from a suburban backyard, or through the scratched, acrylic windows of public transport. Perceiving the mountain from any vantage point is subtly evocative of the particular economic and social position of the viewer.
Natasha Norman Lakeside Reflections 2021 Monotype print on Washi paper 635 x 480 mm Framed R7 050
Natasha Norman Sleeping Rough 2021 Monotype print on Washi paper 520 x 640 mm Framed R6 750
Natasha Norman Bergie 2021 Monotype print on Washi paper 460 x 580 mm Unframed R5 600
Natasha Norman Arrival by Sea 2021 Monotype print on Washi paper 520 x 640 mm Framed R6 750
Natasha Norman After Sunset 2021 Monotype print on Washi paper 460 x 580 mm Unframed R5 600
Neeske Alexander
I’ve been making prints since the age of eight and I particularly enjoy the thrill of unexpected results and complicated problem-solving that goes with printmaking. My work is inspired by the people and the spaces around me. I’m fascinated by the complexity of the sea life in the tidal pools of South Africa. The four monotypes feature life in the rockpools and kelp forests that I see when I go snorkelling (I often think that snorkelling is like flying). My two works, ‘In an octopus’s garden’ and ‘I’d like to be under the sea’, show the common octopus whose life was recently so beautifully documented in My Octopus Teacher - a film about an octopus in Cape Town. I am excited about the way people’s perceptions of these creatures are changing from ‘edible invertebrates’ to ‘intelligent friends’. The ocean is an incredible source of comfort and joy to me and I find that there is nothing better than immersing myself in its waters.
Neeske Alexander 2020 I’d like to be under the sea Multiple block woodcut print Edition of 20 660 x 505 mm R4 500 framed R2 700 unframed
Neeske Alexander 2020 In an octopus’s garden Multiple block woodcut print Edition of 20 660 x 505 mm R4 500 framed R2 700 unframed
Neeske Alexander 2020 Floating away Monotype with pastel Edition of 1 350 x 250 mm R1900 framed
Neeske Alexander 2020 Springlow Monotype with pastel Edition of 1 350 x 250 mm R1900 framed
Neeske Alexander 2020 The hermit meets someone new Monotype with pastel Edition of 1 350 x 250 mm R1900 framed
Neeske Alexander 2020 The wave Monotype with pastel Edition of 1 350 x 250 mm R1900 framed
Neeske Alexander 2020 Everything will be alright Risograph Edition of 25 420 x 290 mm R900 unframed
Neeske Alexander 2020 Warm and bright Risograph Edition of 25 420 x 290 mm R900 unframed
Neeske Alexander 2020 Catling Multiple block woodcut print Edition of 20 330 x 250 mm R1500 unframed
Noeleen Kleve
My frequent walks taken amongst the local fynbos have both grounded me during the past year of uncertainty, and simultaneously inspired awe and wonder at the intricacies of the created natural realm. The fynbos biome is integral to the mountains of the Western Cape, and flourishes with particular abundance on Table Mountain. My artworks allude to this ‘table’ of nature as a site of nourishment for me. There is a growing body of research with an emphasis on the positive benefits of connecting with nature: the concept of Ecotherapy. Also recognised as nature therapy or green therapy, it highlights the healing and nourishing impact that we can gain from the natural environment. Being mindful of the vulnerable yet still vast diversity of the creation in which we live, reminds me to celebrate the privilege of these wholesome and restorative walks as salve to the oppressive constraints of our current times. My interpretation of this theme is expressed at my studio table, through making images inspired by fynbos plants. The cyanotypes capture intrinsically exquisite forms of nature, through harnessing the sun as a natural source of light. With the monoprints I attempt an expression of the lived experience by layering monotyped images with embossing; incorporating mapped images of geographical areas that I have walked, and printing individually handcut and etched fynbos plates.
Noeleen Kleve 2020 Anastasis II Monotype Edition 1 of 1 60 x 45cm R5400 Framed
Noeleen Kleve 2021 Intrinsic Inhabitant Monoprint Edition 1 of 1 495 X 350 mm R4500 Framed
Noeleen Kleve 2021 Relative Realms Monoprint Edition 1 of 1 495 X 350 mm R4500 Framed
Noeleen Kleve 2021 By the Way Etching Edition 1 of 20 22 x 20 cm R1850 Unframed Noeleen Kleve 2021 Essentially Innate Monoprint Edition 1 of 1 495 X 350 mm R4500 Framed
Noeleen Kleve 2021 Beauty for Ashes Etching Edition 1 of 20 22 x 20 cm R1850 Unframed
Noeleen Kleve 2021 From the Rising of the Sun Etching Edition 1 of 20 22 x 20 cm R1850 Unframed
Noeleen Kleve 2020 Nexus of Renewal I Cyanotype Edition 1 of 1 32 x 32 cm R2750 Framed
Noeleen Kleve 2021 Nexus of Renewal II Cyanotype Edition 1 of 1 32 x 32 cm R2750 Framed
Yolanda Warnich
At the table is a place where people get together - it is a place for casual conversation or serious discussions. It is a place where one can voice one’s opinion, where one can agree to disagree or just go against the grain. It is a place where I sometimes sit alone, engrossed in my own thoughts. I have looked ‘at the table’ as a place of work. As a working artist, it is usually the table in my studio where I am on my own planning, strategizing and conceptualizing. It is where I find myself before I go into the field and where I find myself once I have finished the work. At this table I write my artist statements or post on social media. For this exhibition, I mainly worked in frottage, the process of taking a rubbing from an uneven surface to form the basis of the work of art. I carved into pieces of wood by going with and also against the grain. This brought about an uneven surface perfect for making rubbings. I used moleskin, a paper mostly found in notebooks. It is very thin and allows for fine detail when doing rubbings with different varieties of pencils. These works are visual representations of my artist notes taken at my table in my studio. These notes are of the landscape where I always long to be.
Yolanda Warnich Untitled 2021 Monoprint Edition 1 of 1 520 x 620 mm R4 500 Framed
Yolanda Warnich Untitled 2021 Monoprint Edition 1 of 1 420 x 470 mm R3 500 Framed
Yolanda Warnich Untitled 2021 Monoprint Edition 1 of 1 220 x 420 mm R2 500 Framed
Yolanda Warnich Untitled 2021 Monoprint Edition 1 of 1 190 x 260 mm R1 600 Framed
Yolanda Warnich Untitled 2021 Monoprint Edition 1 of 1 240 x 190 mm R750 Unframed
All images are copyright of the artist To contact individual artists please see contact details below: Emma Wilemse : emmart@worldonline.co.za Georgina Berens : georgina.berens@gmail.com Kristen McClarty : kristenmcclarty@gmail.com Laurel Holmes : laurel@laurelholmes.co.za Lucy Stuart-Clark : lbstuartclark@live.com Marelise van Wyk : marelisevw@gmail.com Mariette Momberg : mariette@momberg.studio Natasha Norman : tasha.norman@gmail.com Neeske Alexander : neeskealexander@gmail.com Noeleen Kleve : noeleenkleve@icloud.com Yolanda Warnich : yolandacw@icloud.com