The Universe Next Door is a group show of invited artists that Jozua admires. Artists include JP Meyer, Claude Chandler, Corne Eksteen, Floris van Zyl, and feature artist Vanessa Berlein. Sculptures by Anton Smit, Gordon Froud and Adriaan Diedericks
This collection of vibrant works by established South African artists is going to be the highlight of the Fynarts Festival.
The Universe Next Door is part of the 22 year Birthday Celebration of Rossouw Modern in Hermanus, and should not be missed.
From 8 – 19 June 2017
Open from 9am to at least 6.30 pm every day – Join us in Facebook to stay updated
More images of the artists works available on the Artists page under The Universe Next Door
This group show is by the current stable of talented artists of Rossouw Modern, with a focus on the works of artist Christiaan Diedericks and sculptor Jaco Sieberhagen, and include newly released works by artists Bastiaan van Stenis, Hugo Maritz, Stuart Dods, Ober Jongwe, Adriaan S de Lange, Frans Mulder and sculptor Paul Stein.
This exhibition will showcase the mastery and special attention to detail that the artists of the Rossouw Modern practise and that has been the guidelines of the talent sourced by Jozua Rossouw over the last 2 decades.
THE Exhibition is part of the 22 year Birthday Celebration of Rossouw Modern in Hermanus, and should not be missed.
From 8 – 19 June 2017
Open from 9am to at least 6.30 pm every day – Join us in Facebook to stay updated
More images of the artists works available on their web pages under Artists
Christine Crowley’s first solo exhibition will commence at SPACE on Friday 3 February 2017 at 5.30pm. The show concludes on 19 February.
Walkabout and drinks with the artist Saturday 4 February and Sunday 5 February from 12:00 to 3:00 pm
Christine Crowley is a contemporary South African fine artist based in Cape Town, South Africa.
Born in 1947 she grew up in York in the North of England where she attended York School of Art moving to Guildford in the late 60’s where she obtained a Surrey Diploma in Fine Art (painting).
Her early influences are those of the Seccessionist painters particularly Egon Schiele with his wonderful use of line and colour, moving away from ‘moral’ art to depicting some of life’s realities.
In her painting she is trying to show how she experiences an image/event. Usually working with no reference and with images or feelings emerging as the painting proceeds. She uses a limited palette working on depth, light and shade, concentrating on brush, mark and line work using different tools and mediums to elicit a reaction to the painting.
Contemporary figurative, abstract expressionism? Her recent body of work has moved towards abstract expressionism.
“Figures do feature but they emerge rather than dominate. In some instances the figurative may be a hazy image of, for example, a face, in others the shapes form bodies in others a simple line is included to represent a body part or a movement. What is important is that the viewer can identify with some part of the painting. See or feel what they want to see or feel.”
Crowley has participated in a number of group exhibitions in Cape Town and has sold paintings in Cape Town, Germany, Tasmania and the UK and has undertaken a number of commissions.
2 December until 12 December 2016
Stolen moments of an ordinary life…
The millennial generation were told that they could be anything and anyone they wanted to be… Famous, rich, high achieving, functioning, happy adults
The world was their oyster…
They were not extolled the joys and values of a life worth living. An ordinary life… One of love, integrity, family, friendships and loyalty.
There is value in the average, in the normal and in the ordinary…
And you don’t have to be happy every day to be happy…
These images are of nothing and everything… Family, friends and loved ones – and moments of an ordinary life…
About the artist:
As a middle class white female, I was brought up with the “Woman stayed at home and men worked” mentality. Hence most of my artwork is primarily male dominated starting with a “men at work” theme a few years ago which threads a continuous pattern through my work today. My subdued tonal paintings seem to play havoc with people’s perception of me as a person. They see me as bright and bubbly – and find the work I produce out of character. People seem to enjoy putting a label on artwork or on the artist. I don’t spend time analyzing or questioning why I paint what I do, or why I use muted colours (especially brown as it is my singularly most disliked colour in the every respect – and yet it is the colour I use most). I am acutely aware of images around me and constantly keep a camera on hand in order not to miss any opportunities.
Underneath the Surface
15th Solo Exhibition
We spoke to Hugo about his career and the show:
What is the focus of your work?
In my paintings I focus on figures to explore all the vicissitudes of the human condition. This has always been the focus of my interests both in my art and my life. I have always held with the belief that an unexamined life isn’t worth living. But to explore your own psyche also means to explore the lives of others. I find it to be an obvious truth that we have more in common than whatever individual differences we might have. So I believe that coming to an understanding of yourself is also to understand the people around you. ‘Know thy self’ as the Greek proverb goes. So my paintings draw from this understanding. Every figure is intended to be ‘everyman’ (oreverywoman). This is why a simple figurative work can be so emotive to people, and different things depending on the observer. In my work the figure stands alone, inactive. The focus is on the internal world of feelings and thoughts.
Where do you draw your inspiration from?
I draw my inspiration from observing people in their day to day lives. Sometimes it’s the line of figure that will attract me, sometimes it’s the emotion. Often it’s an intuitive response to what I see. I guess we’re all filters. The entire universe goes into our senses, through our minds and comes out different. As an artist I get to visually represent what my filter exudes. This is what you see when you look at my work, the world through my eyes.
You have begun to include the silhouettes of animals with your figures. What does this represent to you?
I have begun to include not just animals but all kinds of things in combination to my figures. I only do this when I find the figure alone somewhat lacking. It is the benefit of combining two concepts instead of one. The associations that it conjures in the mind of the observer are far more precise. Simply put it creates an easier meaning. This is helpful when I want to communicate more directly; other times when I like to be more vague I will let the body language of the figure stand alone to be interpreted.
Is there a way that you would like your work to be interpreted?
This is an interesting point to me. People always seem to think that there is a correct interpretation to a work of art. That somehow you are unable to appreciate a piece until this is revealed. This has the effect of people telling you furtively at exhibitions ‘I don’t know a lot about art but I know what I like’. I guess this aura of mystery is helpful in the selling of mediocre or purposefully obscure art. I do not believe an artist should hide behind meaning. A painting that has to be explained before it can be appreciated is a flawed work in my opinion. If the painting is trying to communicate something (and it doesn’t necessarily have to) then it should be able to do so on its own. Of course it can be fun or interesting to learn more about the artist’s intent or history and how it relates to his work but it shouldn’t be a requirement. So to answer the question I would like everyone to try and first figure out what the painting means to them, to explore what reactions it produces in them even if those reactions are negative. This has the added benefit of making you look closer. I would like my audience to really look. To wonder why I did this or why that spot is there etc. long before they even look at the title.
How would you describe your style?
This is a question that always leaves me a little stumped seeing as though I have spent an inordinate amount of time developing my style I have spent very little time wondering what to call it. Some have said cubist but I think that is because of my love for hard straight lines which in itself does not make a work cubist. The question is further complicated by the fact that my style isn’t entirely consistent (though always in a single painting). I guess I find labeling it kind of redundant. Call it neo-expressionism. That could probably mean almost anything. I have learned to paint in many different ways in my time as a professional artist and what I use is determined by what I’m trying to achieve.
Can you tell us a bit more about the development of your style then?
I walked a very long road to get to where I am in terms of style. I am self taught and from the beginning I experimented a lot with different styles and this will probably continue as I go on. Technical mastery is very important to me. I think all accomplished artists would agree with this. Making art is not easy nor do I believe it should be. Finding effective composition in a work can be enormously difficult. After many years of practice you may come to a place where you can finally forget about technique, where the painting can be allowed to just happen. An effortless effort if you will. This is what I strive for but it isn’t easy to achieve. Many renowned artists attempt to circumvent this obstacle by basically repeating the same composition over and over in all their work. They learn one trick that works and stick to it. It is very tempting but ultimately unfulfilling. I really want to see what quality of painter I can become in my lifetime even if it means never being satisfied. This feeling of never being satisfied drives you to try harder. It means painting and repainting some works many times. That is ok. When you finally have a little breakthrough it is one of the best feelings in the world.
You have an upcoming exhibition with Rossouw Modern SPACE in Hermanus on the 4 November. Can you tell us something of what we can expect
I have been part of Rossouw Modern since 1996 and Jozua has been the most constant critic of my work since I was 23. We’ve had 14 solo shows together, always as a collection of my latest works, but with this exhibition – Underneath the Surface – I’ve had the time frame to consciously explore the hidden worlds of my subjects, as stated before. I tried to make the images even more emotive. I love trying to capture the hidden themes that we discover as we live. States of existence that are sometimes dark, sometimes tragic or perhaps just commonplace. I also tried to make my use of colour more evocative than ever before. I am please with the results and eager to hear what people think about the new work.
Underneath the Surface opens at 5.30pm on Friday 4 November at Rossouw Modern SPACE, with an artist walkabout on Saturday at 12pm, and drinks with the artist on Sunday at 12.30 pm. The show finishes on 21 November. Please RSVP at email@example.com or cal 028 313 2222
My artistic explorations take place in the dark, using the night as my exploratory darkroom. Light is my medium and the world of form and beyond form, my in-depth exploration.
In a process that blurs the boundaries between photography and painting, light photons collect in photosite cavities of a digital sensor during long exposures. Image creation becomes an encounter in the dark with the unknown, which is slowly revealed over time with light.
Unable to see what is happening in the moment, I work ‘blind’ until through the accumulation of light when the shutter is open, the the final composite image is revealed on the camera screen, when the shutter closes. My methodology is deliberately rudimentary and haphazard, providing leeway for chance to intervene.
Fabula Nex, is an exploration of death. Ever since witnessing my own mother’s passing 13 years ago, I have had a deep interest in the transitional moment where flesh and spirit separate and how that ephemeral yet real event leaves its trace on physical form. There is also a fascination for the effects death has in the breakdown of form over time in the process of decay.
The animal subjects are predominantly road kill, except for a fatal electricity pylon accident. In the high impact deaths at the agency of humans, the violence has left its devastation on a sentient creature. Here is a record of wild animals whose existence is fading as humans make ceaseless, avaricious incursions into their habitats.
Situated in mythical, celestial tableaux, each image is intended as a praise poem to the life of that animal. There is reverence for every form, yet the reminder that all form is ultimately empty is never far from my mind during creative explorations.
With each image is an accompanying Fabula, a story or tale of how the deceased body was encountered or gifted to me. Are our realities not constructed of an accumulation of stories we tell ourselves individually and collectively?
The Latin Fabula also refers to a matter, a concern or subject under discussion. The word matter originates from the Latin Mater (mother) and is the origin of our word material. So embedded in the very etymology of the word for the stuff of existence is storytelling and the feminine.
Nex means blood of the slain, murder, slaughter, violent death. Latin has 27 different words for death and 33 words for kill, which suggests acquaintance with violence but also familiarity with and nuanced exploration of death that we no longer have.
Now more than ever we are staring into the face of death, a collective potential suicide in extinction by our own hand.
If we look close and deep enough we might see our own fate in the clouded, shrunken eyes and bloody mouths of these subjects.
4000 hours is an annual showcase hosted in september by SPACE of artists spending laborious hours over works in charcoal, graphite pencil and pastels – focus is on intensity of the technique and detail in subject matter
2016 show – 6 artists
jono dry – ruan huisamen – greg stock – henk serfontein – frans mulder – andrew barlow
opening night friday 2 september at 5.30 pm
The Pen is Mightier Than the Sword
A collection of Zapiro’s most famous original drawings available to the public.
Pieter-Dirk Uys once said ‘Zapiro ventures where comrades fear to tread’. That was twenty years ago and Zapiro still ventures through the political minefield that is SA politics, fearlessly tackling the most explosive issues. The Pen is Funnier than the Sword showcases some of his best original cartoons of recent years, many of which appear in his Rhodes Rage annual (2015) and some which will appear in his forthcoming annual, Dead President Walking. The notorious showerhead is ever-present along with his cronies the Guptas and his nemesis Malema. It’s the era of the hashtag. #RhodesMustFall begat #FeesMustFall, also #Racism/#Sexism and #ZumaMustFall. With Nenegate and SARS wars, it’s the rand that’s really falling. Meanwhile, Pravin and Thuli fight the good fight. Each cartoon is worth a thousand words and helps us make sense of our crazy, beautiful country where fact is indeed stranger than fiction.
Out team at Rossouw Modern look forward to your visit.
“Rogue” presents the latest body of work produced by Bastiaan van Stenis. Identifiable through his unique use of colour and texture, the artist provides audiences with a reflexive view of the world. His is an oeuvre that compels us to look and look again as he contradicts distinct, yet inextricably linked subjects through a montage of techniques and sound draughtsmanship.
The exhibition is an unpredictable assembly of visuals inspired by nature. Bastiaan van Stenis imaginatively meditates on his surroundings and gives us a brief yet unwavering narrative of the environment and the animals and humans that inhabit this space. The artist relays a multiplicity of meaning through works such as The funeral for Colour, Fishbox and Colour confides where diversity is reflected in each work. His exploration of materials echo the duality of urban and rural landscapes and his un-division of human and animal forms is transparent in The Great Escape and Winterstand, where he creates morphing human animals that are both haunting and astonishing.
Born in Cape Town, Bastiaan van Stenis is a self-taught artist who has developed his style through years of practice. He has been a leading artist at the Rossouw Modern in Hermanus since 2006 and has exhibited both locally and abroad with Oostloor Art & Objects in Prinsengracht, Amsterdam. A direct descendant of 19th century artist Thomas Baines, van Stenis grew up with art as an essential tool in his dialogue with the world. He began his art career at age 19 and was soon recognized by local art critics and collectors as one of the most promising contemporary artists. “Rogue” is his first solo show in South Africa since 2009 after having moved to Germany in 2011, where he painted full-time for two years. Earlier this year van Stenis moved to Overstrand, where he is currently based after years of working from his studio in Bo-Kaap.
This shift in space is evident in a turn to new media where, for the first time, the artist explores taxidermy. The preparation, stuffing and mounting of the skins display a process that preserves nature and somehow attempts to withhold time while commemorating the sculptural. Bastiaan van Stenis continues to bend our minds and exhibits the contradictions inherent in the everyday. The works presented in “Rogue” are monuments that oscillate between the quiet composure of nature and the chaos of human internal conflicts. Through juxtaposition of subjects and media, van Stenis calls on the beauty of the un-answerability of larger existential questions.
Out team at Rossouw Modern look forward to your visit.