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SUPER BORING - Wayne Barker

celebrating 25 years of Wayne Barker’s work (catalogue), 2010, Marelize van Zyl (ed). Published by SMAC Gallery, Stellenbosch (RSA); ISBN: 978-0-620-46718-6

celebrating 25 years of Wayne Barker’s work (catalogue), 2010,
Marelize van Zyl (ed). Published by SMAC Gallery, Stellenbosch (RSA);
ISBN: 978-0-620-46718-6

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50<br />

<strong>Wayne</strong> <strong>Barker</strong>’s drive to make an art project happen has never been more evident<br />

than in his curatorial exercise, ‘Laager’. Not invited as a participant onto the 1 st<br />

Johannesburg Biennale in 1995, <strong>Barker</strong> contrived to place himself and thirteen other<br />

young artists at the dead centre of the offi cial Biennale events, somehow commandeering<br />

fourteen empty shipping containers and having them placed in an embattled circle midway<br />

between the MuseumAfrica and the Electric Workshop. Artists included himself, Brett<br />

Murray, Lisa Brice, Hentie van der Merwe and Kate Gottgens, one to each container.<br />

Acknowledged as a major attraction at the Biennale, ‘Laager’ drew an invitation for all the<br />

artists to exhibit in Chile the following year.<br />

WAYNE BARKER<br />

SUE WILLIAMSON<br />

When I fi rst met <strong>Wayne</strong> we were on our way to an exhibition and he was telling<br />

someone how he had been struggling all day on a painting which wasn’t working properly.<br />

I felt strangely comforted because I had only been painting for a while, and here was<br />

<strong>Wayne</strong> who was already famously famous for the FIG Gallery, et al., conferring to doubts<br />

and diffi culties not dissimilar to my own.<br />

After that initial meeting he invited us to one of his legendary dinners in Troyeville<br />

where he had a studio next to Bob’s Infamous Bar. We arrived to a long table laden with<br />

plates of prawns and overfl owing with bottles of wine. Jollility reigned and raucous it was,<br />

and that was the beginning of a long friendship….<br />

And now a decade later, after being so familiar with <strong>Wayne</strong>’s world, I look at the four<br />

paintings we have of his hanging on our wall at home and realize how amazingly talented<br />

he really is. His deep compassion and concern for humanity, a poetic vulnerability if you<br />

will, underpins I think the underlying quality in all of his work. He’s not afraid to express his<br />

pleasure or his pain, and that takes courage especially in today’s world where art can be<br />

so conceptual and where the idea behind the work has become more important than the<br />

feeling in the work itself.<br />

DIANA HYSLOP<br />

<strong>SUPER</strong> <strong>BORING</strong><br />

51

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