Celebration of Winter catalogue

An Exhibition of contemporary South African Art

An Exhibition of contemporary South African Art


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A Group Exhibition curated by Jean-Marie Olivier & Pieter Lategan<br />


Opening; 4 August 2018

Paula van Coller, True Blue (150cm x 100cm oil on canvas)<br />

Martin Sycholt, Potbelly # 3 (height:31cm, ceramic)

Carl Roberts, Passage <strong>of</strong> Time ( width: 127cm , wood)<br />

“I work like the automatic artist <strong>of</strong> the Surrealist movement in that I trust my subconscious to generate ideas. The<br />

emphasis is on “magic, accident, irrational, symbols, and dreams”. Like the Rorschach (inkblot) test, the material<br />

<strong>of</strong>ten suggests images and sometimes presents them in an unusual way. The image made depends ultimately<br />

upon what lies in the subconscious, elements <strong>of</strong> chance, and the spirit <strong>of</strong> the times.”

Carol Cauldwell, Leap (height: 47cm, bronze edition)<br />

Carol Cauldwell deconstructs that which bothers her and then makes a critical comment,<br />

using fairy-tales, idioms, nursery rhymes, illustration and icons, in the hope that she will be<br />

able to create some sort <strong>of</strong> resonance be it positive or negative in whoever engages in the<br />

work. She tries to use familiar visual images which she arranges into conceptually layered<br />


Gerhard van Niekerk, Sava ( height 78cm , marble & GFRC composite edition <strong>of</strong> 8)<br />

Claudia Ongaro,Form and Formless Series II ( 120cm x 90cm, pastel on paper)

Aidon Westcott, Frequency (160 x 200 cm, mixed media collage)

“The concept behind the artwork ‘Frequency’ deals with different forms or mediums <strong>of</strong> communication devices with the intention <strong>of</strong><br />

conveying a coded message to the viewer’s sub conscious mind.<br />

This artwork takes the form <strong>of</strong> an encoded message using written text, transmission signals and pictorial forms <strong>of</strong> visual, auditory and<br />

tactile mediums. The composition is an important factor as it is designed to lead one eye in a continuous ‘loop’ within the borders <strong>of</strong><br />

the canvas.<br />

The coded message therefor lies beyond the imagery and objects, hidden and tucked away amongst the memory and experience<br />

<strong>of</strong> the viewer’s non-linguistic internal universe. “

Jacques Dhont, Resilience (92 cm, mixed media)

Anton Karstel, Untitled (110cm x 110cm, oil on canvas)

Grace da Costa, Spaces between (Large)<br />

(35 cm x 35 cm x 29cm bronze edition 9/10)<br />

“I do not start with a fixed concept in mind. The<br />

concept evolves during the process <strong>of</strong><br />

experimentation and development......The whole<br />

process stimulates the senses: textures, colours,<br />

shapes, marks- so many things can be done.<br />

Proceeding to manipulate, distort or even destroy<br />

the image. Creating art is expressing one’s<br />

immediate emotions, concerns or opinions,<br />

without having to consider another being -pure<br />


Rosemary Murry, Black and white bottle IV (height: 38 cm,ceramic)<br />

Madelein Marincowits, Reconstruction <strong>of</strong> past events. (120 x 60 cm, oil on board))

Anton Smit, Toiva ya Toiva (life size -GRP)

Marie Kearney, Testimony I & II (63 cm x 63 cm -each framed, mixed media on board)

Rae Goosen, King (68 x 41cm x 46 cm -ceramic)

Iaan Waldeck, Nr 22 & Nr 46 (64 cm x 48 cm -each aquarelle and ink on paper)

Greg Schultz, Pulse (160 cm x 250cm, oil on canvas)

“Greg talks about these as moments <strong>of</strong> magic in air, water, fire and rock and as ‘glimpses’, leaving brief or incomplete views, or<br />

glimmers, <strong>of</strong> world’s unseen. This painting holds his traces <strong>of</strong> these tracings with which one might make one’s way over, through or<br />

along, or indeed go between these routes on a journey towards conditions <strong>of</strong> sensuous perception.<br />

And one final trace: for those <strong>of</strong> us who have ever tied a … fly to a trace and arced a floating line into a flowing corner <strong>of</strong> the<br />

Kwelera, the glimpse <strong>of</strong> movement angling away from us, it is impossible to not feel the twitch, the memory trace <strong>of</strong> anticipation in<br />

the fingers, when standing in front <strong>of</strong> the evening light <strong>of</strong> ‘Transfer’. “<br />

Pr<strong>of</strong>essor Gary Minkley SARCHI Chair in Social Change, UFH

Andre Stead, Female Fragment (height: 47cm mixed media)

Alex Hamilton, Hallo Sailor (120cm x 90cm, acrylic on canvas) & Snow White (45cm x 60cm, acrylic on canvas)

Louis Nel, 10/10/2012 & 18/10/2012 (50cm x 60cm, oil on canvas each)<br />

Louis Nel lives at the coast in Kalk Bay. He is a surfer. He paints the sea and the forest in different pigments, tones, tides and seasons.<br />

He titles his work according to the date <strong>of</strong> completion. Every exhibition becomes a painter diary.<br />

Our contemporary world consists <strong>of</strong> technological creations and instant solutions to problems. In contrast to this oil painting is a classical<br />

and time-consuming medium- it requires skill and patience. I believe in the relationship/correlation between value and the passing <strong>of</strong><br />

time. Every single square cm <strong>of</strong> these canvases has been touched by the artist’s hand. The works are original, individual and not<br />

machine made. Each piece can be linked to a specific date.<br />

On another level I regard Louis’s work as Romantic. His paintings are a revival <strong>of</strong> romantic ideas in a world where rational thinking,<br />

technology and machines are ruling. Romanticism emphasizes emotion, individualism and the glorification <strong>of</strong> nature as well as the<br />

past<br />

These oils are not rational scientific depictions <strong>of</strong> nature, but intense emotional experiences embodied in seascapes. The Romantic<br />

Movement emphasized intense emotion as an authentic source <strong>of</strong> the aesthetic experience. Louis landscape portray the<br />

uncontrollable, unpredictable power <strong>of</strong> nature as an alternative to the ordered world in which we find ourselves. (text by Corlie de<br />


Andre Prinsloo, Squad (height:32 cm, bronze 5/14)<br />

“The creation <strong>of</strong> my sculptures is a very private act<br />

that originates from deep within my subconscious.<br />

Often the idea just happens without much deliberate thought.<br />

Verbal communication – especially with strangers,<br />

does not come naturally to me. Thus sculpture –<br />

like music, has become my universal language.<br />

In the act <strong>of</strong> sculpting I therefore talk to myself<br />

and it has become a way <strong>of</strong> exploring my inner emotions.”

Grace Kotze, Two sparrows on the Antique Chinese Bowl (40 x 40 cm, acrylic on board)<br />

Grace Kotze, Weaver Bird on the oil can (40 x 30 cm, acrylic on board

Martin Haines,White and yellow cat pair ( height 43 cm each, ceramic)

Johannes Scott, Platter III (45 cm diameter, ceramic)<br />

Krisjan Rossouw, Dark Paradise #4 (214 cm x 156cm, Gliceé print)

James Stead, Lemons on a cloth (estimate 50cm x 100cm, oil on wood)

Phillemon Hlungwani, Ku Hava Xoxi Endla Hande Ka Ku hlevana (Alex) I(Those who gossip have nothing better to do than gossip)( 82<br />

x 141cm, etching and watercolour edition 3/10)

Leandri Erlank, Happiness ( 100cm x 70 cm, charcoal on paper)<br />

Theo Megaw, Small Girl with Dove (height:62 cm, bronze edition <strong>of</strong> 15) detail

Mark O Donovan, Avondale, Beaufort West- Scratching the surface (120 cmx 240 cm, mixed media on 100% cotton African wax<br />


Wendy Gaybba, Reënjas (13 cm x 18 cm, oil on canvas)<br />

Kerri Evans, Goose Portrait (30 cm x 30cm oil on aluminium)

Antoinette Cloete-Nel,Complete I ( 120cm x 120 cm, charcoal on paper in perspex box)<br />

Talitha Deetlefs, Shield I( height: 67 cm,bronze edition <strong>of</strong> 12)

Ig Terblance, Life Routes (210 cm x 82cm, charcoal on paper)<br />

Frans Mulder, Waiting for my Prince (120 cm x 150cm, charcoal on paper)

Anton Brink, No country for old men (230 cm x 250 cm, oil on canvas)<br />

Uwe Pfaff, Dinner in 5 (height: 185cm, oil on canvas)

Charmaine Haines, Masked abstract heads with fish and birds. (height: 40 cm, ceramic)

Everette Duarte, Fresh Rain (120 cmx 180cm, acrylic on canvas)

Toby Megaw, The Thinker (height 43 cm, bronze edition <strong>of</strong> 15)<br />

“I am interested on one level in exploring the beauty <strong>of</strong> how our humanity expresses itself through form, stance and subtle gesture;<br />

from a bent old woman, with her life experience speaking through the angles <strong>of</strong> her neck and back, to the gentle, s<strong>of</strong>t, deep caring<br />

<strong>of</strong> a mother for her baby, shown in the shadows <strong>of</strong> her face, or the embracing gesture <strong>of</strong> her body and arms. On another level, I am<br />

interested in exploring how shapes, volumes and masses relate to each other and how lines flow through a piece - the mountainous<br />

terrain in which I live is still, quiet, tranquil, sometimes soulful, with a solid three-dimensional honesty and integrity. Shaping clay with<br />

simple, rough, wooden batons, I strive to embody something <strong>of</strong> these qualities in my work. If at all successful, my pieces create quiet<br />

nodes in a rather busy world.”

Toby Megaw, Boy with Frog (height 86 cm, bronze edition <strong>of</strong> 15)

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