Wednesday, 2 August 2017

"The You and I" by Ganjatun Mulla 11 – 24 August 2017

--> "The You and I" by Ganjatun Mulla



11 – 24 August 2017




  
“The You and I“ is a dynamic idea evolving over time in relation to how events and experiences can shape us and how we can counter shape the way we experience the experience.”

We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.

GANJATUN MULLA is an artist. She is best known for her expressive artistic techniques in compelling visual illustrations of her homeland and cultural roots. She has spent the most part of her life in silence, communicating solely through her art.  She believes in the empowerment of women and their struggle for independence in all those who fail to realize their potential and self-worth.

She is of Omani and Persian decent but was born and raised in Tanzania before moving to Dubai and later on South Africa. Ganjatun says her passion for art derives from the works of the surrealist painter Salvador Dali, whom she likens with her philosophical view of the world; a world that is only as real as it appears. She is quoted as saying "we live in the image of who we want to become not of who we've become. In doing so we subconsciously lose sight of the lessons from the past, the beauty of the present and the opportunities of the future." Her art has become a means of expressing this doctrine and to live each day with a sense of optimism and ambition. 
Ganjatun is currently living in Zimbali.

Thursday, 27 July 2017

Winter Sale 1 - 9 August 2017

Winter Sale

1 August – 9 August

It is what it is. A sale in winter in Durban.





Lara Mellon, Grace Kotze, Melody French....and more.


Saturday, 24 June 2017

"Sea Level" a group exhibition of miniatures 1 July - 27 July 2017

There is something very seductive about holding an exquisite, small work of fine art in the palm of one’s hand and being into that minute jewel-hued space.   SEA LEVEL will explore this......






Organized and Curated by Anthea Martin and  Catherine Stempowski 




ARTISTS PARTICIPATING : Anthea Martin, Catherine Stempowski, Pamela Benporath,
Megan Bonnetard, Marianne Meijer, Camilla Kinnear, Jane Bishop, Estelle Hudson, Stella Beth Peat, Darryl Houghton, Hermine Spies, Lorraine Wilson,  Odette Tolksdorf, Lesley Magwood Fraser, Diane Samson, Jannie van Heerden, Mariek Petzer, Steffi Steffen, Deidre Maree, Chris Reabow, Pauline Maurer, Morgan Coakley, Denise Hill,  Penny Brown, Pascale Chandler, Heidi Shedlock, Ann-Marie Nason, Laurelly Allaway, Grace Kotze, Ewok, Nicole Pletts,
Zamani Makhanya and Katarina Richter

Closing on Thursday, 27 July

Wednesday, 7 June 2017

"Signs of Usage" by Terence King 10 - 29 June 2017


“Signs of Usage”
a solo exhibition by Terence King

10 – 29 June 2017

The exhibition comprises works selected chiefly from two extended series’ undertaken over the past several years. Rooted in observation of the physical environment and of utilitarian implements, the paintings and drawings are related in that they are intended to reflect a world of work – hence usage.

The ways in which the land is shaped by occupation, intervention, geological time, and how mundane objects of domesticity and labour come to take on a quiet monumentality, are central elements in these series.

The painting process itself, that is painterly, loosely layered and excavated brushwork used in combination with detailed, identifiable moments, aims to convey a sense of the multiple histories of familiar places and objects. The objects, mainly tools, containers and the like, and the environments, in this instance the symbol-laden hills of the interior, carry ubiquitous signs of use, such as scarring, demarcation and alteration, and are presented in simple, non-hierarchical compositions.

Wednesday, 3 May 2017

"Notion and Nature" by Nicholas and Miranda Crooks Extended through 8 June Extended through 8 June!!




NOTION (Nicholas)



I Improve-We Become 2017



These two-dimensional artworks comment on the way today's digital new media condition superimposes itself onto the technologies of a shadow baby boomer, or the pre-digital generations. Millennials have a perspective from the digital, a perspective of a generation growing up with the technology of keyboards, computers, cellphones instant access and an app for almost anything. The way communication has changed due to the introduction of the digital ripples through society. We need to be reminded that those of us from the 60s and before grew up without televisions, calculators, computers, cellphones, laptops, World Wide Web, Twitter, e-mails, Facebook, WhatsApp and the rest of new media technology. This chasm between analogue and digital remains a challenge, where the ideals and structures of the past are being challenged and replaced by a fuzzy logic of living and of Life. Where engaging in the process is more important than finding “the answer”.



In the latest works I have grappled with an understanding of the digital generation from my shadow baby boomer perspective. I would see the perpetuation of posting selfies as ego centric, self obsessed and narcissistic but from explanations gained in conversation with millennials where showing or sharing is sociocentric, consensus seeking , egalitarian and humanitarian. Millennials see themselves “ of service to one another”.



New technologies change society and adjusting to the introduction of new technologies is what the (humankind) techoanthropological does.



New media superimpose themselves on technologies of the past. The stone age replaced the iron age etc etc, what is different however is that new technologies are now being introduced so rapidly that they are intergenerational. The actions of a generation is the reflection the technology of the day. With rapidly changing technologies all people from older technological pasts are having to accept and embrace new technologies during their lifetime. It’s a bit like having to trade in something that still sort of works for a so called better model. It’s not that the old does not work it is the adjustment to the new that enables contact between generations.



The old idea of the self (theses) needs to change to the new media(antithesis) in order for a synthesis to emerge, although the digital has arrived and some of it’s affects are reality we are living in a transitional phase, until a new technology arrives to replace the digital we will not have a clear perspective of it.









NATURE (Miranda)



Much like a cat gets excited by a flutter of wings, she is thrilled by an intrinsic primal hunter-gatherer desire to visually immerse herself in plant forms.



The lines and shapes of plants are both exciting and captivating and I can only think that, like the smell of soil, this visual engagement produces endorphins that make us happy.



Her work is part of a series of double exposure botanicals.