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.

Friday, 24 March 2017

"Together Apart" a group show 7 April - 4 May 2017

Reminder: the gallery is closed on Thursday, 27 April for Freedom Day!

When we are talking about living ‘together apart’ we are describing the lifestyle of two partners/siblings/relatives who do not necessarily live under one roof. Maybe what we are describing can be called a sort of tribe (NOUN
 a large group of related families who live in the same area and share a common language, religion, and customs).  

Together Apart is about two connected people with the same intense interest in art and creativity, but whose works might be different and, therefore, ‘cannot be put under one roof’, except during this exhibition!

Participating artists:

Chris de Beer and Marlene de Beer 

Heather Pattenden andMhairi Pattenden

Miranda Crooks and Nicholas Crooks

Karla Nixon and Dane Stops

Pascale Chandler and Claude Chandler

Grace Kotze and Melody French

Ian Calder and Nina Calder 

To see the images for this exhibition click here:

The exhibition ends on 4 May.

Exhibition Review - The Mercury

Friday, 24 February 2017

“Olive Schreiner Revisited” a solo exhibition by Jannie van Heerden 4 - 30 March 2017

Olive Schreiner is best known for her novel: “The Story Of An African Farm”. I grew up in Cradock, Eastern Cape where Olive Schreiner lived as a teenager along with her elder brother and sister and where she worked later as a tutor on the farms: Gannahoek and Klein Gannahoek. In 1921 she was buried on the mountain Buffelskop, just outside Cradock.

As a young boy my father often took me to the Schreiner House, then derelict, where Olive lived with her siblings, and we once ascended Buffelskop to look at her grave. The legend of Olive was always with me and was realised in 2013 with my exhibition at the KZNSA Gallery, Durban: “Olive Schreiner: The Story Of An African Farm”. However in the past few years I felt that I had not done her justice and thus the revisit.

Olive was born on the Wittenberg mission station in 1855. Her first encounter with Cradock was in 1867 when as a teenager she lived with her elder brother and sister in Cross street (now part of the National English Literary Museum). She returned later to serve as a tutor on farms in the district. The landscape and its people left a deep impression upon her, and influenced her famous novel which was published under the pseudonym Ralph Iron, as women were not allowed to publish at that time. Her other best-known works are: “Thoughts On South Africa” and “Women And Labour”, long considered as the bible of the women’s movement. Olive was deeply involved in politics and was a fighter for all the oppressed peoples of South Africa, she was totally opposed to Rhodes and British imperialism.

In 1894 she married Cron, 8 years her junior and they settled on the farm Krantzplaats, Cradock district. She insisted that he took her name and he was known as Cronwright Schreiner. During this time they ascended the mountain Buffelskop, with its breathtaking view across the valley. Olive decided that this was where she wanted to be buried and acquired the plot.

Olive was excessively asthmatic and she soon had to leave the damp riverbeds of Krantzplatts and spent a lifetime searching for a suitable climate for her health, first Hanover, then Kimberley, Johannesburg and eventually Matjiesfontein. Her firstborn child lived for only 9 hours and after that she had 3 miscarriages.

Olive and Cron eventually drifted apart and she left for Europe and England in 1914.  She already knew many influential people there like Havelock Ellis and Eleanor Marx, both who influenced her outlook on life.

Olive returned to Cape Town in 1920. She died in 1921 and was buried in the family crypt. According to her wishes Cron had her body exhumed and buried in 1921 on Buffelskop.

The re-internment on Buffelskop was a very dramatic event. Eight carriers spent 2 days carrying her coffin plus those of her dead child and her dog, Nita, up the hill.

The undertaker schooling built a dome shaped sarcophagus on the pinnacle to take the coffins. According to Olive’s wishes no religious ceremony was allowed. As Cron finished his eulogy an eagle soared across the sky, to paraphrase the “The Story Of An African Farm”: “the dark plumed bird uttered its deep low cry: Immortality”

- Jannie van Heerden   

The exhibition closes on Thursday, 30 March at 4p.m.