By
Bamuturaki Musinguzi
IF you are an avid art lover or collector of contemporary African
art then the must read is the third edition of The Collector’s Guide to Art and Artists in South Africa published
by the South African Institute of Artists and Designers in 2014.
The 310-page guide is a visual journey into
the thoughts, emotions and minds of 308 artists. They describe their individual
art and talk about what motivates them in their captivating visual journeys, be it the diverse cultures and people,
or animals, birds or plants, or the varying landscapes.
Richardt Strydom explores the boundaries of
cultural traditions and identity as these intersect with everyday life. Strydom
says the South African resistance art of the late 1980’s and early 1990’s has
had a lasting influence on his oeuvre and art making.
“The title of Ngugi wa Thiong’o’s ‘Decolonising the Mind’ serves as
reference for my current body of work. Using this as a point of departure, I
question hegemonic identities such as whiteness and masculinity and endeavour
to make visible the ways in which post-colonial whiteness is performed,”
Strydom says.
Devika Pillay’s compassion and empathy for people
provides a platform to express the plight of women and children, as well as the
elderly in her paintings.
“Some of my artworks are haunting but convey
bold statements. The highlight of my career was meeting former President Nelson
Mandela. I gave him a portrait of himself on behalf of the community of Durban
in 2006. The gift was an expression of my appreciation for his lifelong
contribution to facilitating national reconciliation. He has since inspired me
to continue my portrayal of those that are destitute and in need…,” Pillay
says.
Jean Arbie is a wildlife and figurative
artist. He loves traveling through Sub-Saharan Africa for as much first-hand
experience of the wildlife and its people as possible, as the detailed
portrayals of the animals and birdlife in his paintings is the most important
aspects of his work.
“I never get enough of the incredible amount
of detail there is to see in every subject I paint. These experiences filter
through in my work in the studio where the sketching, photography and the
actual experience of being in these situations, are integrated into my work. I try to fuse all these aspects and
experiences into the pieces I create. It is very important to recreate an
experience or scene as it happened, whether it portrays the drama and action
that is so much a part of Africa, or the unique peace and tranquility of the
African wilderness…,” Arbie says.
Arbie adds that he loves to do figurative
work using much broader brushwork and bolder colours than in his other work. “I
find it very refreshing to work in a different style and break away from the
restrictions of fine detail.”
Anne Rimbault’s current work expresses her
deep concern over the rhino poaching crisis in South Africa. She makes
decorated thrown vessels as well as sculptural pieces. “I aim to raise
awareness as well as money for rhino conservation in a sensitive way that
highlights the magnificence of the animal and alludes to the threat they face,”
Rimbault says.
Sbonelo Tau Luthuli’s work subverts and
challenges the traditional cannons of vessel making. “I achieve this by playing
around with essential elements of traditional domestic vessels, such as the
form of the vessel, the shape, size and the inconsistencies of a design on the
surface. I am mostly interested in the design, shape and form as this is where
I am able to give a voice to my work,” Luthuli says.
For Daleen Roodt, the orchid artist, nature
has never been shy of offering her inspiration. “Whether it is in humid
forests, wetlands or windy mountains crowned with mist, I search for the rare
and often overlooked species of indigenous and African orchids. The reward lies
in experiencing their sensual beauty and qualities in situ and allowing a torrent of emotion and language to journey
me into creating more than a mere presentation. Watercolour and copper etching
are my preferred mediums for capturing these specimens and thereby securing
their seductive qualities.”
Zelda Stroud is interested in traditional
craftsmanship, jewelry as a form of sculpture and the use of the personal
detritus of daily life as recycled sculpture material. “While I also produce
life-size figurative commissions for both private clients and heritage
projects, my non-commissioned work reflects my interests in sculpting and
painting the female body, with a particular emphasis on the politics of social
and economic manipulation,” Stroud says.
Alice Toich observes that in life there is so
much that is felt sometimes in ways that cannot be expressed through words or
the limitations of language. “In this chasm between feeling and expression when
language fails us, this is where I believe art - like music – finds its true
function. And it is in this realm that I endeavour not only to use painting as
a medium of communication but also as a tool to bring more beauty into this
world. As untrendy and old fashioned as it may be to say, I still believe that
Beauty is beautiful.”
For Tienie Pritchard the nude is his passion
and the basis of his creative motivation. The bronze sculptor observes that the
human body is rich in associations and when it is turned into art it can be
expressive of a wide range of subject.
“I strive to portray man beyond his physical
reality, illustrating his spiritual concepts, his cultural practices and his
kinship with the animal world. Using mythologies and historical figures, I
illustrate the evolutions of the human mind,” Tienie Pritchard adds.
Alexander Hubert Liebenberg is a realistic
landscape, wildlife and nude artist. He works I detail using palette knives and
brushes, focusing on light and dark contrasts and the effect that curves and
shapes have on the depth of colour.
“Nudity in art brings honour and glory to
God, maintaining the belief that the human form is the crowning achievement of
God in creation. When painting a nude, renowned artists will contribute by
considering dramatic poses, composition, lighting, colour and interesting
locations…,” Liebenberg says.
Micke van der Merwe’s work revolves around
the theme of travel and architecture and could be described as structural with
room for humour. “When I draw buildings, the line work is not rigid and
straight. It is a little bent and varies in thickness. I feel this gives the
entire work a unique organic and living feel,” Merwe says.
Jen Adams says her soulful abstract-ethnic
canvasses take the viewer on a spiritual journey into Africa. “My canvasses are
brought alive with women and children walking through vast, arid and glowing
landscapes. Working mostly with a palette knife and paint, I strive to capture
the ‘essence’ of rural Africa at its best, often painting women with thin,
flowing white fabric draped over their shoulders, symbolic of their emotional
and spiritual strength…,” she adds.
Ends
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