We are delighted to be sharing works by our regular Salon Ninety One favourites, extremely talented associated artists, as well as some exciting new signatures. Participating artists include: Alexia Vogel, Amber Moir, Andrew Sutherland, Chloe Townsend, Gabrielle Raaff, Heidi Fourie, Jade Klara, Katrin Coetzer, Katrine Claassens, Kirsten Beets, Kirsten Sims, Lara Meintjes, Laurinda Belcher, Linsey Levendall, Mareli Esterhuizen, Michael Amery, Natasha Norman, Nicole Clare Fraser, Paul Marais, Paul Senyol, Rico, Sarah Biggs, and Tara Deacon.
CATHY LAYZELL investigates humankind complex evolving relationship to nature, where an impulse to shape, tame and control the natural world lives alongside a desire to yield to its wildness and danger. Working in a gestural and abstract style, her vivid atmospheric oil paintings use a number of recurring motifs, taken from nature. They contain a remarkable color sense, where swathes of pigment-loaded brushstrokes are placed over thinner washes of layered color creating an illusion of color and light. She compares her act as an artist to that of a gardener and tries to strike a balance between spontaneity and calculation, wild abandon and thoughtful deliberation. From 2003 to 2007 Layzell was a returning Resident Artist at the Painting School of Montmirail in the South West of France (near Toulouse). She studied at Rhodes University and completed a post-graduate diploma in Fine Art from Michaelis School of Fine Art in 2013.
"Drifter is about a character that doesn’t settle, he wanders, and that wandering is within painted spaces of pure imagination. The idea of pristine, untouched natural spaces remains a pertinent part of Sutherland’s imagination in this fifth solo exhibition with Salon91. In his paintings, that idea of pure landscape is able to exist, allowing an experience of self, removed from social or cultural trappings and attachments. The artist’s own feelings of awe within natural environments are pertinently expressed through his signature single figure dwarfed in the landscape.
Sutherland’s character moves without anchor through various spaces. These are geographically diverse and include forest, beach, lake and mountain. Sometimes he comes across the residue of habitation: a shelter or a dwelling, but for the most part the series imagines the uninhabited in a state of dreamy and perfect calm. Within popular imagination the drifter is a person without permanent place. Like the troubadour or travelling poet of medieval times, the contemporary drifter is a traveller without a determined destination. The quest for experiences, new sights and adventure fuels an existence without attachment or permanent temporal impact. It is an idealized state appropriated by many social philosophers and storytellers like Herman Hesse to comment on the accepted conventions of contemporary society. The viewer, like the drifter, is invited to move smoothly through temporal experiences of place that enable them to approach the spiritual.
Drifter will feature Sutherland’s new oil paintings and monotype prints. This shift in medium is an exciting new territory for Sutherland, enabling him to forge a new relationship with the painted surface in his particular fascination with the encounter with landscape."
Working exclusively with watercolour monotypes, Moir’s unconventional approach to printmaking explores and reconstitutes the limitations of traditional monotype techniques. Moir’s large works are the result of the intensely physical and unpredictable process of printing with a manual pitch roller. She says of her method: “The challenges within my process create space for the works to acquire greater meaning and be more successful than if it were predictable and easily controlled”. Original paintings are impressed onto calico, creating a confluence of painting and print. Gashes, strips of folded fabric and uneven printed surfaces serve as visual cues of the presence of Moir’s body in her process. These marks, made in collaboration with the medium, echo a sentiment from the show’s eponymous text in which the author Jun’ichirō Tanizaki asserts that “the quality we call beauty must always derive from the realities of life”.
While the title In Praise of Shadows links the show to Tanizaki’s ruminations on materiality, space and architecture, it is also an acknowledgement of anonymous figures that carve out their lives on the periphery. The “woman of old” - depicted in Tanizaki’s text as existing so deep within the shadows of the home that she is “inseparable from darkness”- becomes a particular point of focus, as Moir moves this ambiguous figure to the centre of her work. The show’s titles are drawn from descriptions of this character as well as fictionalised impressions of her. In this way, Moir subverts Tanizaki’s text by reassigning the authorial voice; presenting a body of work made from this fleetingly mentioned figure’s point of view.
Sarah Pratt’s latest solo exhibition continues to explore themes that were introduced in Migration last year. In Night and Day, nocturnal animals hang out with diurnal animals in unlikely friendships. Her titles hint at the possible gossiping that might ensue between the animal characters in Autumnor At Midnight. The series makes a stronger reference to wallpapers of the eighteenth century than her last exhibition, with a striking use of flat colour backgrounds and Art Nouveau-style decorative foliage design.
Pratt’s artistic world relishes the unlikely meeting of birds, mammals and plants separated by habit, biology and habitat. She encourages an imaginative viewing and light-hearted musings on the comical potential of her characters meeting in a two-dimensional space. In a Noah’s ark-like confrontation of personalities, one might be reminded of the meeting of early morning office commuters on the same train as nightclubbers returning home. Habitually worlds apart, such confrontations in a contained space mark a humorous crossover of incongruent realities facilitated by human-made environments.
Sarah Pratt is a Zimbabwean born artist who currently lives between Wales in the United Kingdom and Kamieskroon in South Africa’s Northern Cape. Her works communicate her own personal struggles with space and place, the loss of a beloved pet or humanity’s tenuous link with the natural world.
SALON NINETY ONE End-of-year salon-style group show in aid of True North
Accessible, affordable artwork across a broad range of mediums by some of Salon Ninety One’s favourite emerging and established creatives. This year our Gallery and Exhibiting Artists will be donating ten percent of all artwork sales to the True North Organisation. Spoil yourself or a loved one with that special one-of-a-kind artwork and make a difference to the life of someone much younger and less fortunate. True North is a non-profit organisation that is pioneering Early Childhood Development (ECD) initiatives within marginalised communities.The historical lack of adequate provisioning of basic services to poor communities manifests itself within all spheres of society, ultimately resulting in a vast loss of human potential. The long-term ripple effects of inequality includes increased rates of unemployment, disease, substance abuse and the fragmentation of family units, and unfortunately young children are the most at risk. An incredible developmental window of opportunity exists within these early years, and it rapidly diminishes with age. This potential for growth into a “whole” person is not limited to academic development, but encompasses every part of the child’s world. As we celebrate ten wonderful years of Salon Ninety One, we recognise the light, love and hard work that has gone into building the True North organisation since 2007. Join Salon91 and our generous young artists this festive season in our quest to give the Vrygrond community and the youth of our country a brighter future.
For more information about the True North Organisation, please visit their website.
For any enquiries pertaining to the exhibition, please contact the gallery on 021-424-6930 or email email@example.com