31.03 - 01.05.2021

A solo exhibition by Jeanne Hoffman

Presented by Salon Ninety One

Dream Window borrows its title from a 1992 documentary on Japanese gardens, referencing the conceptual and aesthetic devices of the ancient horticultural artform – that juxtapose outside with inside, order with wildness, materiality with absence, the stasis of framing (the captured moment) with perpetual movement, growth, change. These purposes run parallel to those of Hoffman’s practice, where her paintings are intended as places, spaces or stages upon which various gestures and encounters take shape.

Hoffman sees paintings as places where language engages with the ineffable. Nonetheless, conversations take place as disparate realities invade one another’s territory. These are fertile spaces, creative through the multiple encounters and conflicts. From one territory, moves the unmitigated, primordial, ineffable; from another, the mediated, rationalised, observed – each drawn towards the other in this space of painting, first articulated through the artist’s fragmented collection of experiences, then continued through a series of poetic responses to these recollections.

These conversations compound in the act of exhibiting: Individual pieces speak to each other, and the artist and the viewer engage one another through the work. In a creative act that recalls shakkei (the Japanese practice of “borrowing scenery” by framing distant scenes beyond a garden’s bounds as integral elements to the garden’s design; directing the viewer’s imagination by directing their outward gaze), fragments of multiple perspectives and memories lend themselves to a collage of many authors, channelled, for a moment, by the limits/frame of a canvas or “window” and the selections of the artist.

Hoffmann elaborates:

The “architecture” of the space (the painting) frames a symbolic constellation that is a space of continuous transformation: It is where the “I” – the person engaged, whether artist or viewer – moves between movement and stasis, between separation and union, between what is real and what is possible, between the visible and the sayable. This contract between what is painted and what is not, between materiality and absence, brings to life a pictorial space that leaves room for the imagination. The artwork does not only testify to difference, but opens it into a region, an imaginary space, where paradoxes can, and do, co-exist; it is a productive space, a site for moments of insight.

The paintings are, thus, intended as devices for contemplation – what Barthes describes as a “stage” upon which thoughts roam freely, a “dream window” that permits both artist and viewer to enter into a poetic landscape to engage with what words cannot say, being transformed by the gestures at play.






24.02 - 27.03.2021

A solo exhibition of new paintings by Sarah Pratt

Sarah Pratt’s latest body of work explores themes of camouflage in the animal kingdom. The pieces on exhibition were initially inspired by the bold and dominant colours of the seasons. However, as the artist delved deeper into the mysterious world of mimicry, concealment, disruptive colouration, and disguise, she became excited about exploring the patterns, hues, spots, and stripes found in nature. The act of camouflage within the natural world evokes the constant flow between preservation and danger. In nature, deceit can mean both survival for prey and hunting method for predator; the duality of the stripes found on both the zebra and tiger, to hide their form within the long grass, highlights the ingenuity of nature and evolution. Using colour-blocking as a starting point, and by grouping together animals of a similar hue, Pratt intentionally places the focus on what may be hidden. The artist often stacks natural foes together to create dynamic and unusual conversations where appearances are deceiving. The concept of visibility versus invisibility is one which the artist continues to muse on from previous bodies of work; Pratt also seeks to explore themes of extinction, the relative invisibility of the plight of the natural world, and our disconnection from our environment.




16.01 - 20.02.2021


Salon Ninety One is thrilled to present its first show of 2021, When it’s hot out and you wanna have a good time.

This all female-collection is inspired by the heat and freedom of long, colourful summer days, balmy evenings, and the strange summer we now find ourselves in; a summer which has seen restrictions on festivities, curfews, and the closure of many of South Africa’s beaches.

When temperatures soar above 29 degrees, we become lethargic about our responsibilities and the allure of leisure becomes almost too much to bear; sitting on the beach, surfing, sunbathing, a friendly game of tennis, going to pool-parties, sun-downers, the welcome gust of air-conditioner as you walk into cool museums or galleries in foreign cities, outings with friends, the tang of salt on your skin after a swim in the ocean, and other activities which seem so much more vibrant in the heat of summer. This colourful, quirky, and playful exhibition is a wistful yearning for a long, hot, normal, summer – where a good time can be had at any moment.

When it’s hot out and you wanna have a good time features the very latest works by Berry Meyer, Emma Nourse, Lené Ehlers, Jessica Bosworth Smith, Marolize Southwood, and Tara Deacon. Berry Meyer constructs detailed, and delicate collage works, which combine disparate and discarded paper artefacts to develop thoughtful and arresting narratives on time, nostalgia, race, sexuality, and popular culture. Emma Nourse works with thick oils applied to paper and canvas to render flower arrangements and still lifes which seem to melt and reconstitute over and over again on the picture plane. Lené Ehlers creates intricate abstract and wild botanical shapes in paint, collage and mixed media to explore themes of journey and self-rediscovery. Through the depiction of highly patterned and detailed scenes in bright, flat, colour, Jessica Bosworth Smith expresses her desire to capture fantastical inner worlds which pay homage to her new-found sense of place. Marolize Southwood’s work demonstrates her deep fascination with the human condition and our proclivity to construct our own reality using bold, joyful, and textured brushwork. And Tara Deacon’s playful and bright paintings explore the often-overlooked moments of daily life, where her love of solid colour and simplified shapes give expression to the beauty in the mundane.



















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