Tara Deacon is an illustrator inspired by the overlooked moments in daily life and the colour of life under a South African sun. She grew up in Pretoria and studied product design in Johannesburg but currently lives and works in Berlin. Adventure and being in love are the reason for her living in Berlin where she has been able to work in the materials she adores: paper, paint and brush marks.
Deacon’s work is guided by her love of vibrant colour. She favours gouache as a medium because she can achieve both solid planes of colour and transparency. Her forms are simplified in order to allow the colour planes to read off one another in the manner of Fauvist paintings. She describes her colour choices as giving ‘voice’ to one another.
Living in Berlin affords Deacon a nostalgic mix of memory, place and daily life reflections in her works. Their themes are still informed by the country of her birth, her images populated by the fruits, plants, characters and light of her homeland. She has been painting since childhood and describes art making as a healing act, her solace in living a positive life adventure.
Deacon currently works on editorial and commercial illustration projects in London, South Africa and Germany. Her clients include Scoop Mag, Papier Magazine, Ogilvy, Nescafe , Wet the Label & La Lucha.
Selected projects and exhibitions: 2018 – Do Deisgn, Madrid, Spain; Close to Home, Solo Exhibition, Ahem Art Collective, Cape Town; Wallflower, Group exhibition, Ground Art Caffe, Cape Town. 2017 – Oranges & Bananas, risoprint showcase, T12 Atelier, Berlin. 2016 – It’s in my Naive Nature, Solo Exhibition, Erd und Feuer, Berlin.
Adele van Heerden is an artist and curator working in direct response to historical objects that define her current social and political reality. Her practice confronts the past by interrogating its visual cultural legacy and encouraging a new engagement with inherited ideologies. She gently deconstructs the symbolism of masculine and nationalist identities in objects such as toy soldiers and public monuments by re-imaging them layered within bouquets of flowers.
Van Heerden works in multi-layered ink drawings and gouache on drafting film. In the final compositions the tactile layering of images challenges a viewer’s visual surety. This reflects van Heerden’s interest in deconstructing historical ideologies. The domestic and memorial symbolism of flowers reflects back on the function of historical objects as sites of memory. Van Heerden’s juxtaposition of the traditionally feminine and personal act of laying flowers at the graveside with the traditionally masculine and nationalistic construction (or in recent cases destruction) of political bronze public statues encourages a dialogue between personal and political approaches to memory. Each work functions as a complex socio-political memento mori, reflecting on a contemporary reality crafted by the past.
Van Heerden graduated from the Ruth Prowse school of Art furthering her studies at the University of Cape Town where she obtained a BA in History and Politics and an Honours Degree in Curatorship. She currently works as an artistand consultant curator.
Selected Exhibitions: 2018 – ‘In Memoriam’ (solo) at AVA Galleries, Cape Town. 2017 – ‘Dialogues’ at State of the Art, Cape Town; ‘Ars Gratia Artis’ and ‘Angel Exhibition’ at The Gallery at Grand Provence, Franschoek; ‘Winter Exhibition’ at DF Contemporary, Cape Town; ‘Monumxnts’ at The Gallery @ Taj, Cape Town. 2016 – ‘Mono/Lino’ at Art B., Belville; 50/50 at DF Contemporary, Cape Town; ‘Vanitas’ and ‘Untitled 3.99’ at 99 Loop Gallery, Cape Town. 2015 – ‘Persistence of Memory and Cabinet of Curiosities’ at Untitled Studios, Cape Town; ‘Drawing the Line’ at Art B., Belville; ‘Welcome to my Garden’ at Space Between Gallery, Cape Town. 2014 – ‘Golden Haze’ at Salon91; ‘NSFW’ at Studio 41, Cape Town. 2013 – ‘Anatomy for Life’, group exhibition, Brighton, U.K.
Adrie le Roux was born in Stellenbosch, South Africa. After completing a degree in Fine Arts at the University of Pretoria in 2006, she continued her studies in 2012 at Stellenbosch University with an Mphil in Visual Arts (Illustration). Adrie has participated in a number of group exhibitions at Salon91 in Cape Town. Her work is characterized by subtle, abstract compositions, which combine ink work, pencil drawing, painting & collage techniques. She currently works as a lecturer and freelance creative in Pretoria.
Amber Moir is an artist whose images defy any particular figuration but evoke the hauntingly familiar. She sees her process as one of engaging with a lack of control such that the lost mark or unexpected result is celebrated in the final work.
Moir’s subjects are drawn from her experiences travelling or, more recently, her two years teaching English in a Japanese Prefectural High School. Recollections of events, conversations or impressions of a scene are painted in watercolour on a monotype plate before being printed by pitch roller. Far from the control of the print studio and etching press, the pitch roller affords Moir a direct confrontation with a force larger than herself.
In printing with this process, Moir grapples with a technical challenge that demands a lot of physical labour. The labour of her process remains invisible in the final works that speak of ethereal elegance. Not all the intended marks translate into the final work and not all the prints are a success. For Moir, there is a sense of acceptance in the outcome as she persistently makes peace with entropy. The sacrificial investment of both labour and mark making invites a reading of invisible labour and the openness to chance in the creative act.
Moir graduated from the University of Stellenbosch with a degree in Fine Arts in 2014. Since her return from Kyushu Island, Japan, she has lived and worked in Cape Town.
Exhibitons: 2018 – PROOF, SMAC Gallery, Stellenbosch; Endless, Salon91. 2017 – SS17, Gallery Momo, Cape Town. ‘Trees Make Forests,’ Salon 91, Cape Town. 2015 – Turbine Art Fair, Salon 91, Johannesburg. ‘Hinterlands’ GUS Gallery, Stellenbosch. ‘Dreams, amongst other things,’ Salon 91, Cape Town. ‘Greatest Hits of 2014: The Domestic Odyssey’ at AVA Gallery, Cape Town.
Anastasia Pather is a finger painter, quiet performer and female concerned with surface and the duality of objects. Her work explores the architecture of memory and the politics of colour. Although she understands her process as an involuntary reaction to a surface she cannot shut out her thoughts about identity, exoticism, eroticism and power. Her use of gold leaf and glue allows her to paint time and that idea quite intrigues her.
Anastasia Pather is a practicing, fine artist receiving her B.F.A from the University of the Witwatersrand in 2010. Pather was a semi-finalist for SA Taxi Foundation Art Award in 2015 and has exhibited in numerous group exhibitions and fairs for Kalashnikov Gallery, Lizamore and Associates Gallery and No End Contemporary Gallery. Pather exhibited a solo show at 99 Loop Gallery in 2016.
Andrew Sutherland is inspired by wanderlust and the narratives that underlie human encounters with the natural world. His work relishes the delights of landscape in painted planes that combine graphic and illustrative elements with more traditionally painterly, expressive marks. His taste for adventure follows through with a long and explorative history of experimentation with different materials: watercolours, brush pens, acrylic paints, charcoal, ink, spray paint or collage on canvas, paper, wood or wall. Sutherland’s training was in Fine Art at The Ruth Prowse School of Art, after which he worked as an assistant to a local abstract painter in Cape Town. He travels and adventures frequently so that in both artwork and life his subtext remains that of the intrepid explorer.
Selected Exhibitions: 2018 – ‘Unmapped’ a solo exhibition at Salon91. 2017– ‘Trees Make Forests,’ Salon91; Turbine Art Fair with Salon91; Shelter, a solo exhibition at Salon91; ‘Strong Silence,’ group exhibition Gallery 2, Johannesburg. 2016 – ‘Oracle,’ an end-of-year group exhibition, Salon91; Turbine Art Fair with Salon91; ‘Paper is You III,’ Salon91; ‘No One’s Land,’ 99 Loop, Cape Town; ‘Kingdom 3,’ Equus Gallery, Cavalli Estate, Somerset West; ‘Reverie,’ the AGOG Gallery, Johannesburg. 2015– ‘Stellar,’ Salon91;’ Jou Daaglikse Dosis,’ Aardklop, Potchefstroom; ‘This is the Place,’ Salon91; ‘Winter Mash-Up,’ Alex Hamilton Gallery, Cape Town. 2014– ‘Other Dust’ (solo), Salon91; ‘Golden Haze,’ Salon91; ‘ID Entity II,’ In Toto Gallery, Johannesburg. 2013– ‘The Editions Show,’ Salon91; ‘Birds and Bikes,’ Lei Gallery, Taichung, Taiwan. 2012– ‘The Tobacco Factory Show’ (solo), The Tobacco Factory, Bristol, UK. 2011– ‘The Sprawl’ (solo), Galerie de Lyons, Cape Town; ‘If You Let Yourself Love a Wild Thing,’ Salon91; ‘Paper is You,’ Salon91. 2010– ‘Coppertone 77,’ Salon91; ‘Tretchikoff and Me,’ Salon91. 2008– Group Salon, Salon91.
“I believe I can be better than the machine.” The street runs deeply in his blood. Urbanski left his days of full-time train bombing back in Berlin where he started writing in his teens and now creates large, shimmering, optically bending spaces composed from the architectural squares, triangles and hexagons of today’s contemporary built environment. The years as an undergraduate student in the very newly de-walled Berlin was a time of devotion to graffiti for this Polish-born but German-homed artist. It was only after he had received his BA in Communication and Graphic Design (BTK-FH, Berlin) (2010) and set off to complete an MFA at the University of Art and Design in Lausanne, Switzerland (2012), that Urbanski left the train yards behind to pursue a more traditional form of painting full-time. The works you see before you today are a culmination of that biography, a testament to abstract art as a direct engagement with the world, not a withdrawal from it. Since his 2012 Residency in South Africa Urbanski has devoted his time to the streets, cultures and social interactions of his new home city, Cape Town.
Selected Projects & Exhibitions: 2016 – FNB Joburg Art Fair with Salon91; Paths, two-man exhibition with Tahiti Pehrson, at Salon91; Paper is You III, group show at Salon91; Winter Collection, group show with Everard Read, Cape Town. 2015 – Bronze, Steel and Stone, group sculpture show at Circa & Everard Read, Johannesburg; This is the Place, a group exhibition at Salon91; Turbine Art Fair with Salon91; MINDGAME, a solo show at Salon91; Cape Town Art Fair with Salon91. 2014 – Cape Town Art Fair with Salon91; Turbine Art Fair with Salon91; Paper is You II, group show at Salon91. 2013 – Cape Town Art Fair with Salon91; A Vacant Passage, Salon91; Kalahari Catalyst Art Auction, Cape Town; One K Collection, Lovell Gallery, Cape Town; Abstract Stories, /A Word of Art, Cape Town. 2012 – Chance Visitor, /A Word of Art, Cape Town; Neo-Maso, Geneva, Switzerland; Art Base, Art Festival, Berlin; Retranchment-Manoir de Martigny, Switzerland; Living Walls, The City Speaks, Atlanta, Georgia, USA; The Swarm exhibition, Vancouver, Canada. 2011 – Process No. 14, Prozessgallerie, Berlin.
Berry Meyer is a collage artist deeply embedded in the medium of printed images. She holds no hierarchies in her pursuit of the often-discarded paper artefacts of yesteryear. She constantly scours second hand bookshops, thrift stores and flea markets and will cut out, mount and prepare images long before the idea for a particular work begins. Collage is both a tool of her art-making and an integral part of its meaning. Working from her raw image library she constructs thoughtful three-dimensional comments on time, race, sexuality and popular culture.
Meyer recognises herself as an artist living under times of increasing crisis. She responds to this by interrogating and parodying historical representations in the printed material she works within order to find alternative possibilities for representing in the present. Issues of patriarchy, nationalism and religion are deconstructed in her collages through her reimagining of the found images of women, men, children, flora, fauna and landscapes.
By juxtaposing images produced in different times and eras in a single new image, Meyer enables a new dialogue with historical ideas in the present moment. She views her medium as picturing the contemporary through the excess of its existing representations. Her current work focuses particularly on the female trope in fairytales. Her project, ‘After Midnight’ imagines female possibilities in a world after midnight, a narrative space for women to grapple with their agency.
Meyer was born in Namibia. She completed her BA in Design and Masters of Philosophy in Illustration at Stellenbosch University and did Post-Graduate studies at UCT. She currently lives in the Netherlands.
Selected Exhibitions: 2018 – ‘Art Window: Midnight’ (solo) in Amsterdam, Netherlands; ‘Germain & Guests,’ Rockarchive in Amsterdam, Netherlands. 2017 – ‘Field’ group exhibition at Salon91; ‘Trees Make Forests,’ Salon91; Four Season Art Fair Amsterdam. 2016 – ‘Oracle’, group exhibition at Salon91; This Art Fair Amsterdam, Netherlands; ‘Paper Is You III’, group exhibition at Salon91; ‘Aipathy,’ Cavalli Estate, Cape Town. 2014 – ‘Golden Haze’ group show at Salon91; ‘Paper Is You II’, group exhibition at Salon91; ‘Greatest Hits,’ AVA Gallery, Cape Town.
BLACK KOKI is a South African born visual artist. His definitive mark is spontaneous as it is disruptive of visual convention. Crafted from experiences making drawings, painting and street art, his current artistic practice is post-graffiti, reflecting an interest in the relationship between space and data. He investigates warped spaces and textures that seem to define an urban reality augmented by the digital world. Social media quips meet organic, expressive forms in the synthetic hues of his enamel on glass paintings. Oddly digital in reference, the works also speak to an intuitive mark making of an art historical lineage such as Abstract Expressionism, Surrealism, Pop Art, Primitivism or Neo-Expressionist works. His works on glass embody an unmistakable nostalgia for the 1990s from the perspective of a contemporary digital age. The flavour of urban subcultures persists in his forms, merged with his personal experiences of city spaces such that his works become an abstract coding of the contemporary experience.
Selected Exhibitions: 2018 – Cape Town Art Fair, Salon91 Booth. 2017 – Trees Make Forests, end-of-year group exhibition, Salon91; Turbine Art Fair, Salon 91 Booth, Johannesburg; AO, group exhibition, Salon 91, Cape Town. 2016 – Static, Kalashnikovv Gallery, Johannesburg; Supermarket Art Fair, Stockholm; Fierce Now, Art Festival, Amsterdam. 2015 – Laugh Now, Cry Later, (solo show), Black Box Gallery, Cape Town. 2014 – Time Through Space, World Art Gallery, Cape Town; Windows, Black Box Gallery, Cape Town; Windows 0.2, Kalashnikovv Gallery, Cape Town. 2013 – Future Positive (black koki + Ello Xray Eyez), Black Box Gallery, Cape Town; Look 2, Side Street Studios, Cape Town; Afro Vibes, Amsterdam. 2012 – Beautiful Losers, A Word of Art Gallery, Cape Town; Klick Klack, The Pit, Cape Town. 2011 – Stroke/03, Art Festival, Berlin; Independent Publishing Project, Blank Projects, Cape Town; Urban Contemporary, 34Fine Art, Cape Town; Rendezvous, Year Long Travelling Exhibtion. 2010 – Those Who Live In It, MU Gallery, Eindhoven; Nothing is Everything, group exhibition, Word of Art Gallery, Cape Town; Toffie Pop Culture Festival, Cape Town; Deconstruction, M Contemporary, Sydney; Love and Hate, (solo) Gaenge Viertel Gallery, Hamburg, Germany. 2008 – aKing, Kunsthaus, Cape Town; Urbanstretch, Trinity Session Gallery, Johannesburg. 2007 – Boerekitch, KKNK National Arts Festival; The Auction Exhibition, The Bin, Cape Town. 2006 – The Inevitable, Moja Modern, Johannesburg; New Suburbia, Platform on 18, Pretoria. Camp Zero, Curated by Asha Zero, Stolen Goods, Pretoria.
Bruce Mackay is a visual artist specializing in tactile, handcrafted typography and illustration. His aesthetic is defined by his preference for drawing in pen and ink, creating images that are intricate linear compositions describing form through pattern and colour much like the work of a traditional engraver.
Mackay’s subject matter is very eclectic, ranging from things he finds in his dad’s garage, to invisible spirits and patterns in nature. He finds the punk-rock album covers from his childhood particularly inspiring but also lists hypochondria, vices, resurrections, X-ray vision, loose teeth, nostalgia, Science fiction, nature and foliageamong his inspirations. Throughout his works he balances a tension between rebelling against or submitting to a form of visual balance and order. His recent works derive their compositions from natural and organic shapes that through his interpretation in colour and pattern generate images with commanding depth and energy.
Mackay currently works as a designer and illustrator at Studio Muti. Over the past 10 years he has worked as an art-director, designer, illustrator and animator.
Selected Exhibitions: 2016 – ‘Oracle,’ group exhibition at Salon91. 2015 – ‘Stellar,’ group exhibition at Salon91. 2014 – ‘Those Who Wander,’ group exhibition at Salon91; ‘Home is Wherever I’m with You,’ group exhibition at Salon91. 2013 – ‘Former Mountains,’ group exhibition at Salon91; ‘The Editions Show,’ Salon91; ‘One in a Million,’ Salon91; ‘I’d Rather Be Swimming,’ a group exhibition at Salon91. 2012 – ‘The Heat Is On’ an exhibition in association with Econoheat at The Street, Johannesburg; ‘Radar,’ a group exhibition at Salon91.
Catherine Holtzhausen is a collage artist and illustrator whose mixed media works embody a humorous and nurturing approach to the world. Her lively figures celebrate a bountiful existence crafted from hand painted paper and prints. Her work initially evolved from the off-cuts of other artworks but has since become a mature and vibrant practice incorporating the textures achieved by watercolour painting, oil-based monotype and collagraph printing methods.
THATSCRAP is Holtzhausen’s first large scale and long-term artistic project and is made up of works produced daily during a time of extreme illness. The work chronicles her attempts to direct, catalog and reflect upon the influences of class, gender and economy on her life as a young female artist. She has also explored other forms of expression from film photography to collaging with imagery found in vintage national geographic magazines.
Holtzhausen’s works stand as a confident challenge to social constructs, particularly the media-molded inner voice of women telling themselves that they are less. Each of Holtzhausen’s pieces honours a humanist moment of joy or playfulness. Celebrations of the female form in all its varieties as well as joyful motifs of healthy, life affirming activities like gardening, swimming and dancing strive to remind the viewer that they are worthy and wonderful.
Awards and Exhibitions: 2018 – ‘THATSCRAP,’ Solo Exhibition, Alliance Française, Cape Town;‘The Truth About Rabbits,’ Rust-en-Vrede Gallery, Durbanville.2017 – ‘Tall Tales,’ Alumni Exhibition, Stellenbosch Academy of Design and Photography; ‘The Fear,’ Slee Gallery, Stellenbosch; ‘Tall Tales,’ Alliance Française du Cap, Cape Town; ‘Array,’ The Galley at Taj Hotel, Cape Town. 2016 – ‘Trick or Treat,’ Wolves, Johannesburg; ‘Repeating Patterns: Back to Basics,’ Food and Art: An interactive exhibition, Small Studios, Pretoria; ‘ArtMode,’ MiniCooper, Cape Town; ‘Aeipathy,’ Cavali Gallery, Stellenbosch; ‘Art10k,’ The Glass Box, Cape Town. 2015 – ‘ArtMode,’ The Palms, Cape Town. 2014 – ‘The petting Zoo,’ PJ Olivier art centre, Stellenbosch; Loerie Award Craft Certificate in the Student Print & Design Crafts.
Cathy Layzell is a colourist painter working with the complex interplay between figuration and abstraction in painting. Schooled in the fundamentals of Impressionist colour theory and design principles, Layzell applies the abstracted theory of image composition to the theme of nature. She investigates the visual clues that nature gives us. Her interweaving of brushwork and colour fields aims to stimulate the subconscious neural pathways of perception such that at close range her paintings refer to abstracted textures of rock, foliage, air and water; from afar, a perception of illusionary light suggests a coherent natural scene. Her current series is dominated by a challenging flat black field from which she constructs illusions of light through specific relationships of colour. Life and colour is drawn onto the darkness by an application of marks that explore the transition from darkness to light, abstraction to figuration, blindness to perception. 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.
Selected Projects & Exhibitions: 2019 - Investec Cape Town Art Fair with Salon91. 2018 - Folklore, an end-of-year group exhibition in aid of True North, Salon91; Investec Cape Town Art Fair with Salon91; Nano 1.2. Barnard Gallery, Cape Town; Winter, at 99Loop Gallery, Cape Town; Rain Dance at Chandler House, Cape Town. 2017 - Trees Make Forests at Salon91; FNB Joburg Art Fair with Salon91; Turbine Art Fair with Salon91; Reserve, solo exhibition, Salon91; Cape Town Art Fair with Salon91. 2016 - Oracle, year-end group exhibition, Salon91; Wilderness, solo exhibition, Salon91; Turbine Art Fair with Salon91; Cape Town Art Fair with Salon91. 2015 - Polynesia, with Paul Senyol, Salon91; Spectra, group exhibition, Johans Borman Fine Art; Kingdom, group exhibition at Equus Gallery, Cavalli Estate. 2014 - Connect the Dots, solo exhibition, Casa Labia; Artist residency, Luvey ’n Rose, Cape Town. 2013 - In Bloom, Casa Labia Gallery. 2009 - Duende, solo exhibition at Irma Stern Museum.
Chloe Townsend is an artist better known for her slow fashion leather accessories under the label Missibaba. Her shift in materials and new approach to art making flows from the same creative source as her leather crafted goods. Her deep fascination with the natural world was instilled in her childhood growing up at the foot of a mountain. The space and exploration she experienced then, continues to inspire the content, designs, colour and rhythm of her creative output today.
Townsend is fascinated by the multifaceted nature of ecosystems. Mosses, mini plants, insects and the bigger beasts and trees, allco-exist in a layering of worlds miraculously in balance with one another. Her recent works function as portals to an imaginary evocation of this complex natural beauty.
She works in vibrant colour layers of gouache on a translucent acrylic base and includes collaged, painted elements to evoke a three-dimensional quality. Detail is added in pencil crayon and gold leaf. These mediums enable her to evolve works organically and spontaneously as they are fast drying and conducive to painting light over dark. Ultimately, Townsend relishes the ideal of beauty in her works and sees them as oases of dreaming and peace amidst the wilder energies of the modern world.
Chloe Townsend completed a Foundation degree in Accessory Design at the London College of Fashion and started her company, Missibaba, thirteen years ago. A year and a half ago she began a new creative journey completing some illustration work for Happy Culture and painting commissions for friends. She held her debut solo exhibition at Chandler House in January 2018 titled ‘The Magic Cat.’ She is currently mother to a boisterous three and a half year old, a business owner, fashion designer and artist.
Typography and intricate pencil-sketching are Dani Loureiro’s particular passions. In her creative projects, she combines the skills of her trade as an illustrator with transposing her fonts and graphics to mediums such as glass and wood. She excells at an unconventional use of typography and fine line, exploring the endless possibilities that letters offer in terms of their variation and execution. She works on both digital drawing platforms as well as with old fashioned pencil on paper, embracing both the perfection of digital media as well as the imperfections in her hand-drawn work. She is an avid reader. The tone of chosen words inspire their final expression. Loureiro graduated cum laude from the Savannah College of Art and Design in the United States with a Bachelor of Fine Art in Graphic Design. She started her career working for David Carson Design studio in New York City and has worked in design and advertising for the likes of O’Neill in California and Machine Agency in Cape Town. Throughout her career to date, her work has won her numerous awards for design and illustration both locally and internationally. For Loureiro, illustration is about style and telling a story. Dani Loureiro has lived and worked in both South Africa and the United States of America, and is currently based in Portland, USA.
Selected Exhibitions & Awards: 2017 – AO with Salon91. 2015 – Stellar at Salon91; This is the Place – A group exhibition at Salon91. 2014 – Turbine Art Fair with Salon91; Gravity at Salon91, Cape Town. 2013 – Home is Wherever I’m with You at Salon91, Cape Town; Silver Cannes Lion Award in France; Chois Gallery (vol 23), China; Cape Town Art Fair, Salon91 booth. 2012 – Golden Loerie Award, South Africa; Lost and Found by Revolution Skateboards; The Tent Exhibition at Toffie Festival; The Plank Exhibition sponsored by BFam
Donna Solovei’s playful and experimental approach to art making is also the foundation of her process of image making. Her works evoke a sense of natural spaces that is derived from real experiences in Cape Town’s natural landscape which are then translated onto surfaces back in the studio or print room. Working in multiple layers allows colour to break through forms, each aspect carefully considered to allow a harmony of vision. Her materials include paper, cloth, silk and monotype print. Surface, form and texture are evocative of the contradictory fragility and strength of natural forms be they jellyfish, lacy seaweed, sandstone boulders or the lights across a bay at sunset. Her pallete shifts according to the seasons. Solovei trained in the UK at the Chelsea College of Art and Camberwell College of Art, returning to South Africa eight years ago. She has worked in painting, drawing, three-dimensional objects and printmaking. She is currently based in Cape Town as a freelance illustrator and artist. Her interest in everyday objects, patterns and small details have led her to work with various brands, such as Standard Bank, Lalesso and other private clients. Her work and products have been exhibited in numerous countries around the globe.
2017 – AO group show, Salon91; Unforseen Curiosity at Kleinsky’s Delicatessen, Cape Town. 2015 – Golden Haze group show, Salon 91. 2014 – Home is Wherever I’m With You group exhibition, Salon 91. 2013 – The Editions Show, Salon 91. 2012 – I’d Rather Be Swimming, Salon 91. 2011 – Paste, street art exhibition, Cape Town. 2010 – Outside World Gallery, London Design Festival; Kunstbehandling exhibition, Munich; Happy Creations group exhibition, Cape Town. 2009 – Eclect Collect at London Design Fair; ‘Chewthemagazie’ publication, Cape Town. 2006 – Group Exhibition, Brick Lane, London. 2003 – Group exhibition, Red Gate Gallery, London.
Gabrielle Raaff is a painter whose subjects are subtle and nuanced, avoiding neat categorization and tending instead towards fluidity and allusion. Throughout her works she engages the relationship of the individual to the crowd in the urban landscape. The delicate conceptual space of the material qualities of ink, watercolour and oil defines her practice that consistently challenges a sense of visual surety.
Raaff’s latest body of work sees an emphasis placed on the emotive quality of the brushstroke loaded with watery paint. In some paintings the form and the landscape are brought together whereas in others the subject is severed from its context, leaving forms stranded or floating in white space.
Raaff’s visual references are photographic, drawn from local neighbourhood newspapers or her family’s pictures. One type of reference is impersonal and the other deeply nostalgic. These two states merge within the final painting where, as is characteristic of her work, the picture plane repeatedly asserts itself against the pull of illusionism. The recognisable image arises and then dissolves in the terrain of the painting. With minimal description and often very little paint, Raaff reveals just enough visual evidence to springboard an idea. Her work’s seduction lies within its suggestiveness.
Exhibitions | Awards | Residencies
2018 – Cape Town Art Fair, Smith Gallery. 2017 – ‘Trail’ (solo) Smith Gallery, Cape Town; ‘Lady Garden,’ Cavalli Gallery, Somerset West; ‘Nano. 1.2,’ Barnard Gallery, Cape Town; ‘Field,’ Salon 91 Gallery, Cape Town; ‘Salad,’ Smith Gallery Summer Show, Cape Town. 2016 – ‘Nano 1’ Barnard Gallery, Cape Town; ‘Paper is You III,’ Salon 91 Gallery. 2015 – ‘Night Watch’ (solo) Salon 91 Gallery; ‘However,’ Art Hun Gallery, London; Aperture Gallery, Paris; ‘Winter Show’ and ‘Empire’ at Everard Read Gallery, Cape Town; Turbine Art Fair with Salon 91 Gallery, Johannesburg. 2014 – Rotterdam Art Fair, The Netherlands; Turbine Art Fair with Salon 91, Johannesburg; Scintilla: An Alchemy Show at Commune 1 Gallery, Cape Town; Paper is You II, group show, Salon 91, Cape Town. 2011 – Realm at Salon91, Cape Town; People at Chagan Contemporary, London; Paper Is You, group show, Salon 91, Cape Town. 2009 – In Our Midst (solo) at The Muti Gallery, Cape Town. 2008 – Periphery (solo) at These Four Walls, Cape Town. 2007 – Finalist exhibition, Spier Contemporary Art Awards. 1998 – Unplugged at Rembrandt Van Rijn Gallery, Johannesburg.
Georgina Berens makes quiet prints that are immaculate reflections on place. Her scenes ring with the presence of unseen dramas, both past and future that play out off stage. The gentle traces of a wondering subject speak of the need for structure, however ephemeral or symbolic, within an exploration of the unknown. Her works capture that moment where the self has just left or is about to emerge.
In her latest collection of lithographs, Berens reimagines the internal dislocation that comes from being in a new environment. The works were made while she was on residency at the Ratamo Printmaking and Photography centre in Jyväskylä, Finland. Throughout the series, she positions her images as reflections of the child-like desire to create impermanent homes within a place of imaginative exploration. A tent, a tree house, stacked logs – so permeable and flimsy – are safe harbours in the face of the the darkness that reaches in from every corner.
A labour-intensive carefulness is characteristic of Berens’s works that belie any presence of this labour in the final image. A precision of marks and harmony of composition provides the impression of containment, allowing the works to ask the subtle questions: ‘Who will I be in this place?’ and ‘What will this place come to mean with me in it?’
Exhibitions / Awards / Residencies: 2018 – Forthcoming solo exhibition at Voorkamer Gallery, Chandler House, Cape Town; Turbine Art Fair Johannesburg, Salon 91; Artist Press Collaboration with Mark Attwood, Mpumalanga; Endless at Salon91. 2017 – Fine Art Print Fair, Johannesburg; ‘Field’ and ‘Trees Make Forests’ at Salon 91 Gallery, Cape Town. Artist-in-residence at the Ratamo Printmaking and Photography Centre, Jyväskylä, Finland;Internship at Artist Press, Mpumalanga; Internship at Warren Editions, Cape Town; Internship at Smith Gallery, Cape Town. 2016 – Bachelor of Arts in Fine Art at Michaelis School of Fine Art, University of Cape Town. 2014 –awarded the Matthew Somers Memorial Prize.
“I get excited by narrative. Concepts that remove you from your surroundings, that instil a sense of adventure and risk.”
Gerhard Human is a contemporary artist and comic creator from Cape Town. His works function as insightful windows into the disjunct of human nature: ideas about cultural stubbornness, short-sighted idealism and ignorance resulting from a lack of compassion. He often depicts outlaws, punks and misfits defined by their shift from the expectations of the norm. He uses minimalist colour to depict these post-apocalyptic wanders in desolate environments within a variety of media. The works are not intended to be overtly provocative and Human achieves this in his subtle merger of contemporary cool gestures within a politically charged idea. He symbolically uses elements like gold and stone to reflect identifiable themes of contemporary greed, royalty and pride that he sees as endemic to the civilizing concerns of culture. Repetition and pattern are harnessed to demonstrate the cyclical nature of history. His titles inform the images, economically narrating a complex notion of identity, place and politic. Human studied Graphic Design and applied arts at the Pretoria Technicon and is currently working as creative director at the animation studio Masters and Savant. He has exhibited in galleries in South Africa, Amsterdam, New York and Sydney and is published online and in print.
Selected Exhibitions: 2016 – Oracle, group exhibition at Salon91; Cape Town Art Fair with Salon91. 2015 – Bleeding Edge, Compagnietheater, Amsterdam; Past Futures, Salon91. 2014 – Those Who Wander, Salon91; GRAF/LIT: Urban Interiors, Youngblood Gallery, Cape Town; Graphic Radicals, AMAK, Muizenberg; 2013 – Inanimate Object (Solo Show), WOLVES, Joburg; One in a Million, Salon91; The Path Less Deconstructed, M Contemporary, Sydney, Australia; 2012 – Locals Only, Durban, Johannesburg, Cape Town; Skateboarding is a Crime (Solo Show), Clarke’s; Inanimate Object (Solo Show), Searle Street Post.
“I like having the opportunity to leave a mark (even if it’s a tiny one) on our cultural landscape.” Hanno van Zyl is an independent illustrator and designer working from the collaborative studio space, Only Today, in Cape Town. His work explores the overlooked narratives of everyday South African objects and spaces with an acutely critical eye. He is particularly influenced by his immediate environment: the little pieces of trash and rubble that gather in gutters, the trinkets found behind the till of spaza shops or the homely façade of a rundown inner city building. This, he views, as a rich cultural playground for a graphic dialogue. Van Zyl’s hand-drawn aesthetic is characterised by starkly rendered line drawings that invite a dispassionate gaze at the banal, thereby highlighting themes of social stratification, fear, economic disparity and violence. His paired down, black and white, brush and ink works also reference older 70s and 80s reproduction methods and shows the informed influence of a rich South African heritage of graphic art. His work is process driven, timely and sophisticated, combining a study of Visual Communication Design at the University of Stellenbosch with an unwavering exploration of the societal underbelly.
Selected Projects & Exhibitions: 2016 – PAY DIRT, a solo exhibition at Salon91; Static, co-curated by Black Koki at Kalashnikov Gallery, Johannesburg; Turbine Art Fair, Salon91 booth, Johannesburg. 2015 – Speechless, Heidi Erdman Contemporary, Cape Town; Turbine Art Fair, Salon91 booth, Johannesburg. 2014 – Those Who Wander, Salon91. 2013 – Biennale Internationale Design Saint-Etienne Vous voulez rire, curated by Benjimin Girard, Site Le Corbusier, Firminy, France.
Heidi Fourie is inspired by the fluid and turbulent nature of painting. Her subjects are frameworks for an exploration of the order and chaos within the act of painting. The balance between control and uncontrollability, figuration and its negation in the picture plane is constantly sought between the intended and accidental mark-makings of her practice. It is in working with the flow of paint that she shapes organic forms and continually aims to discover new ways of applying material to surface. Drawing her inspiration from the daily encounter with environments, both existing and online, her painterly marks emerge as subjects in themselves. Her works are characterised by a skilled application of marks that both create and reflect on the practice and history of painting. Fourie completed her BA Fine Arts (cum laude) in 2012 at the University of Pretoria. She has participated in a number of exhibitions both locally and internationally.
Selected Projects & Exhibitions: 2018 – Forthcoming solo exhibition with Salon91; Cape Town Art Fair with Salon91. 2017 – ‘Field,’ Salon 91; ‘Trees Make Forests,’ end-of-year group exhibition, Salon91; FNB Joburg Art Fair with Salon91; Solo exhibition, Fried Contemporary, Pretoria; Turbine Art Fair with Salon91; ‘Growth,’ curated by Banele Khoza, Woordfees; ‘See Art,’ curated by Derek Zietsman, Gallery 2, Johannesburg. 2016 – ‘Oracle,’ an end-of-year group exhibition, Salon91; ‘Borrowed Scenery,’ a solo exhibition at Salon91; Turbine Art Fair with Salon91; Cape Town Art Fair with Salon91; ‘Skerwe Verbeeld/Fragments Imagined,’ two-man show with Allen Laing, KKNK, Oudtshoorn. 2015 – ‘STELLAR,’ group show at Salon91; ‘Paint it Black,’ a group exhibition at Salon91; ‘Islands’ at Lizamore & Associates Gallery, Johannesburg (solo); ‘Last night I had the strangest dream’ at Twilsharp studios, Johannesburg. 2014 – ‘Visual Encounters,’ University of Pretoria staff exhibition, Rautenbach Hall, Pretoria; ABSA L.Atelier finalist exhibition, ABSA Gallery, Johannesburg; ‘Post Colonial Africa’ curated by Paul Bayliss ABSA KKNK, Oudtshoorn; ‘Nomad Bodies,’ curated by Prof. Elfriede Dreyer, Wintertuin Gallery, Royal Academy of Fine Arts, Artesis University College, Antwerp. 2013 – SPI Portrait Awards finalist (top 40) exhibition, Rust-en-Vrede Gallery, Durbanville. 2012 – Thami Mnyele Finalist Exhibition, Ekhuruleni.
Jaco Haasbroek is an artist and designer with a minimalist and concept driven style, injected with an unmistakable sense of humour. He loves a good play on words and drawing faces on things. In his practice as an artist he values simplicity and a refined approach without resorting to fancy techniques. He works primarily in pen and acrylic paint on paper.
His work is generally executed in a controlled and meticulous fashion. In his recent series of contour drawings he has embraced a freedom of drawing that allows the work to evolve more spontaneously. This alternative way of drawing foregrounds objects in his domestic environment: the interior scene of his home, the album covers and film posters he likes, a shoe, camera, record player and coffee pot carefully described by a gaze, so intense, that the object comes apart.
In his contour drawings Haasbroek is dissecting the very mechanism of viewing, reminding the viewer that a drawing is a place of fiction, a series of lines on a page that through a strange semiotics becomes the image of things we consider so familiar.
Haasbroek studied Fine Arts at Stellenbosch University, receiving the Timo Smuts art prize for two consecutive years. He currently works as an Illustrator and Art Director at Made By Radio. The Good News is one of his current personal projects, whereby he makes and installs fictional Newspaper Headlines in and around Cape Town.
Exhibitions: 2018 – ‘Trees Make Forests,’ Salon91. 2013 – ‘I’d Rather Be Swimming,’ Salon91.
Jade Klara uses a wide range of materials to give form to her limitless imagination. All her works revolve around the narrative potential of the image. She works with picture and text in paint, neon, print or digital painting to articulate soft focus worlds of strange magic and beauty. Her work has been described as whimsical, graphic, slick and dark, centered around the transformative potential of the concept of magic to change or rearticulate the everyday. It is the polarising potential of a narrative that she strives to find, so you are always likely to see a bit of melancholy amidst the beauty or satire in the commonplace. A sense of childhood and transience, love and loss is central to her work with deep companionship between her characters a pervading theme. Overall she routes for the aesthetic underdog to flavour her beauty out of potential boredom. Klara works from her studio in Woodstock. She graduated with a B.A from UCT (2003) and a B.A from Vega (2007). She has exhibited in galleries in London, Los Angeles, Portland and Cape Town. She also does work for various commercial clients.
Selected Exhibitions: 2017 – AO group show, Salon91, Oracle group show, Salon 91. 2016 – Cape Town Art Fair with Salon91; Stellar Group show, Salon 91. 2015 – This is The Place, collaborative group exhibition at Salon91; Golden Haze, Salon91. 2014 – Those Who Wander, Salon91; Home is Wherever I’m with you, Salon91; 2013 – The Witching Hour, Salon91; I’d Rather be Swimming, Salon91. 2011 – If You Let Yourself Love a Wild Thing, Salon91; Guten Tag, A Word of Art Gallery, Cape Town. 2010 – WTF is Low brow, London Miles Gallery, London; Salon Summer Show, Salon91; Illustrious, Compound Gallery, Portland OR; Spookasem, Salon91. 2009 – Way of Flow, C.A.V.E Gallery, Los Angeles; Candy coated canvas, London Miles Gallery, London.
Jean de Wet was born in Queenstown, Eastern Cape, in 1984. Always drawing, making comics, building contraptions and making music during his youth, Jean later graduated with a BA in Information Design from the University of Pretoria in 2007. In 2008 he moved on to work as a commercial illustrator in Cape Town, while further experimenting with drawing, illustration and comics after hours. Since then Jean has taken part in many group-shows and collaborations both locally and internationally, including a solo show in 2012. Jean currently lives and works in Cape Town, South Africa.
Jeanne Hoffman works across diverse mediums and far-flung geographies. Her approach to the picture plane is navigated by the idea that to draw is to travel. The graphic mark made by the artist across the blank page is likened to travelling across a landscape such that the surfaces of her works speak to lived experience. Her paintings, drawings and ceramic objects become dwelling points for reflection, what she calls ‘temporary shelters for thoughts.’
Hoffman’s works explore the emotional and socio-cultural dimensions of space. The space of the picture plane or the spaces between objects in her assemblages are fraught with the potential of becoming and travelling. As such she is acutely aware of activating the tension between motion and stillness and the process of a work “becoming” through the relationship between discrete pictorial or sculptural elements.
Her more recent work engages the Situationist philosophy of the dérive. This is an artistic mechanism for dropping one’s usual motives for action and allowing oneself to be drawn by the attractions of the terrain. She likens this idea to “seeing things out of the corner of the eye” and allowing one’s mind to wander imaginative spaces of memory.
Jeanne Hoffman has taken part in a number of exhibitions in South Africa and abroad. She has participated in artist-in-residency programmes in Finland, Belgium and the Netherlands, most notably the Saari Mansion Residency (Finland) and the European Ceramic Work Centre (EKWC) in the Netherlands. She currently lives and works in Cape Town.
Selected exhibitions: 2018 – ‘Drift’ (solo) exhibition at 99 Loop Gallery, Cape Town, Investec Cape Town Art Fair with 99 Loop Gallery. 2017 – ‘Field’ at Salon91 Gallery, Cape Town, ‘Mixed Metaphors’ (solo), 99 Loop Gallery, Cape Town; ‘You Leave Me With This,’ No End, Johannesburg; ‘Out of nowhere’ and ‘Folly’ at SMITH, Cape Town. 2016 – ‘Clay/Ground,’ Cavalli Estate, Stellenbosch; ‘From Whence They Came,’ SMITH and Kalashnikov, Cape Town. 2015 – ‘Thinking Ultramarine,’ UCT Centre for Curating the Archive; ‘Décor-Z’ Spier Wine Estate, Yellowwoods Art. 2013 – ‘Les oeuvres du Frans Masereel centrum’ at 9thInternational Biennial Liege, Belgium. 2009 – ‘Constallations,’ Stichtung WEP, Groningen, The Netherlands. 2008 – ‘Strange things travel with you’ (solo) Whatiftheworld, ‘Collage City/Kollaasikaupunki,’ Vuojoki, Finland. 2007 – ‘Room-travel,’ Whatiftheworld, Cape Town; ‘Common Ground,’ Lönnstrom Art Museum, Finland; ‘Paper and me,’ AVA, Cape Town. 2006 – ‘Long words on a hot afternoon’(solo) at blank projects, ‘Choice Assorted’ and ‘Illustration Nation’ with Whatiftheworld Gallery, Cape Town. 2004 – Battersea Art Fair, London.
Jenna Barbe is an artist who transforms her materials into a metaphorical framework for the body. Her sculptural forms reveal or uncover a notion of the inner body as one governed by emotional states and characterised by vulnerability. Barbe’s relationship with the ocean provides the main inspiration for her transformation of surfing equipment into an exposition of self-inquiry, identity and the human condition. Her works reflect the conflicts, coping mechanisms, protective barriers and fake coverings that humans construct in order to cope with society.
In her surfboard series, Barbe carves an intricate network of coral and seashells into reject surfboard blanks. The surf industry discards many polyurethane foam boards, these Barbe repurposes in the production of her works. By carving the surfboard, she renders the object too vulnerable for its traditional use in the ocean. In its new fragility, the board is transformed from a functional to a metaphorical object.
Barbe’s transformation of materials is an activity that seeks to bring hidden forms of suffering and distress into consciousness. She addresses the conflict that occurs between an inner emotional state and a projected external physical image in her artistic act of revealing an imagined beauty beneath the perceived skin of an object. Her works reflect her own healing process and seek to restore dignity to suffering.
Exhibitions and Commissions: 2017 – Wavescape Artboard Charity Auction, Jack Black Brewing Co. Cape Town; Adult Education Programme Art Exhibition at Peter Clarke Art Centre, Cape Town; Private Commission for The Beekman’s in Kwa-Zulu Natal; Commission for Responsible Research at Old Castle Breweries in Cape Town; Private Commission for Edwin Stokes, Australia. 2016 – Wavescape Artboard Charity Auction, Tiger’s Milk, Cape Town. 2014 – ‘Out of the Blue,’ Ceramic Exhibition at Rust-en-Vrede and Mervyn Gers Studio, Cape Town; ‘In Minima Forma,’ Pop-Up Exhibition at Ruth Prowse School of Art, Cape Town.
Jessica Bosworth Smith is an artist who consistently challenges the conventions and techniques of visual storytelling. Her works explore themes of memory, the esoteric and the uncanny by a process of thorough research and application of concepts associated with psychology and parapsychology.
Bosworth Smith believes in a fluid and multifaceted form of storytelling and, as such, is consistently exploring traditional mediums in experimental ways. She works primarily in ink, watercolour and pencil with final works often culminating in printed and hand-bound artist books.
Her recent projects have been inspired by the concept of “felt reality” synonymous with the Spanish American genre of narrative fiction termed ‘magical realism.’ The idea of a shifting reality co-existing with a peripheral fictional reality has led her to explore a series of strange Beings who dissolve and reconfigure endlessly across her images. Rorschach-like and mysterious, it is the viewer’s projections onto the figures that determines their benevolence or malevolence.
Jessica Bosworth Smith received her BFA from Rhodes University and her Honours in Visual Studies (Illustration) from Stellenbosch University (Cum Laude) as well as a Post-Graduate Certificate in Education. She founded and currently co-administers the Cape Town based womxn’sillustration collective Unblush. She has just published her first children’s book, “The Straw Giant & The Crow” through Imagnary House and recently spent a month on the Comic Blast residency with the Arteles Creative Center in Finland.
Exhibitions and Awards: 2017 – ‘Those Who Eat the Tail,’ ABSA l’Atelier Top 100 exhibtion; selected as one of Design Indaba’s Emerging Creatives.
“What I came here to feel and attempt to capture has worked on me. I am standing in the sideways rain, smiling.” Jordan Sweke is concerned with the connection between people and the natural world. He believes that detachment from nature corrodes the disposition of our interactions with the environment and that this relationship with nature needs to be reconstituted. Sweke’s practice may extend to other media, but painting is something he cannot live without. A painting holds physical demands for both the artist as painter and the viewer as reader of the tactual surface. Sweke identifies a tactile emphasis on materiality as being helpful in breaking illusions and revealing certain truths, while scale assists him in accessing the sublime nature of the natural world. His works emerge as a quest to realign notions of nature and the self. Sweke’s large and emotive representations of nature that often employ numerical patterns to distort spatial perceptions to the level of abstraction, urge the viewer to explore a critical reassessment of our relationship with our planet. The mathematical and the abstract, the geometric and the organic, the peaceful and the dreadful, the holy and the tainted: it is in the kaleidoscopic web of these dialogues that this Michaelis Graduate seeks to unfetter our binary assumptions of manmade and natural. He is currently travelling nationally and working extensively with South African landscapes before moving into an international research domain, focusing on endangered natural areas.
Upcoming Shows: Solo exhibition, Centro Luigi di Sarro, Rome, Dec 2017; Solo exhibition, Everard Read, Cape Town, March 2018. Selected Projects & Exhibitions: 2017 – Turbine Art Fair with Salon91; Winter Collection, Circa, Cape Town; Cape Town Art Fair with Salon91. 2016 – Oracle, an end-of-year group exhibition, Salon91; The Antidote, a solo exhibition at Salon91; Cape Town Art Fair with Salon91. 2015 – Paint it Black, a group exhibition at Salon91; Turbine Art Fair with Salon91, Johannesburg; Cape Town Art Fair with Everard Read Gallery; EMPIRE at Everard Read Gallery, Cape Town; Everard Read Gallery, Cape Town Winter Exhibition.
Katrine Claassens’ paintings reflect her interests in climate change, deep ecology and conservation. Her miniature paintings present us with tiny golden worlds where endless scenes from the natural world play out. From escaping circus ponies to jungle tigers, something truly wild always nips out from these small, but powerful works. In style and atmosphere, the paintings unite two very different painting traditions: Persian miniature paintings and 18thcentury travel paintings. Even though these traditions are removed geographically and temporally, they both reflect a recognition that small bits of paradise can be found here on earth.
Indeed, through Claassens’ works we visit unspoiled tropical islands, overgrown gardens and fire-fly filled forests,all bursting with a menagerie of creatures who have come out to play. The use of golden metallic leaf and the diminutive size of the paintings emphasises the preciousness of these places and their animals, reminding us to be better guardians of the small Edens we still have left in the world.
Katrine Claassens has a degree in Visual Arts from Stellenbosch University and master’s degree in Climate Change from the University of Cape Town. She has led workshops, given public lectures and curated exhibitions all over the world from the Arctic to Antarctica. She is a writer and illustrator for The Nature of Cities and also volunteers with CliMates. She currently lives and works in Montreal.
Selected Projects & Exhibitions: 2018 – ‘Adaptation Futures’, Cape Town International Convention Centre; ‘Trees Make Forests’, Salon91. 2017 – ‘we came at a time,’ 99 Loop Gallery (solo), Cape Town; ‘Thoughtful Planet,’ The Thought Foundation, Gatehead, UK; Art Africa Fair, DF Contemporary, Cape Town. 2016 – ‘Oracle’ at Salon91; ‘Welcome To The Internet I Will Be Your Guide’ (solo) 99 Loop Gallery; ‘Reverie,’ AGOG Gallery; ‘Artemisia,’ DF Contemporary; ‘Imago Mundi,’ Pratt Institute. 2015 – ‘The Persistence of Memory,’ Untitled Studios; ‘Golden Haze,’ Salon91. 2014 – ‘Fresh Produce,’ Turbine Art Fair; ‘Five Wolves No Pigs,’ Montreal. 2013 – ‘Between The Blue Swimming Pools,’ AVA (solo); ‘Muse,’ Casa Labia; ‘Fissure,’ Commune1; ‘In Good Company,’ Irma Stern Museum Gallery; ‘Home is Wherever You Are,’ Salon91. 2012 – ‘Die Landskap van Vrouwees,’ Grevilleas Gallery; ‘Shoes From Chinese Ships,’ Salon91; ‘I’d Rather Be Swimming,’ Salon91. 2011 – ‘The Jacaranda Girls and Other Stories,’ Salon91 (solo). 2009 – ‘The Birds/ Les Oiseaux,’ Cheap as Candy, Syndrome, Montreal (solo). 2008 -Sasol New Signatures Exhibition, Pretoria Arts Museum; ABSA Atelier, ABSA Gallery. 2007 – Greatest Hits, AVA Gallery; Timo Smuts Art Prize, University of Stellenbosch Gallery.
Katrin Coetzer was born in Cape Town, South Africa in 1985. She completed her undergraduate studies in applied design at Stellenbosch University and later went on to postgraduate studies in illustration at the same institution. She has worked for the past decade as an independent illustrator for various international publications including Vanity Fair and the Wall Street Journal. In addition to her editorial and branding work she has illustrated five books for children and has exhibited her original work in Tokyo, Paris, Madrid, and Sydney. Katrin’s deepest fascination is with personal geographies and the intricacies of ecological co-existence. Her most recent solo exhibition, Warmblooded, paid homage to the work of British broadcaster and naturalist, David Attenborough. She works primarily in water-based pigments on paper.
Upcoming exhibition: JHB Art Fair, Johannesburg. Selected Projects & Exhibitions: 2018 – Warmblooded, solo exhibition at Salon91. 2017 – On Paper of Clay, group exhibition at Saint Cloche Gallery, Sydney. 2016 – Oracle, group exhibition at Salon91; Under the Same Sun, solo exhibition at Do Design Madrid. 2015 – Sub Rosa, solo exhibition at Do Design Madrid. 2014 – Into Another Summer, solo exhibition at Do Design Madrid; 36 Mountains, a touring group show, Zagreb and Paris; The Colours of the Sacred, Museo Dicesano di Padova, Padua; Illustrators Exhibition, Bologna Children’s Book Fair and Itabashi Art Museum, Tokyo. 2013 – Honeymoon, solo exhibition at Salon91; Illustrators Exhibition at the Bologna Children’s Book Fair in Italy & Japan with the Itabashi Art Museum. 2012 – Design Indaba Expo as part of the CCIBA/Stellenbosch University bookstand. 2011 – If you let yourself love a wild thing, group show at Salon91; Draft, group exhibition of selected Masters work, US gallery, Stellenbosch; Safe Spaces group exhibition & campaign auction, Freeworld Design Centre, Cape Town; Handbound, group exhibition coordinated by Prof Keith Dietrich, Sasol Gallery, Stellenbosch; Swatch Illustrative Berlin, selected in category Book Design as highly commended, Berlin; Winter Wonderland, group show at Salon91; Paper is You, group show at Salon91. 2009 – Ontopoftheworld, group show Cape Town Stadium. 2008 – Greatest Hits at the Association of Visual Arts, Cape Town; Verf group show, Blank Projects Gallery, Cape Town. 2007 – Fin, Stellenbosch University Graduate Exhibition
Kirsten Beets paints our contemporary Eden. Her paintings inhabit a place somewhere been the real and imagined, a painted mythology that explores ethical realities. She is continually looking at the shifting relationship between people at leisure and the natural world. She isolates the moments of these interactions, sometimes as immersive images other times as curious objects suspended in the picture plane. Snapshots of our curious human interactions with natural environments are all rendered in delicate detail. Her exhibitions are complex collections of observations and imaginary musings made manifest in oil paint on paper, board and linen. Her carefully considered compositions tell a subtle story of serenity and loss, leisure and decay, stasis and transience.
Selected Projects & Exhibitions: 2018 – ‘Dreamland’ solo exhibition, Salon91; Cape Town Art Fair, Salon91 Booth. 2017 – ‘Trees Make Forests,’ end-of-year group exhibition, Salon91; ‘Field,’ group exhibition, Salon91; FNB Joburg Art Fair with Salon91; Artist Residency, Foundation OBRAS, Netherlands; ‘Mirage,’ a solo exhibition at Salon91; July 2017, Turbine Art Fair with Salon91; Cape Town Art Fair with Salon91. 2016 – ‘Oracle,’ an end-of-year group exhibition, Salon91; ‘Paper Is You III,’ a group exhibition at Salon91; Turbine Art Fair with Salon91; Cape Town Art Fair with Salon91. 2015 – ‘STELLAR,’ group show at Salon91; ‘Everyday Eden,’ solo show at Salon91; Cape Town Art Fair with Salon91. 2014 – ‘Sunday’s Child,’ solo exhibition at Salon91; Summer Exhibition at the Royal Academy of Arts, London. 2013 – ‘Possessed,’ group show at Everard Read, Cape Town; National Arts Festival in Grahamstown; ‘Animal / Advance’ group exhibition, Ron Belling Gallery, Port Elizabeth; ‘Aurora’ at Salon91; Cape Town Art Fair with Salon91; ‘For Play,’ group exhibition, Underculture Contemporary Gallery, Port Elizabeth. 2012 - Scuola Internationale di Grafi in Venice, Italy. 2011 – ‘First Editions: an exhibition of visual narratives,’ a group exhibition featuring the first editions of hand-bound illustrated books, Salon91.
CRITICS' PICKS | KIRSTEN BEETS
We are pleased to announce that Kirsten Beets at Salon Ninety One is currently featured in artforum.com's “Critics' Picks” section, a select review of shows worldwide.
We hope you will read the review, written by Sean O’Toole, online:
“My work is about trying to make sense of a reality, whether it is my own or someone else’s.” Images are vehicles. In Lilford’s paintings, her images speak not just about one family, but about the aspirations of a white middleclass South Africa as a whole. By using family photographs, Lilford allows a shift to occur from the private and the public. The original historical background of the photographic source no longer becomes important because the image is no longer a representation of a real world, but an interpretation of that world. Lilford’s subject and experience may be of the white middle-class in South Africa but her paintings are anything but sympathetic to that reality. The darkened painted spaces and isolation of figures in her landscape belie a privilege and vulnerability of such bourgeoisie ease. There is something inherently unremarkable about the homogeneity of white South African suburbia that Lilford has managed to identify as significant, even sinister, in her works. Her latest paintings take the figures into new contexts, which appear to be the artist’s way of distancing her subject from the trappings of their class, but her explorations only serve to reveal their identity again and again in new ways. Some of these works powerfully suggest the presence of a character by cleverly and deliberately omitting the figure from the composition. Lilford is currently completing her MFA at the University of Cape Town.
Selected Projects & Exhibitions: 2016 – Nano, group show at Barnard Gallery, Cape Town; Soil(ed) MFA exhibition, postgraduate collaboration with Michaelis School of Fine Art and the University of Pretoria; Group Collection, Otomys Art Gallery, Melbourne, Australia. 2015 – Cape Town Art Fair with Salon91; Surface, emerging painters at Barnard Gallery, Cape Town. 2014 – Distance at Salon91. 2013 – Small Canvas Project, The Benetton Collection, Venice, Italy. 2012 – The Quiet, solo exhibition at Salon91. 2011 – Sunday, graduate exhibition at Michaelis School of Fine Art, Cape Town. 2009 – Infecting the City, Cape Town Art Festival.
Awards: 2016 – National Research Fund (NRF); Oppenheimer Memorial Trust Award. 2015 – McIver Award.
‘7 Emerging Contemporary Painters You Need To Know About’
KIRSTEN SIMS expresses the way she views the world through painting, seeking a connection with viewers through images. Her work has a strong narrative quality and is often animated by a sartorial crowd of characters, but she just as naturally replaces the theatre of human interaction with the drama of a natural landscape. Whether familiar or imagined, place plays an important role in her work. She lives and works in Cape Town but the vista she has painted most is the ocean view from her family home in Mossel Bay. Sims’ philosophy in life and art is “one thing leads to another”. Her own path has led to editorial and commercial illustration projects, solo shows in Cape Town and Toronto, inclusions in numerous art fairs and group exhibitions, and a published children’s picture book. She completed a BA in Applied Design at the Stellenbosch Academy (2011) and her Honours degree in Illustration at Stellenbosch University (2014).
Upcoming Exhibition: 17 August – 15 September, solo exhibition, Salon91.
Selected Projects & Exhibitions: 2017 – Trees Make Forests, year-end group exhibition, Salon91; FNB Joburg Art Fair with Salon91; Field, group exhibition, Salon91; Saturn Return, solo exhibition at Salon91; Turbine Art Fair with Salon91; Cape Town Art Fair with Salon91. 2016 – The Spirit of Irma, a group show at the Irma Stern Museum; Oracle, year-end group exhibition, Salon91; Leap Year, online exhibition with Salon91; You Are Here, solo exhibition, Salon91. 2015 – The Middle of Nowhere, a solo exhibition at Salon91; Middle of Nowhere, Canadian Edition, a solo exhibition at the Alison Milne Gallery, Toronto, Canada. 2014 – Paper is You II, group exhibition, Salon91. 2013 – Aurora, all-female illustration group exhibition, Salon91; Emerging Creative at Design Indaba. 2012 – A Drawing a Day, online exhibit where a new illustration was posted to the artist’s blog daily.
‘I am intensely interested in the everyday, in what surrounds me, capturing fleeting moments and feelings in time and moving from figurative to non-figurative subject matter.’
Born in Cape Town, 1972, Lara currently lives and works in the city. After her decision to exit Michaelis in 1990, she entered the world of graphic and interior design but eventually decided to navigate her way towards painting again. It is here that she nurtures her expression.
Focusing on mood and color, she works primarily in oils. Lara’s work is housed in collections all over the world.
Selected Projects & Exhibitions: 2018 – In Their Nature, a solo exhibition at Chandler House. 2017 – Trees Make Forests, a group exhibition at Salon91. 2016 – Oracle, a group exhibition at Salon91; Spirit of Irma, group exhibition at Irma Stern Museum; Space Between, group show at The Cape Town Jewish Museum; Under 18’s Only, at Association of Visual Arts; Cape Town Art Fair with Smith Studio. 2015 – Summer Salon, at Association of Visual Arts; Resonance of Wonder, a group exhibition at The Cape Town Jewish Museum; Sanlam Portrait 100 at Irma Stern Museum; Cape Town Art Fair with Salon91. 2014 – Golden Haze; group exhibition at Salon91. 2013 – Roadscapes, a solo exhibition at AVA Gallery; Cape Town Art Fair with Salon91; Collections and Archives, group show at Salon91. 2012 – I’d Rather Be Swimming, a group exhibition at Salon91. 2011 – Figuring Difference, group show at Salon91. 2010 – Transition, Emergence & The Parts In Between, solo exhibition at Salon91. 2007 – Glimpses, solo exhibition at Gerard Cloete Gallery.
Lili Probart is an artist, illustrator and educator pondering the seemingly impossible beauty and occurrences of the natural world. Her works engender a return to the childlike curiosity of a younger self, a self still able to indulge in wonder and mystery from a space of appreciation rather than fear or indifference. Her works are miniature collage explorations of an intimate and magical world that draw on elements of real world events and landscapes to create imaginative alternatives.
Probart employs the playful juxtapositions inherent in the collage process and incorporates a mix of mediums such as watercolours, pastels, fairy dust, sandpaper, pencils and charcoal into her works. She sees the spontaneity of mark making and layering in her process as a way of building a picture with a story. The themes in her works continue to be inspired by her childhood question, “where does everything come from?”
Her visual explorations of multi-layered mountain vistas and imaginative visions of a future or life hereafter make gentle comment on the human custodianship of Earth and the great infinity of the cosmos beyond our planet’s atmosphere. Probart’s intimate realities offer deep imaginative ponderings of the invisible forces at play in our natural world.
Lili Probart was born in Keetmanshoop in Namibia. She graduated with an Honours in Sculpture from UCT’s Michaelis School of Fine Art in 2011. She currently runs her own illustration and bookmaking initiative called millibook.
Exhibitions and Projects: 2017 – ‘Hidden Depths,’ Craft+Graft, Cape Town. 2011 – ‘First Edition,’ These Four Walls Gallery, Cape Town; Community Project and Exhibition, Masiphumelele, Cape Town. 2010 – ‘A Grey Matter,’ Silent Protest in collboration with Infecting the City, Cape Town; ‘Impossible things happen as if only natural,’ Graduate Exhibition, UCT’s Michaelis School of Fine Art.
Linsey Levendall is a multidisciplinary creative. His work is driven by a need to be in sync with his subconscious thoughts and dreams that reflect his mileu, in particular growing up in Cape Town’s Cape Flats, a place filled with nature and wildlife but corrupted by human violence and suffering. He currently lives and works in rural Canada with his wife and family. He defines his work as ‘mildly trippy,’ treading the fine line between beauty and distortion. His mash-up of influences ranges from the art historical to the contemporary, including the Surrealist artist Salvador Dali, animation, graphic novels and Cubism. Levendall believes in creating social change through art and tries to be involved in projects that endorse positive forward thinking. He works closely with The Black Heart Gang and Shy The Sun as a conceptual designer on groundbreaking animation for both the local and international market and makes up one half of the duo Bison.
Selected Exhibitions: 2017 - FNB Joburg Art Fair with Salon91; ‘Fathoms,’ a two-man exhibition with Paul Senyol, Salon91; Turbine Art Fair with Salon91; Cape Town Art Fair with Salon91. 2016 – ‘Oracle,’ an end-of-year group exhibition, Salon91; Turbine Art Fair with Salon91; Cape Town Art Fair with Salon91. 2014 – ‘Suggestivism: Chronology,’ Copro Gallery, Santa Monica; ‘Hidden Kingdoms,’ The Dream Factory Gallery, Frankfurt, Germany; 2013 – ‘Neu Folk Revival,’ LeQuiVive Gallery, Oakland; ‘Tragic Heroes,’ The Lab, California; Nelson Mandela Legacy Exhibition at the Cape Town Civic Centre; ‘The Path Less Deconstructed,’ M. Contemporary, Sydney; 2012 – ‘CORE,’ Museum Gallery, Cape Town; ‘RADAR,’ group exhibition at Salon91; ‘If you let yourself love a wild thing,’ group exhibition at Salon91.
“The Karoo is like a Kaleidoscope, it is ever changing in colour, shape and form”
The Karoo is an inexhaustable supply of inspiration for Lizelle Kruger. A place of kado’tjies (gifts), family history, identity and natural beauty. Her oils on canvas and found objects, large-scale pastels, mixed media and sculptural installations are rich in symbolism and relate to her identity as an Afrikaner woman.
Kruger works from her studio in Cape Town, but takes regular pilgrimages to the Karoo to find new subject matter. With her camera, she captures her models, structures, objects, the light and the landscape in great detail. She uses her photographs as source material for her paintings, often physically pasting together & cropping composite images in order to arrive at the perfect composition from which to start painting.
Lizelle’s current body of work is centred around the Sutherland and Merweville areas, the Tanqua Karoo & The Koup. The artist finds her inspiration on the farms of her late grandfather, where she is constantly uncovering poignant artifacts of a lifetime ago – often rusted and weathered, for the artist, these objects represent the perfect metaphor for the fragile and transient nature of life in these harsh surroundings. The traditional Voortrekker bonnet, which appears in many of her works is a particular feature of her exploration of female identity and culturally prescribed gender roles. These explorations are always linked to the land – that fertile, timeless and demanding mother of our daily needs.
Selected Projects & Exhibitions:
2013 – One in a Million at Salon 91, Cape Town. 2011 – Solo Exhibition of drawings at The Castle of Good Hope, Cape Town; Karoo Kado’tjies, solo exhibition at Salon 91, Cape Town. 2008 – Women in Art at Mondo Arte Gallery, Dubai. 2007 – Summer Exhibition at Oisin Gallery, Dublin. 2003 – Solo Exhibition at the Cape Gallery, Cape Town; 1993 – SANDF Group Exhibition, Pretoria.
Maaike Bakker, born 1986 is visual artist and illustrator working with various drawing,
sculpture and installation based mediums as well as digitally with regards to her illustration
based work. Bakker’s practice explores limitations imposed by systems or structures and
aims to determine at which point such structures may become excessive and irrelevant,
ultimately exploring futility.
Her work also sets out to introduce a variety of abstract visual languages that start
infiltrating each others ‘space’, disrupting their original expression and developing an
abstract dialogue which takes on a sort of visual broken telephone.
Maaike has participated in a number of group exhibitions at Salon91, and in April 2012 collaborated with Louis Minnaar on a two-person illustration show, titled, The River, at the gallery. Selected recent group shows include: Oracle (Salon 91, December 2016); Stellar (Salon 91, December 2015); Joburg, Joburg (Johannesburg Art Gallery, JHB, March 2014); Mega Bonanza-Maybe you just have bad taste (Kalashnikovv Gallery, JHB, August 2013); Et al. (Nirox Projects, JHB, April 2013); Re-sampled (Absa Gallery, JHB, November 2012); Hanging Gardens (KKNK, 2012); and Untitled (Long Street Art Lovers 1972, Pretoria, August 2012). During November 2013, Maaike had a Solo exhibition, titled, Now museum | Now you don’t, as part of her Master’s degree, at the Nirox Projects (JHB). Besides creating her own work, Maaike also teaches design and illustration, participates in public art projects, and is a practicing art curator. Bakker enjoys introducing bright colours to her works and attempts to introduce the viewer to ‘the unseen familiar’ in her illustrations. Her work explores ‘what ifs’ and introduces scenery from an alternative reality, one where laws, such as gravity, can be toyed with and general norms are abstracted and challenged.
Mareli Esterhuizen is a photographer inspired by the narrative potential of form, colour and texture. Her recent works exploit the tension created by juxtaposing objects from unusual contexts within scenes dominated by vibrant colour accents. Her working process is very intuitive. Ideas may be sketched before shooting begins but the final product is informed by a spontaneous, truthful and sensitive approach to subject.
Esterhuizen’s inspirations and formats often change but her clean, contemporary aesthetic remains a trademark of her work. She cites Nick Knight, Robert Frank and Christian Boltanski among her influences. She likes to respond to the unexpected moments in her creative process when creating new contexts for seemingly arbitrary objects or exploiting the awkwardness of the relationships that emerge in her theatrical photographic stage. Clear references to fashion photography are subverted in her compositions that through a harmony of form function as playful meditations on the visual relationships in everyday life.
Mareli Esterhuizen works in Cape Town at Salon91 as a co-curator and runs a small photographic school after hours called School of Light. She studied photography at NMMU in Port Elizabeth and held her debut exhibition at Dirt Contemporary as part of a residency programme. She has exhibited in numerous exhibitions both locally and abroad.
Selected Exhibitions: 2017 – ‘Trees Make Forests’ at Salon91; AVA Gallery, Cape Town. 2016 – Field Office, Cape Town. 2015 – Digital Display at the Louvre Gallery, Paris; ‘That Art Fair’ in Cape Town. 2011 – Salon91; Haas Collective, Cape Town. 2010 – ‘Paper Girl’ Woodstock Industrial Centre, Cape Town and Berlin; Irma Stern Gallery, Cape Town. 2009 – Labia Celebration Exchange, Cape Town. 2008 – Montage Gallery, Port Elizabeth. 2006 – ‘Kinderkunst’ at Whatiftheworld Gallery, Cape Town. 2005 – ‘Debut Show’ at Dirt Contemporary, Cape Town; Boekehuis, Johannesburg; AVA Gallery, Port Elizabeth; Sasol New Signatures, Pretoria; Greatmore Studios, Cape Town. 2004 – NYF Constantia, Cape Town. 2003 – Nelson Mandela Metropolitan Art Gallery, Port Elizabeth; EPSAC Gallery, Port Elizabeth. 2002 – Infinite Exhibition, Grahamstown.
Maria Lebedeva was born in Moscow, Russia in 1986, arriving in South Africa at the age of 6. She studied Information Design at the University of Pretoria, thereafter completing a Masters degree specialising in illustration at the University of Stellenbosch. As a freelance artist, Maria enjoys working with visual storytelling in illustrated books, as well as experimenting with illustration within a gallery context. She has participated in a variety of local exhibitions, both in Cape Town and Johannesburg. Maria is currently living and working in Johannesburg, South Africa.
Selected Exhibitions: 2016 – Oracle, group exhibition at Salon91 2014 – Golden Haze group show at Salon91; Home is Wherever I’m With You, group exhibition at Salon91 2013 – Aurora, a group show at Salon91 2012 – I’d Rather Be Swimming a end of year group exhibition at Salon91.
Maria van Rooyen works in a variety of drawn mediums to explore notions of place and displacement. She often works with historical sources, observational accounts of explorers or witnesses, to address the idea of history as a subjective narrative. In her domestic scenes, the notion of home is made uncomfortable by the spatial construction that confines her figures. This sense of a disrupted or subjective space extends to her large mixed media drawings that imbue landscapes with the history and politic of Southern Africa’s place in the global economy. The impact of larger ideologies at play in society continually impact her depictions of place which becomes fractured, overlaid with currencies or confined in order to carefully disclose a contemporary politic of being ‘here.’
Collections: Mount Nelson Hotel, Cape Town; Fusion Boutique Hotel, Polokwane.
Selected Exhibitions: 2018 – Cape Town Art Fair, Salon91 Booth. 2016 – That Art Fair, Cape Town. 2015 – Cape Town Art Fair with Salon91. 2014 – Turbine Art Fair, Johannesburg; Cape Town Art Fair with Salon91. 2010 – The Long Way Home, solo exhibition, Salon91; Every Secret Thing at Polokwane Art Museum, Polokwane; Collateral at Fried Contemporary, Pretoria. 2009 – History(n) at UCA Gallery, Cape Town; Artist in Residence at Modern Autohaus, BMW – Mobility, Polokwane. 2008 – Association d’Arts, Biarritz, France. 2006 – Installation at Memory, Narrative and Forgiveness, reflecting on ten years of South Africa’s Truth and Reconciliation Commission, Cape Town; Solo Exhibition Alliance Francaise, Gerard Sekoto gallery, Johannesburg.
Matthew Prins currently works as a Graphic Designer in Cape Town. His recent turn to art production is marked by a meticulous, introspective meditation of his domestic spaces. In the vein of British artist, David Hockney’s graphic approach to the picture plane, Prins’ striking images of house plants offer fresh persepective on a familiar subject.
Prins is inspired by textile designs, particularly those of Austrian architect, Josef Frank. His works reflect a sophisticated understanding of shape, colour and composition such that their simplicity belies a skillful draftsmanship and acute design aesthetic. He works primarily with acrylic paint on board in a graphic application of paint, tempered by hand-drawn marks in oil pastel.
Matthew Prins is from Pietermaritzburg and studied a BA in Visual Communication Design at Stellenbosch University. He first exhibited work at Salon Ninety One’s December show ‘Trees Make Forests’ in 2017. He currently lives and works in Cape Town.
Natasha Norman delights in balancing image making with viewer imagination by exploring how a collection of marks on paper can evoke something greater than a representation. She draws on sensory memory, art historical knowledge and the haptic quality of her materials to evoke experiences and emotion. Her practice engages the relationship between material and experience. The materials she uses as an artist are brought into relationship with her experiences of the sea. She interrogates how her actions as an artist can resonate with larger natural forces such as the ocean.
Norman is consistently inspired by the medium and challenges of technologies of print. She was trained in traditional Western print methods at the University of Cape Town and has attended residencies in Japan to study the Japanese relief print method called Mokuhanga. Her current work is very inspired by this watercolour print process, which has lead to an extended investigation of the watercolour medium.
Norman completed her Honours (2005) and Masters (2011) degree in Fine Art at the University of Cape Town. She is a lecturer, arts writer and practicing artist, having lectured at various institutions and universities in South Africa and published as an independent writer in various journals and South African magazines.
Exhibitions | Awards | Residencies
2018 – ‘SEE ART: Contemporary Abstract’ at Gallery 2, Johannesburg. Cape Town Art Fair, SA Print Gallery booth; ‘February Edition’ at CfSHE Gallery, Tokyo. 2017 - Searching for Mokuhanga Light: Globalizing Japanese Woodblock Printmaking, Hawaii and Cyprus, Greece; Presenting Artists at the Centre for the Science of Human Endeavour, Tokyo, Japan; ‘Field’ at Salon 91 Gallery, Cape Town. 2016 - ‘Nano’, Barnard Gallery, Cape Town. 2015 – However, Art Hub Gallery, London; Turbine Art Fair, Johannesburg, Salon 91 booth; ‘Death Speaks’ 6 Spin Street, Cape Town, curated exhibition. 2014 – Golden Haze at Salon 91, Cape Town; 2013 –Slate Projects at UK Multiplied Print Fair, Christies, London; ‘Between the Lines’ at Michaelis Galleries (as part of symposium). 2011 – Further Fictions (solo) Commune 1 Gallery, Cape Town; ‘Judgement Pending’ at AVA Gallery, Cape Town. 2010 – Tretchikoff and Me at Salon 91, Cape Town; ‘Ways of Seeing’ at Ore Gallery, Cape Town. 2008 – ABSA Atelier Finalist Exhibition, Pretoria; 2007 – The Look of Love (solo) Bell-Roberts Gallery, Cape Town; ‘Contusion’ at Irma Stern Museum, University of Cape Town; Sasol New Signatures Finalists’ exhibition in Pretoria. 2003 – YDEsire, Castle of Goodhope, Cape Town.
NEBNIKRO is a creative who works with many and varied three-dimensional materials. These include ceramics, beading, sewing, photography and cooking. His works evolve through a sequence of experience and skills acquisition, building an oeuvre inspired by a natural rhythm of inspiration and development. His practice is defined, like his chosen name, as a means of moving away from expectations derived from traditional thinking and defining his own identity.
NEBNIKRO demonstrates a very original approach to ceramic forms. His works appear totemic or intuitively symbolic without referencing any particular cultural tradition. The forms are paired down and organic, with a sense of the artist’s hand evident in the final product that is finished in vibrant stoneware glazes.
His inspiration is derived from the varied and curious places he situates himself in and includes architectural facades, natural landscapes, kitchen utensils, music and contemporary design. His experiences of places and things are translated directly into the medium he is working in at the time. He counts the artist David Hockney, the architect Gaudi and musicians Björk and Sevdaliza among his influences, citing their particular innovative approach to creation as the underlying reason for their appeal.
NEBNIKRO is currently completing his second year of studies in Fine Art at UCT’s Michaelis School. He has exhibited at Chandler House Art Gallery, collaborated with The Carnation magazine and been featured in The Lake and Elle Magazines. Earlier this year he held his first a solo show of ceramics at AKJP Collective.
Nina Torr is an artist/illustrator based in Pretoria. After attaining her BFA from the Parsons School of Design in New York in 2010, Torr returned to South Africa, where she is currently working as an artist and participating in exhibitions, as well as teaching illustration at the Open Window School Institute. Nina’s illustrations have been featured in local publications such as Essie Letterpress’ Artist’s Almanac, the Bat Butt Zine and iJusi. She has also produced prints in collaboration with Black River Studio and David Krut.
Nina has held four solo shows, most recently “Still at Sea” at 99 Loop Gallery in CT. Other venues where Nina regularly exhibits include In Toto Gallery (JHB), No End Gallery (JHB) and Kalashnikovv (JHB) with the Mega Bonanza Collective.
Selected Exhibitions: 2016 – Oracle, group exhibition at Salon91; Still at Sea, at 99 Loop Gallery (CT) 2015 – Stellar, group exhibition at Salon91 2014 – Again and Again, solo exhibition at In Toto Gallery (JHB); Home is Wherever I’m With You, group exhibition at Salon91; Gravity, group exhibition at Salon91. 2012 – An Unnatural History, solo show at In Toto Gallery (JHB); Milk and Honey on The Other Side, solo exhibition at Wolves Café (JHB).
Paul Senyol is an abstract painter who reflects the details of everyday life, paired down to an empathy with colour, line and form. His work is a crafted response to his wonderings through various spaces. The colours and textures of urban and natural environments inform his spontaneous practice in the studio where every material he uses – acrylics, pastels, ink, pencils and spray paint - is chosen for the particular mark it can contribute to a finished composition. Senyol has been studying art and the mark since his fascination with skateboarding magazines as a teenager in Cape Town. Skateboarding emerged as a gateway to early creative works on the street and remains an important part of Senyol’s experience of urban spaces. He makes regular visits to the public library to source graphics, album covers, magazine layouts and illustrations. Senyol’s unique visual language is founded on the inevitable change and flux in environments. His works are testament to the translation of experiences into form.
Selected Projects & Exhibitions: 2018 – Forthcoming solo exhibition ‘Recollectionary’ at Salon91. 2017 - Trees Make Forests, end-of-year group exhibition, Salon91; Simulacrum, group show, Gallery2, Parkwood; Mural participant, International Public Arts Festival; Fathoms, a two-man exhibition with Linsey Levendall, Salon91; Turbine Art Fair with Salon91; Cape Town Art Fair with Salon91. 2016 - Kindle, Gallery2, Parkwood; Oracle, an end-of-year group exhibition, Salon91; Inhabitant, a solo exhibition at Salon91; Turbine Art Fair with Salon91; Cape Town Art Fair with Salon91; Paper Is You III, group show at Salon91. 2015 - Every Idle Word, A solo exhibition at Gallery2, Parkwood; This is the Place, group exhibition at Salon91; Top 10 Finalist exhibition, Barclays L'Atelier; Polynesia, an exhibition of paintings with Cathy Layzell at Salon91; Cape Town Art Fair with Salon91. 2014 - Cape Town Art Fair with Salon91; Turbine Art Fair with Salon91; Odd Traditions, with Pierre Le Riche, Salon91; Paper is You II, group show, Salon91; Artist-in-residence, Arteles Creative Centre, Finland; Artist residency, Neustadt Symposium, Germany. 2013 - Cape Town Art Fair with Salon91; A Vacant Passage, with Andrzej Urbanski, Salon91; ABSA Atelier Top 100 Finalist. 2012 - The Man of Dust, solo exhibition at Salon91; Gather, with Augustine Kofie, Lovell Gallery in association with Salon91. 2011 - Paper Is You, group show, Salon91; 6511 Miles, Pro-Artibus Residency, Finland; Urban Aesthetic, Worldart Gallery, Cape Town; Broadcasts, KZNSA Gallery, Durban. 2010 - Stroke 03 Urban Art Fair, Berlin.OTHER WORKS:
Renee Rossouw is an artist, designer and architect working across many creative spheres. Her artworks are characterized by a love of geometric shapes and graphic, bold colour. Over the years she has amassed a personal library of collected and abstracted shapes and patterns. These are derived primarily from the South African urban landscape: the skylines, buildings and other urban details that catch her eye.
Her process of creating is characterised by an inventive playfulness. A childhood love of 1980s Lego sets and national flags continues to inform an imaginative composing of collected shapes and line. Her image library is stored in sketchbooks, on studio walls and in plastic boxes such that her works reflect an ongoing investigation of nature’s “language of geometries.” Each individual element in her work holds an infinite variation of meaning which unfolds in the final relationship between shape and colour.
Rossouw primarily works in mixed media. She enjoys an opportunity to make something new from something existing such as old linocut blocks which are combined with carved wooden elements, charcoal and paint. She is particularly inspired by the traditional materials of South African artists and looks to work with linocut, woodblocks and drawing charcoal in contemporary ways.
Rossouw’s practice is characterised by an exploration of the dimensions of the natural world and the particular environments of South Africa. She is currently a lecturer at UCT’s School of Architecture. She obtained her Masters in architecture in 2009 and was selected to do a Master’s in product design at European Design Labs, Madrid. She has colaborated with IKEA (2017), participated in the Venice Biennale (2006) and won numerous awards and recognition for her design.
Selected Exhibitions and awards: 2018 – ‘Skrif’ at Woordfes, Stellenbosch; ‘Geon’ at World Art Gallery, Cape Town. 2017 – ‘Hour Work’ at Voorkamer Gallery; ‘Abstract’ at Younglood Gallery; ‘Folly’ at Smithstudio, Cape Town. 2016 – ‘Simboliek’ (solo) at Voorkamer Gallery; ‘Sketch’ at Smithstudio, Cape Town; ‘Between Stars and Tracks’ at The Project Room, Namibia. 2015 – ‘Two’ at Smithstudio, Cape Town; OppikoppiMusic Festival’s Resident Artist of the Year; Best Product Design2015 for 100% Design South Africa Awards. 2014 – “Stackable Storage Tower” nominated for MBOISA award for Most Beautiful Object in South Africa. 2013 – “In Good Company” at the Irma Stern Museum, curated by Michael Chandler. 2012 – Selected as one of Mail & Guardian’s 200 Young South Africansto watch; IN&OUT exhibition, Moscow Design Week.2011 – Just Mad Art Fair, Madrid; Winner of the DFA My Town Short Film & Documentary Competition.2008 – ‘The Peepshow,’ Emerging Creative at Cape Town Design Indaba.
Sarah Pratt is a highly skilled printmaker specialising in copperplate etching, linocut, collograph and monoprint. She begins her work with an object that interests her and then imagines what unexpected relationship to build with another object. The results are mapped in the final artwork where pen, paint, print and ink materialise her subjects. Her current interest is in drawing with gouache, pen and ink, but it is the process of layering (so fundamental to printmaking) that continues to influence her aesthetic. Pratt relishes the juxtaposition of unexpected or discordant objects and the absurdity and humour of dreams. Witty and endearing, Pratt’s works also communicate her own personal struggles with space and place, the loss of a beloved pet or humanity’s tenuous link with the natural world. Born in Zimbabwe in 1972, Pratt spent 10 years teaching printmaking part-time at UCT’s Michaelis School of Fine Art where she completed her MFA. She is an extremely prolific artist, constantly creating and actively participating in exhibitions.
Selected Exhibitions: 2018 – ‘Migration’ solo exhibition at Salon91; ‘Turbine Art Fair’, Johannesburg, Salon91 Booth. 2017 – ‘The Dark Forest’ at Rust en Vrede Gallery; ‘Oracle’ at Salon91. 2016 – ‘The Fox, The Owl and the Robber’, solo exhibition at Salon91; ‘The Grand III’ at Rust en Vrede Gallery. 2015 – ‘Dog Days’, solo exhibition at Salon91; ‘Narratives’ at Rust en Vrede Gallery. 2014 – ‘Away', solo exhibition at Salon91. 2013 – ‘I’d Rather be Swimming’, Salon91; Lytton Street studio Exhibition, Cape Town; ‘Shoes from Chinese Ships’ at Salon91.
Sean Gibson has an innate understanding of form, tone and light. His photography skill was honed on film format black and white cameras and has reached new technical heights since venturing into the digital world. Experimentation, a strong natural talent and persistence for perfection are what define his image creation. Timelessness infuses his images, which are crafted from impossibly long exposure times of tide or light or the more instant composition of natural forms whilst walking outdoors. He uses little post-production, preferring to craft the image onsite. His understanding of tonal range invests his images with a full and complex visual surface. This skill transforms potentially ordinary subjects into extraordinary meditations upon natural forces, the rhythm of the ocean or eternally shifting sky. As a surfer, Gibson’s love of the ocean is matched only by his passionate attention to weather forecast. Thus the shape of cloud, ocean surface or a change in wind direction communicates much more than an obvious aesthetic consideration but is directly linked to an active experience out at sea. As such, these subjects speak to Gibson of a deeper sense of natural beauty. Amongst the knowledge of filters, lenses and aperture lies a deeply intuitive artistic response to the landscape of his home in Cape Town.
TAHITI PEHRSON is a Northern Californian artist with long ties to the Bay Area. Recent works explore the fragility and interconnectedness expressed by physical structures. Large scale installations of geometrical hand cut paper are layered into three-dimensional structures. Pehrson has been working in paper for nearly fifteen years. Building sculptures by the cutting away of material, Tahiti Pehrson creates geometrical patterns of volume that speak to universal traditions of patternmaking throughout the history mathematics, arts, and crafts. Dating back to the first sign of Guilloche in Greek and Roman times, and seen independently throughout world history, variations of these patterns can be found across the natural and the manmade world. Within Pehrson’s sculptures, each shape receives light and serves the structure of the whole system, concentrically leading to the next variation to make a singular structure. These intricate sculptures explore interplays of light and shadow, building dynamic monochromatic constructions that give material form to the space-changing qualities of light. Elevating the spatial qualities particular to each commission, Pehrson’s works speak to site: shifting perceptions of volume and structure as the viewer moves around the work – and as the light evolves throughout the day. Born in 1972 to artist parents in Santa Rosa, CA, Pehrson began early life as a painter. Like many painters, Pehrson wanted to imitate light in such a way as to capture it. After traveling Mexico, China and the museums of Europe in search of art, he moved to San Francisco to follow in the footsteps of his father by attending art school in the Bay Area. At the San Francisco Art Institute, Pehrson found himself increasingly disillusioned with painting as he was exposed to new ideas and modes of working. In reaction, he sought to “drop-out” of art and work in the streets with stickers and stencil making – a process that would evolve into a more developed and dedicated practice of paper-cutting, together with also beginning a new process of public engagement.
Selected Exhibitions: 2018 – Paper Present, Daelim Museum, South Korea Jan 2018 to present. 2017 – AO, group exhibition, Salon91; Art on Paper Installation New York; Facebook Menlo Park New permanent collection installation; San Tropez Art Fair. 2016 – RVCA VASF, San Francisco, solo show, and capsule collection; Art at Viacom Artist in residence, Broadway, New York; K.Imperial Gallery, Solo show, San Francisco; Turbine Art Fair with Salon91; Side Street Studios Artist Residency, Cape Town; Converse Lovejoy Art Program, Boston Mass; Paths, with Andrzej Urbanski, Salon91. 2015 – Joseph Gross Gallery NYC, solo show; Cinders Gallery NYC, group show. 2014 – Light Suspension (solo), K.Imperial Gallery, San Francisco; Fold, Paper, Scissors, Mesa Arts Center, Arizona; Connectivity, solo exhibition, Salon91; New Works (solo), Mouki Mou, London. 2013 – Circadian Rhythm (solo), K. Imperial Fine Art San Francisco; Love Me Tender: contemporary artists Working in Currency, Bellevue Arts Museum, Bellevue WA; Active Synchrony, University of San Francisco.
TAHITI PEHRSON DOCUMENTARY – TRAILER
During February 2014, we were blessed to host a solo exhibition by Tahiti Pehrson. While the artist and his travel companion were in Cape Town, they filmed part of a documentary on Tahiti’s career as artist and his passion for skateboarding, as well as the ways in which people are universally connected, hence the name of his solo exhibition, Connectivity. Watch the beautifully crafted trailer here, which features music by Bilderberg Motel.
Zarah Cassim is a painter concerned with notions of perception. She uses the mediums of painting and photography to affect a viewer’s encounter with spatial illusion and reflect the creative filter through which she views the world. Woven into the theme of unveiling the artifice of reality, is a concern with natural forms and spaces. It is in natural forms that she finds the vehicle for a sense of disorientation: the reflection of a chaotic or absurd world, which marks a breaking point for the human condition. Each work is a personal reflection for Cassim: a sensitive, romantic memory. Some of her surfaces revel in the flat beauty of the painted mark, inviting the viewer to be seduced by the texture and material of her tool of illusion. Other works evoke a dream-like, ungraspable landscape that threatens to dissolve at any concrete claim over form. Cassim graduated with an Honours in Fine Art from the University of Cape Town in 2014. She currently lives and works between Paris, Los Angeles, Granada and Cape Town.
Selected Projects & Exhibitions: 2018 – Cape Town Art Fair, Salon91 Booth; The Other Art Fair, Los Angeles; Art Hamptons, Envie D’Art; Otomys’s Gallery, Melbourne. 2017 - Trees Make Forests, end-of-year group exhibition, Salon91; The Guise of Reality, a solo exhibition at Salon91; The Other Art Fair, New York; Turbine Art Fair with Salon91; Nano 1.1, group exhibition at Barnard Gallery; Affordable Art Fair: New York, Stockholm, London, Amsterdam, Singapore. 2016 - KKNK, Absa Gallery. 2015 - Finalist, ABSA L’Atelier; Turbine Art Fair with Salon91; These Spaces/These Places, solo exhibition at 99Loop; Paint It Black, a group exhibition of young South African painters, Salon91; Stellar, an end-of-year group show, Salon91. 2013 - Finalist, Sasol New Signatures.