ALONG THE LINE

26.02 - 28.03.2020

An exhibition of Watercolour Monotypes by Amber Moir


Amber Moir: Along the Line

For her second solo show with Salon91, Amber Moir continues her exploration of the limits and possibilities of watercolour monotype printmaking. In Along the Line, a process-orientated show, Moir traverses the parameters and intentionally wanders outside the margins.

The title of the exhibition refers to the interplay between adhering to and deviating from self-imposed rules and printmaking conventions. Following an often intuitive, experimental and fluid process, in this body of work Moir explores within, around and beyond orthodox ways of printing. Each artwork is a response, firstly to the “line” – restrictions of the process – and secondly to the other pieces in the collection of works. It is this moving beyond and within the “line” that binds the works into a cohesive whole and connects the conventional and experimental monotype prints. “For this show I became interested in seeing works as selected visual elements ‘pulled out’, breaking the confines of the printing plate and then reconstructing a ‘whole’ using multiple prints in space,” Moir explains.

The large landscape piece To the Reach is the anchor point of the show, drawing the line from which the other works respond. The swathes of colour and loose brush marks resemble an aerial view of a landscape. While neatly contained within the demarcated frame of the border, the boundaries of this landscape drift away; the edges slide off the pane. Each of the other works is a fragment of this piece, an alternate view honing in or zooming out to explore different parts of the whole. The colour palette of each work is likewise derived from deconstructed swatches of the motley and muted shades in To the Reach. By presenting the works suspended in an installation, Moir reassembles these sectional views into a fragmented whole, but one which shifts and moves, where negative space becomes an active delineator, and plurality of perspectives unites the sum parts into the whole.

Contradictions are incorporated into the logic of Along the Line: rules are outlined and then broken, quiet works demand space, and the delicate, seemingly ephemeral works are the product of an intensely physical and laborious process – printed outdoors with a pitch-roller. Moir began experimenting with this through a desire to challenge her sense of control and force herself to surrender to the process. Printing with a pitch-roller requires the whole body to work the print. Unlike the controlled environment of the studio press, this method of printing is imprecise, unpredictable, leaving traces of the process in folds, creases, tears in the fabric. But this malleability and materiality is precisely what interests Moir. The fabric used is similarly chosen for its textural integrity: “I like the durability, rawness and practical connotations of the calico as substrate; it is straight from the loom and unbleached, so it has a warmth and grit to it that I like,” Moir explains.

Monotypes are unique in printmaking in that a plate yields a single transfer. In this sense the process can be understood as a hybrid between painting and printing. Watercolour pigments are painted onto a sheet of polypropylene plastic coated with gum arabic, before being passed through a press or rolled with the pitch-roller to transfer a mirror image of the plate onto the substrate. By working in watercolour, which is delicate by nature, Moir is mindful of the inevitable loss of mark and pigment in the process of transferring the image from plate to fabric. The print becomes like a ghost of the plate, imbued with its presence, a trace of the line.

In Along the Line, Moir’s most ambitious body of work to date, process and concept become inextricably combined and impressed into one another. Each work is at once both a fragment of the larger visual narrative of the collection, and a unique experiment traversing the parameters of printmaking.

Text by: Layla Leiman


 

ARTWORKS:

 

INSTALLATION VIEWS:

 

INVESTEC CAPE TOWN ART FAIR 2020

14.02 - 16.02.2020

Venue: Cape Town International Convention Centre

Booth Numbers: B11 in main galleries / B12 in solo section

From the 14th – 16th of February 2020, the 8th edition of Investec Cape Town Art Fair (ICTAF) will return to the Cape Town International Convention Centre (CTICC). Positioned as the leading art fair in Africa, ICTAF 2020 will include the foremost galleries from South Africa, the African continent, and abroad.

Salon Ninety One will be participating in the MAIN GALLERIES and SOLO sections of the fair this year.

The main gallery exhibit will be located at Booth B11, and will feature the latest works of Amber Moir, Chloe Townsend, Heidi Fourie, Jeanne Hoffman, Katrin Coetzer, Kirsten Beets, Kirsten Sims, Linsey Levendall, Nicole Clare Fraser, Paul Senyol and Zarah Cassim.

At Booth B12 the gallery will be presenting a curated solo exhibition by Kirsten Beets.

ARTWORKS:

AMBER MOIR

 

CHLOE TOWNSEND

 

HEIDI FOURIE

 

JEANNE HOFFMAN

 

KATRIN COETZER

 

KIRSTEN BEETS

 

KIRSTEN SIMS

 

LINSEY LEVENDALL

 

NICOLE CLARE FRASER

 

PAUL SENYOL

 

 

ZARAH CASSIM


 

LINKS RELATED TO THIS EXHIBIT:

metalmagazine.eu | "Ten artists you can't miss"Read Article Here

 


 

WILDFLOWERS

07.12.2019 - 18.01.2020

 

Year-end group salon in aid of Ilitha Labantu, celebrating the diversity, beauty and resilience of women.

Opening Saturday 07 December 2019 at 11am.
Concludes 18 January 2020 at 2pm.

Exhibiting Artists:

Adele Van Heerden
Alexia Vogel
Amber Moir
Andrew Sutherland
Berry Meyer
Black Koki
Bruce Mackay
Chloe Townsend
Craig Smith
Emma Nourse
Gitte Moller
Heidi Fourie
Jade Klara
Jean de Wet
Jeanne Hoffman
Jessica Bosworth Smith
Joh Del
Katrin Coetzer
Katrine Claassens
Kirsten Beets
Kirsten Sims
Lara Feldman
Lara Meintjes
Laurinda Belcher
Lili Probart
Maaike Bakker
Mareli Esterhuizen
Marolize Southwood
Mona Haumann
Nicole Clare Fraser
Patricia Fraser
Paul Senyol
Sarah Biggs
Tara Deacon
Zarah Cassim

Since our gallery was established in 2008, we’ve maintained the tradition of hosting our annual December show, held in aid of a local charity, whereby 10% of all artwork sales have been donated to our chosen cause. This year we’ve decided to support Ilitha Labantu, an organisation which was started in Gugulethu, Cape Town, during February 1989. At that time it was the only organisation in any township of Cape Town providing emotional support, practical advice and education around the serious issue of violence against women.

Visit their website for more information.

PREVIEW:

SYDNEY CONTEMPORARY ART FAIR

Sydney Contemporary Art Fair 2109

12.09 - 15.09.2019

Salon Ninety One was proud to be a part of the fifth edition of the Sydney Contemporary Art Fair at Carriageworks, Sydney, Australia.

We have took a very playful approach to scale, colour and installation within our SCAF 2019 booth, characteristic of Salon Ninety One gallery, our Artists and our aesthetic. The Gallery Booth A01 featured the work of Salon Ninety Onesignature artists, Kirsten Beets, Paul Senyol and Kirsten Sims. In addition to our featured booth Artists we were thrilled to be representing the work of Amber Moir at NEXT, a group exhibition platform with works from around the world carefully selected by the SCAF team.

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 works 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.

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, South Africa. Sims completed a BA in Applied Design at the Stellenbosch Academy and her Honours degree in Illustration at Stellenbosch University. She currently works on editorial and commercial illustration projects while exhibiting her artworks both locally and internationally. Sims paints with a combination of inks, acrylics and gouache on museum board.

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.

AMBER MOIR's unconventional approach to making her watercolour monotypes explores and reconstitutes the limitations of traditional printmaking techniques. Moir’s large works are the result of the intensely physical and unpredictable process of printing with a manual pitch roller. She says of her method: “The challenges within my process create space for the works to acquire greater meaning and be more successful than if it were predictable and easily controlled”. Original paintings are impressed onto calico, creating a confluence of painting and print. Gashes, strips of folded fabric and uneven printed surfaces serve as visual cues of the presence of Moir’s body in her process. Moir graduated from Stellenbosch University with a degree in Fine Arts in 2014. She has worked from Cape Town, South Africa since returning in 2017 from two years of living and teaching on Kyushu Island, Japan.

Beets’ background in 3D rendering, Sims’ formal training as an illustrator and Senyol’s formative years as street artist have come to influence their personal visual language, ensuring an interesting conversation between their diverse works within the walls of the Salon Ninety One booth and the greater context of the fair itself. Their work has shown significant growth, with the artists takings risks, in refining their techniques and pushing the boundaries of their chosen medium. Paul Senyol was the first artist to ever exhibit with the gallery, Kirsten Beets and Kirsten Sims have been showing with Salon Ninety one for eight and seven years, respectively. Amber Moir recently held her first solo exhibition with our gallery and is known for her monotypes on paper and fabric, printed by way of a highly energised and physical process utilising a pitch-roller in order to create these unique works.

We look forward to sharing our Artists latest works with new collectors from Australia and Asia.

Should you wish to receive a catalogue please contact enquiries@salon91.co.za

If you are visiting the fair and need to reach us telephonically we are available on Whatsapp only +27 82 679 3906

Please note that this collection is available exclusively from the Sydney Contemporary Art fair, Australia.

ARTWORKS | NEXT PLATFORM AT SCAF 2019

AMBER MOIR

 

ARTWORKS | BOOTH A01 SCAF 2019

KIRSTEN BEETS

 

KIRSTEN SIMS

 

PAUL SENYOL

 

INSTALLATION VIEWS

 


 

LINKS RELATED TO THIS EXHIBITION:

Article | The Guardian | "Sydney Contemporary 2019: Australia's largest art fair scales it down"

 


 

REGARDING WINTER

12.06 -13.07.2019

A mid-year group show

We are delighted to be sharing works by our regular Salon Ninety One favourites, extremely talented associated artists, as well as some exciting new signatures. Participating artists include: Alexia Vogel, Amber Moir, Andrew Sutherland, Chloe Townsend, Gabrielle Raaff, Heidi Fourie, Jade Klara, Katrin Coetzer, Katrine Claassens, Kirsten Beets, Kirsten Sims, Lara Meintjes, Laurinda Belcher, Linsey Levendall, Mareli Esterhuizen, Michael Amery, Natasha Norman, Nicole Clare Fraser, Paul Marais, Paul Senyol, Rico, Sarah Biggs, and Tara Deacon.

ARTWORKS:

 

ALEXIA VOGEL

 

AMBER MOIR

 

ANDREW SUTHERLAND

 

CHLOE TOWNSEND

 

GABRIELLE RAAFF

 

HEIDI FOURIE

 

JADE KLARA

 

KATRIN COETZER

 

KATRINE CLAASSENS

 

KIRSTEN BEETS

 

KIRSTEN SIMS

 

LARA MEINTJES

 

LAURINDA BELCHER

 

LINSEY LEVENDALL

 

MARELI ESTERHUIZEN

 

MICHAEL AMERY

 

NATASHA NORMAN

 

NICOLE FRASER

 

PAUL MARAIS

 

PAUL SENYOL

 

RICO

 

SARAH BIGGS

 

TARA DEACON

INSTALLATION VIEWS:

IN PRAISE OF SHADOWS

27.02 - 30.03.2019

A solo exhibition by Amber Moir

Working exclusively with watercolour monotypes, Moir’s unconventional approach to printmaking explores and reconstitutes the limitations of traditional monotype techniques. Moir’s large works are the result of the intensely physical and unpredictable process of printing with a manual pitch roller. She says of her method: “The challenges within my process create space for the works to acquire greater meaning and be more successful than if it were predictable and easily controlled”. Original paintings are impressed onto calico, creating a confluence of painting and print. Gashes, strips of folded fabric and uneven printed surfaces serve as visual cues of the presence of Moir’s body in her process. These marks, made in collaboration with the medium, echo a sentiment from the show’s eponymous text in which the author Jun’ichirō Tanizaki asserts that “the quality we call beauty must always derive from the realities of life”.

While the title In Praise of Shadows links the show to Tanizaki’s ruminations on materiality, space and architecture, it is also an acknowledgement of anonymous figures that carve out their lives on the periphery. The “woman of old” - depicted in Tanizaki’s text as existing so deep within the shadows of the home that she is “inseparable from darkness”- becomes a particular point of focus, as Moir moves this ambiguous figure to the centre of her work. The show’s titles are drawn from descriptions of this character as well as fictionalised impressions of her. In this way, Moir subverts Tanizaki’s text by reassigning the authorial voice; presenting a body of work made from this fleetingly mentioned figure’s point of view.

ARTWORKS:

INSTALLATION VIEWS:

INVESTEC CAPE TOWN ART FAIR 2019

15.02 -17.02.2019

SALON NINETY ONE | BOOTH B10 | CAPE TOWN INTERNATIONAL CONVENTION CENTRE (CTICC)

ARTISTS | Amber Moir. Cathy Layzell. Heidi Fourie. Katrin Coetzer. Kirsten Beets. Kirsten Sims. Linsey Levendall. Maria van Rooyen. Natasha Norman. Paul Senyol. Zarah Cassim.

ARTWORKS:

AMBER MOIR

 

CATHY LAYZELL

 

HEIDI FOURIE

 

KATRIN COETZER

 

KIRSTEN BEETS

 

KIRSTEN SIMS

 

LINSEY LEVENDALL

 

MARIA VAN ROOYEN

 

NATASHA NORMAN

 

PAUL SENYOL

 

ZARAH CASSIM

 

INSTALLATION VIEWS

 

 

FOLKLORE

01.12.18 – 16.01.2019

SALON NINETY ONE End-of-year salon-style group show in aid of True North

Accessible, affordable artwork across a broad range of mediums by some of Salon Ninety One’s favourite emerging and established creatives. This year our Gallery and Exhibiting Artists will be donating ten percent of all artwork sales to the True North Organisation. Spoil yourself or a loved one with that special one-of-a-kind artwork and make a difference to the life of someone much younger and less fortunate. True North is a non-profit organisation that is pioneering Early Childhood Development (ECD) initiatives within marginalised communities.The historical lack of adequate provisioning of basic services to poor communities manifests itself within all spheres of society, ultimately resulting in a vast loss of human potential. The long-term ripple effects of inequality includes increased rates of unemployment, disease, substance abuse and the fragmentation of family units, and unfortunately young children are the most at risk. An incredible developmental window of opportunity exists within these early years, and it rapidly diminishes with age. This potential for growth into a “whole” person is not limited to academic development, but encompasses every part of the child’s world. As we celebrate ten wonderful years of Salon Ninety One, we recognise the light, love and hard work that has gone into building the True North organisation since 2007. Join Salon91 and our generous young artists this festive season in our quest to give the Vrygrond community and the youth of our country a brighter future.

For more information about the True North Organisation, please visit their website.
For any enquiries pertaining to the exhibition, please contact the gallery on 021-424-6930 or email enquiries@salon91.co.za

 

ARTWORKS:

 

ADELE VAN HEERDEN

 

AMBER MOIR

 

ANDREW SUTHERLAND

 

BERRY MEYER

 

BLACK KOKI

 

BRUCE MACKAY

 

CATHERINE HOLTZHAUSEN

 

CATHY LAYZELL