ENDLESS

23.05 – 30.06.2018

An exploration of transience, process, and surface

Group exhibition featuring Georgina Berens, Amber Moir, Natasha Norman and Gabrielle Raaff.

 

“Amber Moir, Natasha Norman and Gabrielle Raaff have each visited Japan, while Georgina Berens spent some time in Finland. Quite clearly their experiences in these places have left an indelible mark on all of their practices.

While Japan and Finland are worlds apart, there is some commonality. In many ways, the two represent respectively the eastern- and northernmost reaches of human settlement. In these extremes, as much by necessity as by practice, human culture is closely bound by and deeply immersed in the elements and seasons, in their states and cycles.

Amongst all four of these artists is insistence on the transitory over the permanent, and on process over result. And there is a shared concern with surface, even where imagery comes to the fore, in all of their work. Importantly, there is also something intangible, elusive, something that resists a definitive conclusion in all of the results. This, I would contend, represents in part each artist’s response to the above-mentioned environments.”

[Excerpt from an introductory essay written by Paul Edmunds, May 2018]

 

For any enquiries or catalogue requests, please contact the gallery on 021-424-6930.

 

ARTWORKS:

 

AMBER MOIR

 

GABRIELLE RAAFF

 

GEORGINA BERENS

 

NATASHA NORMAN

 

 

INSTALLATION VIEWS

 


 

LINKS RELATED TO THIS EXHIBITION:


‘ENDLESS’: A Review

 


 

 

Amber Moir

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.

 

 

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