DEC/JAN 2021/2

ARTTIMES.CO.ZA
18-20 FEBRUARY 2022

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w w w. s w e l c o . c o . z a
Willem Hermanus Coetzer | A ROAD IN THE DRAKENSBERG
06 W W W. A R T T I M E S . C O . Z A
 Art Times Dec/Jan 2021/2 Edition

CONTENTS
Emma Nourse: Tangled in a Vase, 2021,
Oil on silk, 825 x 625 mm, Framed
From What a blooming mess by Emma Nourse,
salon91.co.za

10. M.O.L 25 - UNPACKING EUROPE

Ashraf Jamal Column

16. CONNECT THROUGH ART FROM

AFRICA AND THE WORLD
Investec Cape Town Art Fair 2022

24. SASOL NEW SIGNATURES 2021

Winners and Exhibition Announced

30. DIANE MCLEAN

Mystery in the Everyday

36. POP AND EARTHSONGS EXHIBITIONS

By Lethabo Gumede

42. PRINCE ALBERT OPEN STUDIOS

Summer Edition

52. EXPERIENCE GLEN CARLOU

Delight In The Extraordinary

58. AN ENCHANTING SUMMER SEASON

AT LA MOTTE
A Cut Above The Rest

64. PHANTASMAGORIA
A Collection of Fantastical Dreamlike Artworks

72. BUSINESS ART

Fine Art Auction highlights

78. ARTGO
Exhibition Highlights

99 Loop - ICTAF 2022, Ilené Bothma, Remnant II,

2021, Oil on canvas, 90 x 125 cm
Editors Note

A s the earth turns and completes its yearly orbit around the sun, things,
in essence, should hopefully slow down for the holidays allowing a
period of welcome retrospection and rejuvenation. The art world is no
SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

real exception as artists, collectors and dealers go to the couch, country,

and coast, and the world breaths a sigh of relief. CONTACT ART TIMES
Tel: +27 21 300 5888
In this combined December – January edition we have sought to include 109 Sir Lowry Road,
incredible art destinations. As a country we are still well blessed with
quality art establishments that include The Norval, Zeitz MOCAA, Rupert Woodstock, Cape Town
Museum, Dylan Lewis Sculpture Garden, Rust en Vrede Gallery, Javett,
Nirox Art Centres, and Oliewenhuis Museum.
PUBLISHER
Also included are the many galleries in town that are a pleasure to pop Gabriel Clark-Brown
into while you have time - a few to look up would include Salon91; Daor; editor@arttimes.co.za
The viewing Room at St Lorient; Gallery2; Nel; Deepest Darkest; Art Is Art;
Ground Art Caffe; Melrose; Eclectica Contemporary; Cape Gallery.
ADVERTISING
Many wine estates such as Spier, La Motte, Glen Carlou combine art, food, & MARKETING
and accommodation- lifestyle in a sense of holistic pleasure, escapism,
and in a sense healing. The ultimate get away would be the Art Towns of Eugene Fisher
Riebeek Kasteel and Prince Albert- who are celebrating with their colourful sales@arttimes.co.za
Open Studio’s.

As I advise all our readers to do on their holidays, go out of your way and DIGITAL MEDIA
make a mark, a drawing, take an A4 piece of paper out your printer tray - & EXHIBITION LISTINGS
crunch it up, unfold it and make it yours, then draw something that means Jan Croft
something to you: your pet, flowers, or portrait or a draw a picture that you
would want to see, and make a discovery, and then another one.I would subs@arttimes.co.za
like to thank you for your support for the Art Times this year, and wish you
a very blessed Christmas and festive season. ART DIRECTION
PS : I thought that would include a lovely description of a title of an Brendan Body
exhibition I saw at 131A Gallery:
ARTGO CONTENT
‘Playing With Catastrophe’ is a
reconnaissance into surviving the info@artgo.co.za
present tense – A rollercoaster ride
through the strangeness of our
time. The trashy online culture of Rights: the Art Times magazine
everyday catch phrases juxtaposed reserves the right to reject any material
against the severity of our impending that could be found offensive by its
readers. Opinions and views expressed
climate catastrophe highlights in the sa art times do not necessarily
the bipolarity of negotiating the represent the official viewpoint of the
editor, staff or publisher, while inclusion
present human experience. Mood of advertising features does not imply
swing melodramas and existential the newspaper’s endorsement of any
melt downs find a counter balance business, product or service. Copyright
of the enclosed material in this
with depictions of tenderness, publication is reserved.
camaraderie and escapism. This
body of work is an attempt at Errata: Hermanus FynArts - would like
to apologise for omitting the name
seeking some levity and perspective of Karin Lijnes from the list of artists
within the overwhelming pendulum who are exhibiting at Sculpture on the
Cliffs - 2020. Her work, Freedom Tree
of modern life.” - Olivié Keck comprises of a large steel mobile of five
ceramic bird forms.
Olivié Keck - Soul Time, 2021 Acrylic on
board, framed, 39,5cm x 28cm see more at
131agallery.com
@ARTTIMES.CO.ZA

08 W W W. A R T T I M E S . C O . Z A
 EXHIBITIONS
2021

ANY GIVEN SUNDAY

Artful Chance Encounters
29 June - 16 January 2022

THE JOHANNESBURG
STATION PANELS
Pierneef’s Journey

ICONography
The symbols of Rembrandt,
Rorke’s Drift and Ardmore
3 August - 30 January 2022

FESTIVE SEASON
We will be closed on
24 - 28, 31 December & 1 January
Sydney Kumalo (1935-1988)
St Francis, 1961
Red stone
Rupert Art Foundation Collection

Stellentia Road, Stellenbosch

Tue – Fri: 10:00 – 17:00
Sat – Sun: 10:00 – 16:00
info@rupertmuseum.org
021 888 3344
www.rupertmuseum.org
M.O.L 25
UNPACKING EUROPE
Ashraf Jamal

I n an era in which we are quick to indict

others for ‘cultural appropriation’,
Johannes Phokela, thankfully, has been
On entering the show, the first painting one
sees is of a black man on the verge of clubbing
a white man to death – whether he does or
redeemed from this charge. Is this because not is another matter. The black man wears
he is a black artist re-interpreting European a loin cloth, the white man is in 17th century
art? Are some accorded liberties, while gear. The scene is set on a rocky beach, in the
others not? No matter, this is the subject
distance, bizarrely, we see an oil rig. Clearly,
of another boxing match. What intrigues
we are caught in a temporal mashup. Framing
and delights me here is Phokela’s playful
the whole in white is the declaration: EATING
immersion in the artists of the Southern
and Northern Renaissance, namely PEOPLE ISN’T ALWAYS WRONG. Humour
Caravaggio, Breughel, Rubens, among is key. This is because Phokela is primarily
many others. While the artist’s adaptations inspired by a comic perversity. Aware that we
or reworkings are cavalier, off-the-cuff and are acutely conversant with the devastation
deliberately rough in execution, one cannot of colonial extraction and exploitation – the
ignore their allusive power. Standing in paintings of the Renaissance are profoundly
front of a Phokela painting, we feel that informed and shaped by Imperialism – Phokela
we are in the midst of a secret, allowed free nevertheless seeks not to rub our noses in an
entry into a playful conspiracy. However, incontrovertible historical fact, but, reflexively,
for Storm Janse van Rensburg, co-curator playfully, entertain, or edutain, us. His revisionist
of the show, Phokela’s ‘vision is of a world take is a jolly act of cannibalism. Phokela
history drenched in the spoils of violence’. engages our attention by skewing the received
This is true, but it is not the entirety of context and culture of reception; and does so
the story. How so? Because Phokela is without puffed up moral outrage. Comprised
not solely perturbed by the absence of
of works from various periods, the Phokela
black bodies in the European narrative,
retrospective can be seen on our doorstep,
or their servitude therein, but – through
his reworking of the story – their integral Zeitz MOCAA (Museum of Contemporary Art
role and place within it. He never forcibly Africa), located at the southernmost point of
reintegrates blackness into white history. Africa – Cape Town’s Waterfront – far removed
Neither does he believe, like Titus Kaphar, from the hub of European power, and yet,
that white history must be amended, in the profoundly connected to it. Cape Town, after
manner, say, of the amendment of a legal all, played an integral role in imperial maritime
constitution. Phokela, unlike Kaphar, is no traffic between West and East. As a port-city, it
ideologue or politician. is a construct of empire.

“Phokela nevertheless seeks not to rub our noses in an

incontrovertible historical fact, but, reflexively,
playfully, entertain, or edutain, us.”
Portrait of Johannes Phokela in his studio, Johannesburg, August 2021.
Photograph by Anthea Pokroy, courtesy of Zeitz MOCAA

10 W W W. A R T T I M E S . C O . Z A
Above: Flight of Europa, 2015, Oil paint on canvas, 200 x 170cm
Opposite Page: Porch Resolution, 2021, Oil on canvas, 122.5 x 91cm

Long before the 1500s, however, Africa was a bounteously plump white naked male grandee
recognised as a font of dread and inspiration and his child and black wife, in an apron, her
in the Western mind. It is not for nothing that firm round buttocks exposed, as she erotically
the Roman, Pliny the Elder, should declare – poses between Springbok and a washing line.
‘Semper aliquid novi Africam adferre’ – out This last pastoral scene is a delight, because
of Africa something new emerges. Indeed. In it refuses irony, defuses skepticism, and wholly
Phokela’s case, novelty comes with a sucker embraces the normalcy of what, for those
punch. A monkey in a prison is acquainted with repressed, or bigoted, may seem atrociously
the writings of Darwin, Marx, and Nietzsche. A off-kilter. But that is Phokela’s point. He is less
Bacchus inspired revelry displays zero inequality interested in the revisionist desire to correct
amongst its mixed-race male party animals. A an historical wrong, than he is concerned
pastoral scene – inspired by Rubens? – reveals with spoofing history, and delighting in what

12 W W W. A R T T I M E S . C O . Z A
it refuses to reveal. Egalitarian revelry, dance,
the orgiastic, macabre, and comedically radical
– in the case of the Lucio Fontana inspired
slit canvases – converge in a story boarded
exhibition which mines many years, moods,
and phases of painting, willing nothing other
than the audience’s pleasure.

Phokela is never high-minded, never moral,

and most certainly never righteous. In this
breast-beating-pompous-shameful/shaming
time, his art is a breath of fresh air, and a
great relief. Phokela possesses none of Titus
Kaphar’s politically correct provocation, nor
Kehinde Wiley’s parodic flatulence. He is Above: Laplandish Dream, 2014, Oil on canvas, 200 x 70 cm
Opposite Page: Cult of Reason, 2021, Oil on canvas, 122.5 x 91cm
neither excessively earnest nor lite. If Phokela’s
pitch is healthy, it is because he hotwires Yet another in a series of major solo exhibitions
historical pain and forgotten fun. Most of all, at Zeitz MOCAA, Phokela’s show – with the
Phokela understands the value of painting as enigmatic title, Only Sun in the Sky Knows How
pleasure and entertainment, something which I Feel – (A Lucid Dream) – is an encouraging
the pious and dour among us long forgot. Of choice, because of its buoyancy. Revisionism
course, one can justly argue that there is also can be dull and tiresome, no matter how
great seriousness in what Phokela does – he is, necessary. In Phokela’s case, thankfully, is
after all, rethinking history. However, it does not comes with the ‘sun’, a positive healing source.
follow that he must instruct us as to the moral That he has subtitled the show ‘a lucid dream’
inequities that undergird this history – the black is a further reminder that Phokela finds greater
body as the phantom and slave of Empire. That clarity in the oneiric, in realms inscrutable to
is true, but it is not the entire truth. logic, propelled wholly by wonder. In the end –
after a gruelling two years, our brows knit with
Notwithstanding my view of Kehinde Wiley as despair – what better way to wrap up the year?!
a painter who errs on the side of triviality, the
ephemeral that is Pop, he has of late informed ‘A large part of Johannes Phokela’s practice is to
us of a wish to depict positive visions of black interrupt the past with the present’. This is true.
life in the 21st century. But then, this desire is Phokela never defers to the past, but shows
the rage. Now, more than at any other point us how we belong to it, and how we can alter
in a Eurocentric/Western history, black life is time’s continuum. Rupture is not necessarily
being readdressed, reenvisaged. The panoply innovative. Sometimes all that is needed is to
of emergent black artists is rapidly expanding, embrace one’s inheritance, the better to shape-
their works avidly sought. Johannes Phokela, shift it. Irrespective of race, gender, or sexual
however, has been banging this drum for persuasion, Phokela’s democratic show is one
decades. It is unsurprising, therefore, that that carries much surprise. There is nothing
Koyo Kouoh, the Director of Zeitz MOCAA predictive within it, nothing designed to force
and co-curator of the Phokela show, should the hand, convert the mind. No demagoguery
remind us of the artist’s immense importance lurks about, no sanctimony. Rather, Phokela’s
domestically, on the continent, and across is a world irresistibly lovable and uproariously
Europe. For Kouoh, we need to shift from profane. It is not only Europe which Phokela
our provincial purview, and ‘reconstruct a unpacks, but also each one of us here in
continental perspective’, if we are to reintegrate Africa, whatever we are, wherever we reside,
ourselves in an increasingly divided and divisive irrespective of what we imagine ourselves to
world. In this regard, Phokela is the arsenal and be. Truly progressive art is rare. Art that truly
the glue. Parity, mutuality, conviviality, are the delights more so. Enjoy!
driving energy in paintings which never lose
sight of the presence and beauty of Africans in
a white narrative and mythology.

15
Book Review
ASHRAF JAMAL: STRANGE CARGO

“He has written with

equal intensity about
artists old and young,
dead or alive, famous
or relatively unknown,
black or white,
trending or not.”

Written primarily between 2019 and 2021, A painful, beautiful, and incisive portrait of
and set to be published by Skira in January what was, what is, and what might come.
2022. It can be regarded as the twin of Jamal’s Ashraf Jamal makes the tension between ar-
previous book, In the World: Essays on tistic practice, history, and society palpable
Contemporary South African Art (2017), which in this series of searing essays, capturing
Afonso Dias Ramos described as ‘unlike any the spirit and essence of the South African
publication on the topic . . . a masterclass landscape of contemporary art.’—Koyo
in arts criticism.’ In this, Strange Cargo is no Kouoh, Executive Director and Chief Curator
different. Both form part of a single venture of Zeitz MOCAA and Founding Director of
to celebrate and entrench the rich complexity RAW Material Company.
of South African artists in a global imaginary.
The artists that Jamal chooses to reflect upon Available in March 2022 from good bookshops
refuse to fit into a predictive algorithm. He near you
has written with equal intensity about artists
old and young, dead or alive, famous or Pre-orders: to: no.ism.no.skism@gmail.com
relatively unknown, black or white, trending or by 10 January 2022 to secure your copy at a
not. Love and empa-thy—his indifference to discounted rate of R900 (while stocks last).
difference—is hisengine room, and much like
the artists featured, Jamal does not only write
for the moment we are in, but for a readership
to come.

16 W W W. A R T T I M E S . C O . Z A
WWW.SALON91.CO.ZA
CONNECT THROUGH ART FROM
AFRICA AND THE WORLD
Investec Cape Town Art Fair takes place from 18 - 20 February 2022
at Cape Town International Convention Centre (CTICC).

A fter two years of physical events

cancelled globally, Cape Town will once
again welcome the art world to connect for
and guest-curators Nkule Mabaso, Luigi Fassi
and João Ferreira about what to look forward
to for the hybrid physical and digital event
an in-person event for the ninth edition of happening next year.
Investec Cape Town Art Fair.
Laura Vincenti, Director of Investec Cape
During the unprecedented times brought on Town Art Fair
by the pandemic, viewing rooms became
the new Art Fairs and white cube galleries What role do you think Investec Cape Town
navigated their way off floor plans and on Art Fair plays in the art ecosystem?
online platforms. Investec Cape Town Art Fair
joined forces with Artshell (a customized web Laura Vincenti: Investec Cape Town Art
and app platform) and launched a digital event Fair is the largest Art Fair on the African
in 2021 and will deliver 2022’s hybrid physical continent, providing a platform for connection
and digital edition of Africa’s largest Art Fair and interaction between artists, exhibitors,
showcasing international artists and those curators, museums, cultural institutions,
from the African Diaspora. collectors and art appreciators. It creates an
opportunity for engagement that welcomes
For Art Times Summer Edition cultural meaningful dialogue, education and far-
historian PETRA MASON spoke to Investec reaching interaction around contemporary art
Cape Town Art Fair Director, Laura Vincenti from Africa.

18 W W W. A R T T I M E S . C O . Z A
The Fair facilitates space for the art network a dialogue on representation and physical
to evolve, lending support to the visibility and versus virtual connection.
celebratory exchange of art.
ALT features installation-based works and
It is a cultural teaser for local institutions innovative booth formats with a fresh vibe.
to collaborate on exchanges and a unique
opportunity to connect through art with the What can we expect/ are there new
world under one roof in a very short time. approaches to MAIN and SOLO?

What do we have to look forward to in the Laura Vincenti: In this upcoming year
new section ALT SOLO will explore how artists have reacted
to intimacy and introspection caused by the
Laura Vincenti: ALT debuts in 2022 and is pandemic, as well as the effect that exchange
dedicated to projects that reflect the many ways and collaboration have on artistic practice as
in which the art world had to adapt in response a whole.
to the global shift from physical to virtual.
SOLO is an extension of Investec Cape Town
Young, non-traditional exhibitors have Art Fair’s project, Insight-out, launched in
the opportunity to showcase their artists 2020 - a playful Q&A addressed to artists
in a nonconventional way, though in the during isolation highlighting their everyday
conventional setting of an Art Fair, opening lives. In its fourth iteration, SOLO will feature
Botho Project Space, [Main], Cinthia Sifa Mulanga, Shades of Ambition, 2021, Mixed Media on Canvas, 80cm x 120 cm

work from artists including Luyanda Zindela While we still firmly believe that a digital event
(South Africa) of SMAC Gallery in South Africa, cannot replace the transformative nature of an
Thebe Phetogo (Botswana) of Guns and Rain in-person art experience, the digital event has
in South Africa, Brett Seiler (Zimbabwe) of provided benefits to the overall experience of
Everard Read in South Africa, Osvaldo Ferreira viewing and collecting art. Investec Cape Town
(Angola) of THIS IS NOT A WHITE CUBE in Art Fair 2022 is a hybrid event intersecting
Angola, Duduzile (DuduBloom) More (South the physical and the digital spaces of the art
Africa) of Berman Contemporary (South world, and offers a multi-faceted opportunity
Africa), Johannes Phokela (South Africa) of for all participants of the fair.
Eclectica Contemporary (South Africa).
Luigi Fassi and Nkule Mabaso are the co-
More than ever our MAIN section will see curators of TOMORROWS/TODAY section
collaboration between different exhibitors and at the Fair.
artists, a platform to be seen as an opportunity
to commit on new projects that go beyond the What do we have to look forward to / is
geographical and cultural barriers. A more there a new approach for TOMORROWS/
meaningful way to connect and/or reconnect TODAY in 2022?
people through art. Luigi Fassi: As a post pandemic edition (and
not even fully post pandemic, since we’re all
Has your role changed because of Covid-19 still coping with its consequences), we decided
and the move to online viewing and to focus more in 2022 on African practices
collecting? and galleries based in South Africa and in
Laura Vincenti: There is a transformation the continent, to create a stronger statement
happening in the art world. The first Investec on what the scene is offering. We’ve decided
Cape Town Art Fair Digital Event gave us the not to build the section by predetermining
opportunity to support and showcase South thematic or narrative topics and there are no
African artists, whilst continuing to connect privileged conceptual models to define its
with international exhibitors, partners, visitors, nature. The visitors will for sure come across
media and creatives. different painting practices and this mirrors the

20 W W W. A R T T I M E S . C O . Z A
Everard Read, [Main}, Daniel Naude, Study For Portrait 1, Homing Pigeon, 2016, C-PRINT, ED OF 7, 100 X 125cm

strength of this medium in the current moment. What are the burning curatorial issues to
In general the architecture of TOMORROWS/ focus on in global art right now and why?
TODAY 2022 is given by the emerging force of Luigi Fassi: Identity politics, as well as
the projects presented, which all bear witness the debate on history and the way we are
to a critical and uncompromising urgency supposed to evaluate it from a contemporary
with regard to artistic work, capable of raising perspective. Artists can offer an incredible
questions and reflections on the current contribution to such debates. I personally
changes underway in the global scenario. strive for art that makes us think in slow terms,
nurturing our need of criticality and at the
What are some of the interesting aspects of same time offering us a space for emotion and
curating between Africa and Europe? inspiration.
Luigi Fassi: It’s a wonderful privilege. I have
been working in Europe and in the US and the Nkule Mabaso: Global art is a contested
chance to get to know the African art scene is framework. But curating responds to the times
hugely enriching. I only wish I could have spent so I would venture to say is that together with
more research time in Africa in the last two the zeitgeist the pressing concerns are around
years, however, the global situation didn’t allow new imaginaries that move from surveillance
for that. I have been lucky to keep working with capitalism, speak beyond catastrophe and
Nkule Mabaso, in our capacity as co-curators engagement methods that are inclusive and
of the section. We started working together anti-racist… some where there lies the enact
in 2019 for TOMORROWS/TODAY 2020 and of shared concerns through the curatorial…
from the very beginning of our cooperation we
created a mutual trust that has helped us a lot What role do you think Investec Cape Town
sharing ideas and overcoming constraints in Art Fair plays in the art ecosystem?
a smoother way. I think it’s because we have Nkule Mabaso: Investec Cape Town Art
been both curious to get to know each other Fair is important for the local scene and a
and learn from one another. This established public moment of presentation and meeting,
our professional partnership and helped us facilitating different conversation and because
during lockdown doing our research. it happens so early in the year it sets the
Laura Vincenti, Investec Cape Town Luigi Fassi João Ferreira
Art Fair Director

scene and pace of the art scene for the given João Ferreira: I am old school, I like to close
year! It gives the highlight and sets a kind a deal over coffee with the collector and the
of momentum that is very generative and painting.
stimulating. In the wider sense because it’s
not only internally focused on South Africa It has been exciting to modify my business
and brings in exhibitioners form the rest of the model with the use of online platforms and
continent and other geographies, it’s seminal media.
moment of convening that extends beyond the
commercial and generates relationships that “We cannot wait to welcome old and new
last past the moments of the fair. friends and partners to Investec Cape Town
Art Fair in 2022 and provide a platform to
João Ferreira is the curator of the PAST/ connect, re-connect and interact with one
MODERN section, focused on curated work another. Nothing to me is as rewarding as to
by modern masters offered with discerning exchange opinions, emotions and ideas being
collectors in mind. in a physical art environment and nurturing the
natural human needs of learning and sharing,’’
What are the burning curatorial issues to concludes Vincenti.
focus on in global art right now and why?
João Ferreira: Feminine expression to The ninth edition of Investec Cape Town Art
empower and reconcile. Post ‘Black Lives Fair will take place from Friday 18 to Sunday
Matter’ discourse and the appropriation of 20 February 2022 at the CTICC and via
contemporary culture, identification with the online platform Artshell. Tickets can be
public monuments and the return of Historical purchased via the Webticket link on www.
artefacts that were stolen during colonialism. investeccapetownartfair.co.za

What do we have to look forward to for For more information, updates, Covid-19
PAST/MODERN? protocols1 and how to register log
João Ferreira: Quality, modern masters sold onto the website and follow Investec
by specialist dealers with a curatorial focus on Cape Town Art Fair on Twitter @ICTAF,
connoisseurship and collector motivation. Instagram @investeccapetownartfair and
Has your role changed because of Covid-19 Facebook @ICTArtFair. Use the hashtag #ICTAF.
and the move to online viewing and
collecting?

22 W W W. A R T T I M E S . C O . Z A
Olamide Ogunade Olisco, Waiting for a While,
2021, (Detail) charcoal and acrylic on canvas,
91.4 x 91.3 cm - Christopher Moller Gallery
MULTI-DISCIPLINARY ARTIST
ANDREA DU PLESSIS WINS SASOL
NEW SIGNATURES 2021

C ape Town-based artist, Andrea du

Plessis, 40, has been announced as the
winner of the 2021 Sasol New Signatures
Art Competition.

Du Plessis won the coveted title for her mixed

media work Paloceae Lupantozoa. The
work is inspired by Martin Johnson Heade’s
“Orchids and Hummingbirds” series. The
artwork consists of a painting created through
the traditional oil on canvas technique that
can also be experienced as a multi-sensory
animated video. The video component of the
artwork, which includes sound, is accessed
via an Augmented Reality (AR) animation
of the oil painting. By downloading an App
on their digital device and pointing their
camera towards the painting, viewers activate
the Artificial Intelligence sound and video
animation sequence which literally brings the
painting to life on their digital device. “The oil
painting and AR video create a link between
past and contemporary representations and
experiences of nature. By juxtaposing the
19th century Romantic tradition of painting
with emerging technologies, the artwork
creates a tension-filled interface, momentarily
transporting the viewer into a familiar yet
alien world. But most crucially, experienced
in its multiple modalities, the artwork offers
the viewer an opportunity to reflect on their
relationship with nature and our changing
landscape,” said du Plessis.

As the winner of Sasol New Signatures,

du Plessis walks away with a cash prize of
R100 000 and the opportunity to have a solo
exhibition at the Pretoria Art Museum in 2022.

Sasol has been the sponsor of the competition

for 31 years. “We remain committed to
play our part in supporting the arts through
this prestigious competition because we
recognise the integral role it plays to mirror
and record where and who we are as a society,
both collectively as a nation and for artists’
personally. Our role in the arts is a shining

24 W W W. A R T T I M E S . C O . Z A
Winner, Andrea du Plessis, Paloceae lupantozoa
Runner-up, Dalli Weyers,
Forward: A manifesto
Cate Terblanche Art Curator Sasol Art Collection Pfunzo Sidogi -Chairperson SNS

example of our purpose in action. A purpose The 5 Merit winners were:

we will live up to as we continue to play our part
in advancing the interests and developmental Nico Athene (Cape Town)
needs of artists at all levels. We are not just a Cultivating our Unbecoming:  with Gabrielle
sponsor, we are a partner in the development Youngleson and Johno Mellish (2021)
and growth of the arts.” said Elton Fortuin, Diasec
Sasol Vice President: Group Communications  
and Brand Management. Michèle Deeks (Pretoria)
Pandemic
Pfunzo Sidogi, who was appointed Chairperson Mixed media
of the competition in 2019 said, “It has been an
absolute privilege to oversee the return of the Sibaninzi Dlatu (Umtata)
Sasol New Signatures Art Competition. As I A story of resiliency
contemplate my first year as Chairperson, I am Fired clay (bisque)
humbled by the significance this competition  
holds in the imaginaries of visual artists Eugene Mthobisi Hlophe (Durban)
throughout the country. I was impressed by The new crazy normal
the amazing response we received from artists Photography
at all the regional collection points, and equally  
gratified by the quality and narrative power of Monica Klopper (Pretoria)
the artworks submitted. Thank you to all the Choice
artists who entered the competition - your art Shed snake skin and epoxy
indeed matters”.  
Each Merit Award winner received a R10 000
Coming in second place and winning R25 cash prize.
000 was Dalli Weyers from Johannesburg. He
wins for his work titled Forward: A manifesto “The arts remain as relevant as ever.
created in the artist’s preferred medium, With an increased emphasis on mental
plastic bags. “Plastic bags, through a process well-being during times of isolation and
of photo-degradation, disintegrate but don’t quarantine, we have seen many people turn
break down completely. Instead, they turn into to creative activities to help work through
microplastics that remain in the environment these trying times. We salute all artists
for centuries. The use of this medium thus who, despite the current challenges, have
reflects both the detritus and progress made continued to practice their craft and dream
throughout history – both present and unseen of the impossible. Each and every artwork
– that the manifesto hopes to draw from and submitted this year has an inspiring story to
address” he said. tell” added Elton.

W W W. A R T T I M E S . C O . Z A 27
 Merit Winner, Sibaninzi Dlatu, A story of resilience

Merit Winner, Monica Klopper, Choice Merit Winner, Michele Deeks, Pandemic

Merit Winner, Eugene Hlophe, The new crazy normal Merit Winner, Nico Athene, Cultivating our Unbecoming with
Gabrielle Youngleson and Johno Mellish

Patrick Rulore, winner of the 2019 Sasol New other, being immersed in the escapist realities
Signatures Art Competition will have his first offered by electronic devices like cellphones
solo exhibition that forms part of his prize. and televisions” said Rulore.
The exhibition comprises of 15 paintings, all
of them oil on canvas. The series explores Patrick Rulore’s solo exhibition and the Sasol
human connections against the backdrop New Signatures Art Competition exhibition,
of an ephemeral world of light and shadow. featuring the work of the 2021 winners and
“These paintings form part of my Stage finalists, takes place at the Pretoria Art
4 moments series which captures typical Museum from 11 November 2021 till 9 January
moments in many South African households 2022. All the finalists are included in the highly
during load shedding. While it is undeniably respected competition catalogue.
unwelcome, load shedding has disrupted
the normal scenario where individual family
members are effectively isolated from each

28 W W W. A R T T I M E S . C O . Z A
S A L O N NINETY O NE P R E S E NTS

TARA DEACON. SKINNY DIPPING, 2021. GOUACHE ON ON PAPER.

15.01 - 12.02.2022

The Island
C h l o e To w n s e n d Joh Del Kirsten Beets
Lucy Stuart-Clark Ta r a D e a c o n

WWW.SALON91.CO.ZA
DIANE MCLEAN
Mystery in the Everyday: Solo at
the Prince Albert Gallery
16 December to 22 January 2022
By Estelle Marais

I n Diane McLean’s spacious studio, a former

mill, in De Rust in the Klein Karoo, she
works on a variety of subject matter from still
lives to figures to landscapes, although it is
mainly for her iconic enamelware paintings
that she has become known.

The latter paintings demonstrate a tactile

quality which is so intense that it goes beyond
mere realistic rendering. Perhaps because of
the centrality of these objects (of which she
now has a huge collection) in her oeuvre,
possibly because of her ability to express both
the coldness of the metal and the warmth of
the enamel, her combining and contrasting
it with other objects with the potential of
being interpreted as a symbol rather than a
mere object, it led her to creating a personal
mythology in which the seemingly mundane is
elevated to something with sometimes deeply
emotional, historical, sociological or economic
reference and depth … the discarded object
of the ‘have’s” which become the collectible
of the “have-nots”, the contrast of the “dead”
object in the form of an old enamel dish
containing the handful of eggs, symbol of life,
of nourishment, in its “belly”. This spiritual
dimension in her genre paintings is what
separates her from those who imitate her in
terms of subject matter and style. It reminds
one that style can be immensely empty when
this ‘other’ dimension is absent. Combining
her enamelware with animals or birds, e.g. the
owl in its wisdom, or a rabbit, animals which
were often brought to her to be taken care of
after they had been injured, thus creating an
intimacy between her and the animal, again
strengthens the sense of a deeper meaning
than simply of objects put together to create an
attractive still life. Very often there is a sense of
an awareness of the fragility and brevity of life,
for example as when she includes the skull of
a young baboon or the shell of a little tortoise.

Karoo Still Life II, oil on board, 200mm x 240mm

30 W W W. A R T T I M E S . C O . Z A
Late Afternoon, Gariep River I, oil on canvas, 360mm x 480mm
Opposite Page: Lighthouse, Cape St Francis, oil on canvas,
710mm x 710mm

Karoo Still Life I, oil on board, 200mm x 240mm

Underlying these thoughts are objects drawn

with immaculate accuracy and understanding,
sensitivity to colour, tone and tonality, as well
as compositional design, unity and balance.
The balance here refers to both what is
visually visible in its concrete form and what
is suggested by its reference to the times and
histories it evokes.

It is thus becomes understandable why this

solo carries the title: mystery in the everyday.
However, it is not in the rendering of genre
paintings that McLean has made her mark.
She is also a true master of the art of portraiture
- in itself not unrelated to the discipline and
exactness demanded of genre painting. She
approaches it with the same innate respect
she affords the object.Like in still life painting,
the cool objectivity demanded by the rendering
of the object, is balanced by the empathy
and warmth for the subject, the awareness
of a personal history which often shaped
the history of others. Thus the sitter is never
approached without an underlying suggestion
of the human drama which hides behind even
the most austere and formidable sitter.

33
Ginger Jar & Three Green Bottles, oil on canvas, 265mm x 265mm

Whilst never failing to create a strong likeness of rocks which reveals her remarkably
in her portraits, her portraits of family members sensitive drawing ability. And once again her
and friends allow for her to explore moments sense of sculptural form, her strong feeling for
of tenderness or the split second when a sitter compositional design and her understanding
who is not used to the role of model reveals of light as a source of revelation, as is present
his or her personality without being aware of in her studio-bound work, come forward as
it. Thus the dreamy tenderness is revealed almost defining characteristics of her work. At
in “Girl with Dog”, the young woman self- the same time the mystery of history and all
consciously turning her profile to the viewer that that history may suggest, is also prevalent
revealing the withdrawnness of the shy sitter in these landscapes, making them, while fully
(Alex in satin tunic).One of the striking qualities realistic, also deeply romantic.
of her work seems to be the ability to handle
and express different textures, e.g. the pelt of Certainly diverse in terms of subject matter,
the dog as compared to the skin of the girl’s this exhibition hangs together through the
hand, the starched satin quality of the pleats artist’s single-minded pursuit of suggesting
in the young woman‘s dress. a greater presence than that which merely
touches the surface.
In her landscapes she seems to feel more at
liberty to use heightened colours, stronger
linear elements for example in the structuring

34 W W W. A R T T I M E S . C O . Z A
POP AND EARTHSONGS EXHIBITIONS
By Lethabo Gumede
www.themelrosegallery.com

T he Melrose Gallery presents the POP

exhibition which runs from 12 November
2021 to 30 January 2022. The exhibition
brings together an array of colour, a modern
aesthetic and contemporary African art
collaged into The Diamond Walk, Sandton
City. As you enter the exhibition, you are
greeted by two bold and boisterous artworks
by Paul Blomkamp which provide a befitting
interpretation of the exhibition’s inspiration
by featuring two renowned popular culture
icons: Oprah Winfrey and Richard Branson.

Drawing inspiration from a period that

generated revolutionary ideas and
tastemakers, the POP exhibition brings
together a refreshing selection of 21st century
sculptures, paintings, and mixed media.
The neat curation of diverse works brings
together a playful yet contemporary African art
experience. Afterall, popular culture has the
longstanding reputation of transcending the
ordinary and bringing the thrill of contemporary
to the masses and that is exactly what the
POP exhibition articulates.

The exhibition is a celebration of Pan African

contemporary artists and their daring
approach to contemporary African art. As
a group exhibition, the confluence of ideas
between the different medium is a radical
coming together of established artists such
as Dr Esther Mahlangu and Dr Willie Bester as
well as emerging artists such as Aza Mansongi,
Papytsho Mafolo and Ronald Muchatuta.

36 W W W. A R T T I M E S . C O . Z A
POP, installation.
Paul Blomkamp, Oprah...Rhe True Electric Essence, 2021, Acrylic on canvas

Paul Weinberg, Exhibition Installation.

Installation view of Pascal Konan’s wosks.

“EarthSongs takes us on a spiritual journey traversing

known and unknown South African landscapes.”

POP Exhibition Participating artists include: its inhabitants have formed. With a specialised
Paul Du Toit, Isabelle Scheltjens, Gavin Rain, interest in archaeological, historical, and
Christiaan Diedericks, Andries Visser, Mark cultural sites the exhibition portrays a
Swart, Tumelo Mphela, Louis Chanu, Anton communal sense of spiritual belonging from a
Smit, Pascal Konan, Aza Mansongi, Barry wide range of religious beliefs.
Sullivan, Simon Zitha, Denis Mubiru, Pascal
Konan, Strijdom Van der Merve, Mederic Turay, EarthSongs takes us on a spiritual journey
Elizabeth Balcom, Edozie Anedu, Papytsho traversing known and unknown South African
Mafolo, Paul Blomkamp, Mark Chapman, landscapes. Paul Weinberg has travelled
Senzo Shabangu, Richard Mason, Uwe Pfaff, extensively in and around South Africa which
Ronald Muchatuta, Mandlenkosi Mavengere, provides his detailed approach to curation. He
Vusi Khumalo, Dr Esther Mahlangu, Wilma is also the recipient of many awards including
Cruise, Dr Willie Bester, Sandile Radebe, the Mother Jones Award (an essay on the
Andre Stead, Vusi Beauchamp, Ndabuko fishing community of Kosi Bay). Weinberg
Ntuli, Kenneth Shandu and Clint Strydom, continues to work as a photojournalist,
documentary photographer and filmmaker.
Meanwhile, back at The Melrose Gallery, His latest exhibition EarthSongs is on at
Johannesburg, esteemed South African The Melrose Gallery, Johannesburg until 05
photographer Paul Weinberg offers a down- December 2021.
to-earth visual offering of a collection of
photographs. Captured between 2019 and For more information visit themelrosegallery.com
2021, EarthSongs is a quiet exploration of
South African land and the scared relationship

40 W W W. A R T T I M E S . C O . Z A
PRINCE ALBERT OPEN STUDIOS
Summer Edition: 31 December 2021 To 02 January 2022
www.princealbertopenstudios.co.za

Deidre Maree at her Prince Albert studio.

42 W W W. A R T T I M E S . C O . Z A
T he pared-down Summer Edition of
Prince Albert Open Studios offers a
special way for art lovers to begin the New
Year. It begins with the official opening of the
Group Show, which takes place at the Prince
Albert Gallery on Thursday 30th December at
6pm. Then, for the next two and a half days,
studios will open to the public, allowing for
personal interactions with the participants
and relaxed viewing of their newest work.

There will be something for everyone, as

visitors take a gentle meander through the
widely varied studios of some of our local
artists and spend time hanging out with them,
getting to know the person behind the art.
Find out what motivates them and how they
go about creating their personal brand of
artistic expression.

Collette Hurt: “I love collecting, and work with

found materials and upcycled ‘junk’.
My signature pieces are Bull and Buck horns,
made from repurposed objects.
I take great pleasure in my work, which
involves frequent foraging missions, tetanus
shots, and a scrapyard in the back yard!”

Deidre Maree: “I fell in love with the Karoo on

our very first visit there. It inspires me to create
paintings that show its sometimes-overlooked
beauty, to capture its imperious silence and
this allows viewers to become lost, briefly, in
something bigger than themselves.

Currently this exploration of the “secret

beauty and infinite variety” (Eve Palmer) of
the Karoo is based on the images taken after
light rain had fallen, and the veld responded
almost immediately with a profusion of easily
overlooked tiny wildflowers – a magnificent
blessing.”

Di Johnson-Ackerman (guest artist

Paul Ackerman): Di is well known for her
printmaking, both linocut and intaglio etching
and aquatint, as well as her nostalgic, light-
bathed acrylics of Karoo doorways and
stoeps. “I am very pleased to say that I have a
number of new etchings and paintings to add
to my portfolio which will be on show at the
Summer 2021/2022 Open Studios.”

Di Smith: As a late starter and with no rules

to break, I ‘fearlessly’ express my thoughts,
feelings, ideas and experiences in a wide
variety of non-verbal ways.

44
Wabi Sabi - the Japanese aesthetic of finding viewer in such a way that they can have the
beauty in things incomplete, imperfect and emotional connection I had when they look at
impermanent probably best sums up my love my work. Painting the light is my main intention
of found objects that I use in my sculpture and and I’m forever in search of that in a scene. 
assemblage.
All I really want is to continuously get lost in Heleen de Haas: Internationally known
the creative process and I would love my work calligrapher and conceptual artist Heleen has
to evoke some thought, emotion or comment a different outlook on the concept of Open
by the viewer. Studios. Her farm, Aswater, is her canvas, and
visitors experience a guided journey through
Di van der Riet Steyn: Jewellery designer and its large-scale land art routes and creative
manufacturer Di’s work frequently features features.
locally found porcelain shards. She uses the written symbol to convey motion,
“In a ‘dorp’ which is rich in history, one often sound and meaning in ways that go far beyond
walks nose down in the veld, searching for recognised words.
that piece… bits of karoo blue and red shards.
I wonder who used that piece of crockery 150 Joshua Miles: has exhibited his paintings,
years ago? Someone else’s precious plate or reduction woodcuts and linocuts widely for
cup, treasures in the ground, discarded in the the past 25 years and now divides his time
garbage heap. These little gems are wrapped between Scotland and South Africa. Joshua’s
in pure silver and transformed into wearable inspiration comes from Japanese linocuts and
Karoo Blues”. the impressionists’ style of mark-making and
he is drawn to capturing how light moves over
Erika van Zyl: “I am an impressionist landscape.
landscape artist, working in oils. I prefer to Karoo Looms: Sophia Booley welcomes
work en-plein air and alla prima. I do larger you to visit the weavery, which has been
works in studio, using plein air studies as handweaving rugs and fine weavings to
reference.  the trade and public market, nationally and
The unspoiled raw landscape and lovely old internationally, since 1983. Offering a range
buildings of the Karoo speak to me, and I am from traditional to contemporary design,
always thinking of the story behind a painting. Karoo Looms works closely with its clients
I paint what I see and hope to speak to my in supplying of the best quality mohair rugs

46 W W W. A R T T I M E S . C O . Z A
available in South Africa, rugs that add Albert Open Studios Group Show, featuring a
aesthetic value to homes and businesses work from each participating artist.
alike.
Meet the ladies behind the highly skilled craft Guest artist Lisl Barry: “I believe that art, in
of hand-spinning and handweaving, while any form, is vital to opening our eyes anew to
gaining knowledge on the process involved in the world around us; to make us see everyday
producing an authentic Karoo Looms weave. things or situations in a way which we may not
Striking Metal: Fusing ancient techniques have previously experienced and, with regards
with traditional and contemporary design, to my own work specifically, to reflect upon our
artist blacksmith Kashief Booley has relationship as humans to the environment - on
adorned many homes and buildings with his a local and global level.”
signature work. The forge was established in
2001, producing exclusive bespoke, mainly Sue Hoppe: “Moving to Prince Albert three
architectural metalwork. years ago has impacted strongly on my art. I’m
Now focusing more on his own creativity enjoying newfound freedom, surrounded by
and product, Kashief welcomes you to visit incredible light and space, so my current work
his forge and showroom, where you will has morphed into a celebration of ‘Karooness’.
experience and learn more of this ancient craft I seek to express the essence of the Karoo,
and his works. relishing the paradoxical contrasts which
define this place, from small details to huge
Kevin de Klerk: “I have done extensive open spaces. This coincides with a shift in
research into the psyche of the human race materials and methods, building on what went
using wild animals as a vehicle to express before, from oils and photographs, to coloured
the similarities between man and beast. I am encaustic wax and shellac.
particularly drawn to the mysterious behaviour
of African Wild Dogs and Hyenas. I use these Turid Bergstedt:
two species as metaphors for the complexities Turid has been making kaleidoscopes since
of being human and everything that comes 1992, after completing her studies in Fine
with it.” Art, Journalism and Photography at Rhodes
University.
Maruanda Wynne: Thread artist Maruanda
Wynne and her husband moved to Prince Her passion for kaleidoscope manufacture is
Albert earlier in 2021. She specializes in not only the science and mathematics involved
embroidery and hand quilting under the name in the process, but that the making puts one
Hartlap. in touch with oneself. “While viewing it, both
“I prefer to use fabric that had a previous life sides of your brain are used, and it puts you
as a curtain, cushion cover etc. My favourite into a trancelike state. It helps with problem
to work with is vintage Sanderson’s fabric, solving and creativeness. Everyone sees
which is now very hard to come by. With something different and every time you look in
my embroidery, I emboss a single flower, a kaleidoscope you see something different. It
preferably a rose, in the same colour contrasts can give you a fresh perspective on a problem.”
and compilations one would use with paint in
a painting. The whole process is “painting” Watershed Gallery: Celebrating Africa, the
with thread. It is very time consuming, but the Karoo and all things beautiful, Watershed
richness of colours and the texture it adds to comprises of four interlinked showrooms
the fabric makes for a unique art work.” of art and interior design, situated inside a
beautifully restored Victorian house typical of
Prince Albert Community Trust: A the architecturally rich town of Prince Albert.
community-based initiative which hosts Along with an impressive collection of local and
exhibitions at the POP Centre. international art, including that of Kevin de Klerk
The featured artists are: and J.P. Meyer, Watershed houses selected
Elcado Blom, from Leeu Gamka, who paints prints of world-renowned photographer Jürgen
in oils. Schadeberg.
Selwyn Maans and Nathan Maans, who do
photography. Open 9am-1pm and 3pm-6pm
Jeffrey Armoed, who does wire art. (Sunday 9am-2pm)
Prince Albert Gallery : Hosts the Prince
RUPERT MUSEUM
www.rupertmuseum.org

A t the bottom end of historic Dorp Street,

on the banks of the Eersterivier, is what
appears to be a whitewashed cellar set in a
vineyard. It is actually the Rupert Museum,
home to a superb collection of modern South
African art from 1940 to early 2000.

The Rupert Museum houses the private

art collection of well-known South African
industrialist the late Dr Anton Rupert and
his wife Huberte. An electrical short at the
Rupert home, that almost caused a fire, led
to Huberte Rupert’s decision to establish the
art museum. She commissioned the building
in 2003, choosing Hannes Meiring as the
architect, who is known for his love of historic
architecture.

To many art lovers a highlight visiting the

Rupert Museum has been the exhibition of
JH Pierneef’s Johannesburg Station Panels –
considered to mark the highpoint of his career.
This national treasure, the property of the
Transnet Foundation, was relocated in 2009
from Graaff-Reinet to Stellenbosch where they
now fill one of the four galleries at the museum.

Pierneef was commissioned by the then

South African Railways and Harbours to paint
panels depicting places of natural beauty and
historical value for the new Johannesburg
Park Station in 1929. The architecture of the
concourse specifically included spaces for the
panels to be affixed. This determined both the
size and number of the panels – 32 in total.

As of 2018 granddaughter Hanneli Rupert

has taken over the mantel with a dedicated
vision to make the museum an inclusive space
for the community. The short and intensive
renovation project that started October 2018
had a firm goal in mind “a museum without
walls”. Since the reopening of the Rupert
Museum in May 2019, the museum has
featured various exhibitions, relooking and
rehanging the known favourite works inclusive
of the Johannesburg Station Panels.

48 W W W. A R T T I M E S . C O . Z A
The museum’s public programmes includes every Thursday, 13h00 – 14h00 (bookings
a diverse spectrum of activities for everyone. essential), if you are working from home or
Programmes include the vibrant Museum not close by, no problem, these classes are
Saturday’s (taking place on the last Saturday also streamed live. Find out more by visiting
of each month) that boosts artist talks, our social media pages.
walkabouts, master and kid workshops, a
pop-up menu for the day from the Museum The vibrant Museum Café is open for all to
Café and live music with tastings ranging enjoy. On Tuesdays & Thursdays students
from wine, whiskey, beer and champagne. can present their student cards and enjoy our
Our next Museum Saturday will be on 29 coffee & breakfast special for R50. The library
January 2022. Join our newsletter to be the is a space that promotes literature and offers
first to know about our upcoming workshops a quiet space for studying and working. The
& events. library, gallery spaces, café and MakerStudio
can also be hired exclusively for a meeting,
For those looking to get more active – presentation, training, workshops or private
Yoga Thursday’s might just be the thing functions. View our VENUE HIRE tab on our
for you. Presented from the MakerStudio website to find out more.

50 W W W. A R T T I M E S . C O . Z A
We have an exciting opportunity for a Museum There will also be an opportunity to assist
Intern to join our team! in developing educational and general
public programming. The range of duties
Rupert Art Foundation Internship Programme will give the candidate valuable experience
and exposure to a wide variety of museum
Internship position available: related roles.
Museum Assistant
To find out more visit www.rupertmuseum.org
Deadline: 12 January 2022 and head to CONTACT US to view the
requirements.
We are offering an 11-month, paid internship
at the Rupert Museum in Stellenbosch
from 1 February 2022. The successful
candidate will work closely with the
museum’s curatorial team in the areas of
art collections management, exhibitions,
tours, media, marketing and events.
View of the Restaurant at Glen Carlou.

52 W W W. A R T T I M E S . C O . Z A
EXPERIENCE
GLEN CARLOU AND
DELIGHT IN THE
EXTRAORDINARY
www.glencarlou.com

I f you are making your way to the winelands

in search of good food, wine, and art this
month, the Glen Carlou estate must be on
your destination list. With a panoramic view
overlooking the Boland mountains, there
is nothing more invigorating and enriching
than enjoying lunch or a glass of wine in
the cool breeze on a hot summer’s day, after
meandering through the impressive 400
square meter art gallery. Glen Carlou is located
less than 15 minutes away from Stellenbosch.

Two exciting new art exhibitions will be open-

ing on the 5th of December. The annual Sum-
mer Salon opens in the gallery entrance hall,
showcasing a wide variety of works from art-
ists such as Alex Hamilton, Carin Dorrington,
Marguerite Roux, JP Meyer, Marinda du Toit,
and Strijdom van der Merwe and many more.
This exhibition has something for every dis-
cerning taste, with works on paper, oil paint-
ings, sculpture, and assemblage – it will be a
feast for the eyes.

In her solo exhibition, titled Matrix, Elfriede

Dreyer explores the idea of an ‘other’ space,
simulated, embodied and different to the ex-
perienced, physical real space. Her works are
filled with grids, lines, and areas of separation
– thresholds transporting the viewer through
time. Images of a tropical environment repeat
in neon emerald greens – possibly suggest-
ing something is better on the other side – a
utopia which brings about a sense of longing
for faraway places. The works themselves are
continuously fluid, shifting between the paint-
ed and digital surface. With images of boats
and bicycles, the works also remind the viewer
of the fleeting transience of time and human
life that is fundamentally reroutable.
Glen Carlou View Boland mountains.

Food and wine pairing.

Gallery Views from Previous Exhibitions.

54 W W W. A R T T I M E S . C O . Z A
Panoramic View over the Paarl Mountain from the Restaurant.

Glen Carlou’s tradition of winemaking, as with 5; Cabernets Sauvignon and Franc, Merlot,
food preparation – is also suitably represented Malbec and Petit Verdot. As a cheeky treat,
by time and change. Often for wine and food, enjoy the texture of a Danish Lakrids fine li-
the sum of the parts is enhanced as the com- quorice with a swirl of Grand Classique wine
ponents mingle over time, to infuse layered as you toast to friends, near and far.
aromatics and flavours blended into the fin-
ished product. The seasonal menu at the Glen Glen Carlou is open seven days a week from
Carlou Restaurant is paired with Chef Johan 10:00 – 17:00. Contact gallery manager Chris-
Stander’s beautiful plates of food, brought to ta Swart at gallery@glencarlou.co.za should
life from his family’s legacy of recipes, with the you wish to book a guided walkabout of the
estate’s award-winning wines. exhibitions. Contact our restaurant for a lunch
booking or wine tasting at restaurant@glen-
One such wine is the Grand Classique. Cel- carlou.co.za
larmaster, Johnnie Calitz guides the grapes
through their journey in the cellar with a For more information visit www.glencarlou.com
time-honoured art of balancing elements to
result in an individualistic blend of wine. This
splendid red wine is comprised of the famous

56 W W W. A R T T I M E S . C O . Z A
2021 WINNERS
ANNOUNCED
As the longest running art Andrea du Plessis from Cape Town was selected as the overall
winner of the competition for her mixed media work Paloceae
competition in South Africa, Lupantozoa. She wins R100 000 and the opportunity to
Sasol New Signatures has been a have a solo exhibition at next year’s event. Dalli Weyers from
platform for promoting emerging Johannesburg is this year’s runner-up and was awarded R25000
artists and their work to the for his work titled Forward: A manifesto created in the artist’s
preferred medium, plastic bags.
art-loving public at large.
Five merit awards of R10 000 each were awarded to: Nico Athene
Art plays an important part in the cultural
(Cape Town), Michèle Deeks (Pretoria), Sibaninzi Dlatu (Gqeberha),
fabric of our nation and competitions serve to
Eugene Mthobisi Hlophe (Durban) and Monica Klopper (Pretoria).
encourage greater creativity across age, gender
and education, as well as to acknowledge the
wealth of talent that we have in our country. The Sasol New Signatures exhibition is held at the Pretoria Art
Museum and runs from 11 November 2021 - 9 January 2022. This
exhibition of compelling artworks, created by South Africa’s best
emerging talent, is not to be missed.

OVERALL WINNER

RUNNER-UP

Andrea Du Plessis
Paloceae Lupantozoa
Multimedia – oil on canvas
- augmented reality
interaction
53 cm x 63 cm

Dalli Weyers
Forward: A Manifesto
Plastic bags
124,5 cm x 88,5 cm
AN ENCHANTING SUMMER
SEASON AT LA MOTTE
2022 Great Wine Capitals Best of Wine Tourism Winner Arts & Culture
www.la-motte.com

58 W W W. A R T T I M E S . C O . Z A
S ituated in the beautiful Franschhoek
Valley in South Africa’s Cape
Winelands, La Motte with its picturesque
setting, traditional cuisine, and historic
charm, is an enchanting choice for those
who appreciate the finer things in life.

Not only are guests invited to the elegant Wine

Tasting Room for an introduction to La Motte’s
renowned wine portfolio, the team at the
La Motte Restaurant also enjoys sharing the
best of local and seasonal flavours with patrons.

La Motte enjoys sharing its passions with

guests, and visitors to the estate will be treated
to a host of internationally acknowledged
experiences.

The La Motte Museum hosts the South African

Old Master J.H. Pierneef’s heritage collection,
while a series of 128 linocut editions are
displayed in various visiting areas on the estate.
The collection was acquired from the artist’s
daughter Marita Pierneef-Bailey in 2009 and
features artworks dating between 1908 and
1955, as well as memorabilia including books,
artefacts and Pierneef’s painting equipment.

The museum also presents curated art

exhibitions. The current exhibition, Threads of
Synergy Contemporary South African Tapestry
Art, is on display until 2022. Join the Art
Experience for a walkabout of the exhibition
and an overview of the collaborative process
by which the Stephens Tapestry Studio
creates these magnificent large-scale mohair
tapestries alongside renowned local artists.

Guests can further book a Sculpture Walk

(or purchase a booklet for a self-guided
walk) along all the female sculptures on the
estate. This experience reaffirms La Motte’s
appreciation of the arts and celebrates the
important role played by women in society.

60 W W W. A R T T I M E S . C O . Z A
Tapestries, current exhibition.

Pierneef Collection Pierneef Station Panel reconstruction

The history and heritage of the estate is Other summer activities at La Motte include
also presented in a Historic Walk through appreciating the breath-taking views of
La Motte’s rose garden and an overview of the Franschhoek valley on a self-guided
the historic Cape Dutch houses gracing the mountainside hike, which explores the wealth
Franschhoek Valley landscape. of fauna and flora of the natural environment.

For more information and to book any of the above

Continuing the Christmas tradition, music
experiences, please visit www.la-motte.com
lovers are treated to a Classical Music
Concert in the Historic Red Wine Cellar. The
Songmakers Guild will present a selection of
songs and carols complimented with readings
of the Christmas Story by Johann Nel.

62 W W W. A R T T I M E S . C O . Z A
PHANTASMAGORIA
A collection of fantastical, imaginary and dreamlike artworks
RK Contemporary, Riebeek Kasteel
5 Dec 2021 – 27 Feb 2022
By Judy Woodborne
www.rkcontemporary.com

Lynda Kropman, Phantasia, tin art, 31x38cm 2021

P hantasmagoria originating from the

French “ fantasme & fantasmagorie”
entered into use in the English language
In 1866, when journalist, Jules Vallès wrote
“we have had our fill of gravitas and morality!
Our thanks to those who have added
in the early 19th century and was the title generous handfuls of gaiety to counterbalance
of a London exhibition of optical illusions these scales”, he was referring to Jacques
produced by “magic lanterns” in 1802. Offenbach’s “La Barbe bleu” the irreverent and
Fantastical, imaginative and dreamlike are frivolous operetta which stood in opposition to
all descriptions of this term as defined by the “pompous, grandiose aesthetics of the
Merriam-Webster. The phantasmagorical Second Empire.”
exists in the music of the cantata “Carmina
Burana” (1936) by Carl Orff, “Le Rossignol” We took our cue from Vallès critique and
(The Nightingale), a musical fairytale in 3 in creating the brief for this exhibition, we
acts (1908-14) by Igor Stravinsky and the invited artists to extend their creativity with
work of Jacque Offenbach amongst others. the challenge to create anew, redefine, re-

64 W W W. A R T T I M E S . C O . Z A
Christiaan Conradie, The Songs of Sad Men stain your Eyes, 2021, oil on canvas, 130x118
Above: Bastiaan van Stenis, Stray to Sanctum, oil on canvas, 130X130, 2021
Opposite Page: Fanie Buys, The Melody of a Fallen Tree, oil on canvas, 30x23cm 2021

think and re-invent themselves through fresh mixed media works, crafted work, sculpture,
eyes, a pinch of irreverence and the ability stitchcraft and art on paper comprise this
to play with their work. Artists have always festive exhibition. Curated by artist, Judy
had the license to dream and we hoped to Woodborne and gallery owner, Astrid McLeod,
stimulate a creative outpouring from this this promises to be a feast for the eyes and a
source of inspiration. In selecting artworks for counterbalance to gravitas with a celebration
Phanstasmagoria, works were filtered through of life, colour and festivity in “generous
the traditional criteria of technical competency handfuls”.
and ability with the innate content reflecting
the sublime inner world or vision of the artist. (References: Offenbach’s Bouffonnerie,
Yet at the same time we were looking for art Wagner’s Reverie:The Materiality and Politics
that displays another magical quality - the of the ineffable in Second Empire Paris.
ineffable. This describes a feeling evoked - The Opera Quarterly, volume 32, Oxford
a sensation that lies beyond language, that Academic).
confirms you are viewing an artwork that is
inspiring, tantalizing and unique. www.rkcontemporary.com
32 Main Street, Riebeek Kasteel
The artists represented vary from established queries 083 53 33607
artists working in their favourite medium to
lesser-known artists with a curious and quirky
sense of expression. Ceramic work, paintings,

W W W. A R T T I M E S . C O . Z A 67
FREE STATE WINNER OF 2021 NEW BREED
ART COMPETITION BOLDLY PUSHES
BOUNDARIES
www.newbreedart.co.za

I n deciding on the overall winner of the

2021 New Breed Art Competition, the
conversation between the judges highlighted
the Free State artist’s bravery, boldness, and
conceptual skill in fearlessly exploring the
topic of gender and sexuality, and in particular,
how the female body is often sexualised and
commoditised.

With instances of sexual transgressions against

women dominating global headlines in recent
times, the judges couldn’t agree more on
the relevance and timeliness of Baitumetse
Moloabi’s series of thought-provoking
works entitled “Ntho tse snaXXX”, and were
unanimous that she deserved the highest
accolade in this year’s competition. She was
awarded R50,000 in prize money.

Now in its fifth year, this one-of-its-kind art

competition is presented by Phatshoane
Henney Attorneys, in association with
Oliewenhuis Art Museum, the Art Bank of
South Africa, and the Free State Art Collective.

“What stood out for our judges this year was

the broad variety of mediums used, a freshness
in approach, and a boldness by artists in raising
and grappling with difficult topics. This made
finding the winners an arduous task, with
a number of artists being in the running for
recognition. But as always, not everyone can
win and hard decisions had to be made,” Lesley
Mokgoro, competition spokesperson and CEO
of Phatshoane Henney Attorneys remarked at
the prestigious awards evening in November.

The Runner-Up Award and R20,000 in prize

money went to Gabriele Jacobs for his expertly
crafted, and technically and conceptually
strong sculptures entitled “Silent moments,
meditative poses” and “Daddy Long Legs”.

The first of two R10,000 Merit Awards, with which

the judges had a bit more leeway to identify
emerging talent that should be recognised for
their promise and potential, went to Miró Van
der Vloed for his sophisticated and superbly

68 W W W. A R T T I M E S . C O . Z A
Pictured with Lesley Mokgoro, competition spokersperson, are from left, Miró Van der Vloed, Merit Award winner, Baitumetse Moloabi, Mfundo Mbali,
Merit Award winner and Gabriele Jacobs, runner-up. Jakie Madide, the Public Choice Award winner, was unfortunately unable to attend. iFlair Photography
New Breed Art Competition winner, Baitumetse Moloabi’s, Ntho tse snaXXX

executed steel and laser-engraved wood Mokgoro stressed once more that the that the
work entitled “Holy viewfinder – Constructing judges were full of admiration for the incredibly
Utopia”, which talks about shifting viewpoints high standard of this year’s entries. Since quite
and the process of transformation leading to a number of works were also in the running for
social change. The judges agreed that this work the merit awards, the judges consequently felt
is profound and that its simplicity underscores that the following artists also deserved special
the complexity of the message of the artist. mention:
• Daniëlle Pretorius for “Middagslapie”
The second R10,000 Merit Award went to • Ditshwanelo Mosiea for “The narratives of the
Mfundo Mbali in recognition for his large, backbone”
arresting oil painting entitled “Social distancing” • Johandi du Plessis for “Friend of a Friend”
– which so dramatically depicts the distressing (digital installation)
tendencies of many to ignore Covid- 19 • Lyrene Kuhn-Botma for “Quick Response”
regulations, which we have witnessed since • Zanoxolo Sylvester Mqeku for “Immortal coils”
the pandemic started. The work also talks to
issues of a social nature, that were disturbingly Mokgoro finally reflected on the huge value
highlighted by the pandemic. that the two new competition partners who
have come on board this year, namely the Art
These winners were chosen by die official Bank of South Africa and the Free State Art
competition judges out of a total of 40 top Free Collective, adds to the competition and the
State artists whose 48 works formed part of artists that enter. “In addition to the fact that
this year’s official New Breed Art Competition we have for the first time allowed digital media
exhibition. The judging panel consisted of artists to be submitted and that we are coming out
Usha Seejarim and Wessel van Huyssteen, and of a world-wide pandemic that has changed
Nonto Msomi, Project Manager of the Art Bank the world for ever, it is not surprising that the
of South Africa. entries and competition this year feels different
and more relevant than ever. It bodes well for
Finally, with nearly 20% of the over 2500 votes the future of the competition and the quality of
cast online, the Public Choice Award went to Free State art.”
Jakie Madide for his striking pen and pastel
work entitled “In desperate time”, wherein he For more information: www.newbreedart.co.za.
speaks about how art is a form of expression
and exploration, and how this specific work
speaks to times when he struggled to juggle his
studies and art career all at once.

70 W W W. A R T T I M E S . C O . Z A
Business Art
STEPHAN WELZ & CO.
www.swelco.co.za

Peter Clarke (South African 1929 - 2014), Homage To The Poet

Langston Hughes, Sold for: R 16 380 (Cape Town June 2021)

T he last two years have been filled

with many challenges, changes and
improvements. A global pandemic saw
changes in the way we worked, lived, and
interacted. 2021 was a year that largely
involved discovering what a post-Covid
auction world looked like and what it meant
for us moving forward. Stephan Welz & Co.
redefined our approach to auctions during
strict Covid restrictions, and has continued
to build on the infrastructure implemented
to ensure our collectors not only have access
to our auctions from the safety and comfort
of their homes, but that they also have an
improved bidding experience.
 
While our hybrid auction model has continued
to gain traction, we have seen an exciting new
combination of eras, movements and mediums
within our Fine Art Department, reflecting our
new space within the auction world, particularly
in the current global climate where traditional is
meeting online. It has been particularly exciting
for our art specialists to work with many more
contemporary works of art, while maintaining
our interest in established artists and quality
items. Our sales have seen the amalgamation
of artists that are represented by some of South

72 W W W. A R T T I M E S . C O . Z A
Jacobus Hendrik Pierneef, (South African 1886 - 1957), Malutis, Sold for: R234 000 (Cape Town June 2021)
 William Joseph Kentridge, (South Africa 1955 - ): Untitled (Four Shadows), Sold for: R 76 050 (Johannesburg July 2021)

Jacob Hendrik Pierneef, Willows, Sold for R 72 540 (Johannesburg March 2021)

74 W W W. A R T T I M E S . C O . Z A
Vladimir Grigoryevich Tretchikoff (South African 1913-2006): Still Life With Chrysanthemums In An Oriental Vase, Sold for: R585 000
(Johannesburg Nov 2021)

Ndikhumbule Ngqinambi (South African 1977 - ), Union Jack, Sold for: R11 700 (Cape Town October 2021)
Angus Taylor (South Africa 1970 - ): Grounded Iv,
Sold for R 76 050 (Johannesburg July 2021)

Africa’s blue-chip galleries, with works by some

of South Africa’s old and modernist masters.
Contemporary works by Andrzej Urbanski,
Angus Taylor, Mongezi Ncaphayi, Marlene
Dumas, William Kentridge and Ndikhumbule
Ngqinambi have sat alongside J.H Pierneef,
Maggie Laubser, Peter Clarke, Sydney Kumalo,
Anton van Wouw and Robert Hodgins. This
juxtaposition of approaches has resulted in a
consistently exciting selection of art throughout
the year, offering collectors of all interests
excellent investment opportunities.
 
As 2021 draws to a close, we would like to
thank our loyal collectors who have adapted to
an auction world that has constantly changed,
updated and modified as needs have dictated
and for their unwavering support and interest in
the art that we are fortunate enough to present
to them. We encourage collectors to mark their
diaries for the Stephan Welz & Co. February
Premium Auction, which will kick-start our 2022
auction calendar. We are actively consigning for
this sale and welcome consignment enquiries
at ct@swelco.co.za and 021 794 6461.

Robert Griffiths Hodgins (South Africa 1920 - 2010): Untitled,

Sold for: R468 000 (Johannesburg July 2021)

77
ARTGO
DEC/JAN 2021/2
NEW GALLERIES, ONGOING SHOWS
AND OPENING EXHIBITIONS
A.MORE gallery Milano [Tomorrows Today], Aldo Salucci,
Versace on top - 91x120cm, ICTAF 2022
ARTGO: DECEMBER 2021
OPENING EXHIBITIONS

SALON NINETY ONE ART@AFRICA CAPE TOWN

THE ISLAND CELEBRATING AFRICA IN ALL ITS DIVERSITY
CHLOE TOWNSEND, JOH DEL, AFRICAN HORIZONS
KIRSTEN BEETS, LUCY STUART-CLARK,TARA SOLO EXHIBITION BY KOBUS WALKER
DEACON 02/12/2021 UNTIL 12/01/2022
01/12/2021 UNTIL 23/12/2021 WWW.ARTATAFRICA.ART
WWW.SALON91.CO.ZA

NEL OLIEWENHUIS ART MUSEUM

SUMMER SALON 21/22 ARE YOU GAME?
THIS YEAR FEATURES TRUE GEMS
AN EXHIBITION CURATED BY
FROM ESTABLISHED ARTISTS AS
WELL AS FRESH TALENT. THE ART MUSEUM GUIDES
02/12/2022 UNTIL 14/01/2022 02/12/2021 UNTIL 13/02/2022
WWW.NELART.CO.ZA WWW.NASMUS.CO.ZA

80 W W W. A R T T I M E S . C O . Z A
GALLERY AT GLEN CARLOU GALLERY AT GLEN CARLOU
MATRIX SUMMER SALON 21
A GROUP EXHIBITION CELEBRATING
A SOLO EXHIBITION
WORKS FROM VARIOUS ARTISTS.
BY ELFRIEDE DREYER
05/12/2021 UNTIL 22/01/2022
05/12/2021 UNTIL 22/01/2022 WWW.GLENCARLOU.COM/ART-GALLERY
WWW.GLENCARLOU.COM/ART-GALLERY

RK CONTEMPORARY UNISA
PHANTASMAGORIA UNCANNY STORIES
05/12/2021 UNTIL 27/02/2022 THE EXHIBITION FEATURES WORK FROM UNISA
STAFF MEMBERS, THIRD LEVELSTUDENTS AND
A FANTASTICAL, DREAMLIKE AND MAQUETTES FOR THE DEVELOPING UNISA SCIENCE
IMAGINATIVE COLLECTION FOR ARTWORKS CAMPUS ART WALK.
WWW.RKCONTEMPORARY.COM 07/12/2021 UNTIL 11/02/2022
WWW.UNISA.AC.ZA
ARTGO: DECEMBER 2021-JANUARY 2022
OPENING EXHIBITIONS

RUST-EN-VREDE GALLERY SMAC CPT

VULNERABILITY LAID BARE MONGEZI NCAPHAYI
ROSEMARY LAPPING-SELLARS LET THE WATERS SETTLE...
CERAMIC WORKS AND INSTALLATIONS SOLO EXHIBITION
11/01/2022 UNTIL 26/01/2022 11/12/2021 UNTIL 21/01/2022
WWW.RUST-EN-VREDE.COM WWW.SMACGALLERY.COM

CAPE GALLERY EBONY/CURATED

ONCE AGAIN THE CAPE GALLERY SEEKS TO SUMMER EXHIBITION
BRIGHTEN YOUR DECEMBER WITH THE
DELIGHTFUL WORKS OF DAVID KUIJERS AND
15/12/2021 UNTIL 18/01/2022
TANIA BABB. A SELECTION OF SCULPTURES, WWW.EBONYCURATED.COM
CERAMICS, AND PAINTINGS.
13/12/2021 UNTIL 31/01/2022
WWW.CAPEGALLERY.CO.ZA

82 W W W. A R T T I M E S . C O . Z A
PRINCE ALBERT GALLERY PRINCE ALBERT OPEN STUDIOS
DIANE MCLEAN THE SUMMER EDITION
MYSTERY IN THE EVERYDAY THE MAGICAL CREATIVE HUB OF PRINCE
SOLO EXHIBITION ALBERT IS ALWAYS A TREAT
30/12/2021 UNTIL 02/01/2022
16/12/2021 UNTIL 22/01/2022
WWW.PRINCEALBERTOPENSTUDIOS.CO.ZA
WWW.PRINCEALBERTGALLERY.CO.ZA

INVESTEC CAPE TOWN ART FAIR 131 A GALLERY, CAPE TOWN

AT THE CTICC AND VIA THE ONLINE Conrad Botes
PLATFORM ON ARTSHELL The Anatomy Lesson - Solo Exhibition
18/02/2022 UNTIL 20/02/2022 6/12/2021 to 20/01/2022
WWW.INVESTECCAPETOWNARTFAIR.CO.ZA www.131agallery.com
 Aviwe Plaatjie, The Podcast,
2021, Oil on Canvas, 170x200cm
Image: Ebony Curated
ARTGO: DECEMBER 2021
ONGOING SHOWS

THE VIEWING ROOM ART GALLERY

PRICES TO GIVE CHEER: ART TREASURE
TROVE AFFORDABLE ART FOR THE
HOLIDAY SEASON
27/11/2021 UNTIL 15/12/2021
WWW.THEVIEWINGROOM.CO.ZA

DEEPEST DARKEST EVERARD READ JHB

PLANE - ARLENE AMALER-RAVIV, DAVE ANDRZEJ URBANSKI
ROBERTSON, MARK RAUTENBACH, BYRON IRREGULAR
MASIXOLE EKSTEEN SOLO EXHIBITION
20/11/2021 UNTIL 22/12/2021
UNTIL 22/12/2021
20 DIXON STREET, DE WATERKANT
WWW.EVERARD-READ.CO.ZA
WWWDEEPESTDARKESTART.COM

86 W W W. A R T T I M E S . C O . Z A
ARTGO: DECEMBER 2021 - JANUARY 2022
ONGOING SHOWS

ART IS ART PRETORIA ART MUSEUM

[UN] FRAMED SASOL NEW SIGNATURES
GROUP EXHIBITION EXHIBITION OF WINNING WORKS
UNTIL 31/12/2021 11/11/2021 UNTIL 09/01/2022
ARTISART.CO.ZA WWW.SASOLNEWSIGNATURES.CO.ZA

CAPE PALETTE NORVAL FOUNDATION

ANNUAL SUMMER SHOW CONGRESS: THE SOCIAL BODY IN THREE
CURATED GROUP EXHIBITION OF FIGURATIVE PAINTERST
TREVOR MAKHOBA, GEORGE PEMBA  &
CONTEMPORARY SOUTH AFRICAN ART
STHEMBISO SIBISI
25/11/2021 UNTIL 10/01/2022 02/10/2021 UNTIL 10/01/2022
WWW.CAPEPALETTE.CO.ZA WWW.NORVAFOUNDATION.ORG

88 W W W. A R T T I M E S . C O . Z A
DEPARTMENT OF ART AND MUSIC
AND THE UNISA ART GALLERY OPEN THE GROUP EXHIBITION

CURATED BY DR GWEN MILLER

Gwenneth Miller. Mycelium Series 1, 2021. Ultrachrome inks on

Hahnemühle Paper. Framed in Oak 260mm x 327mm

Art, antiques, objets d’art, furniture, and jewellery

wanted for forthcoming auctions

Le Corbusier, Totem, colour lithograpgh,1963

SOLD R46,000
View previous auction results at www.rkauctioneers.co.za
011 789 7422 • Bram Fischer Centre, Lower Ground, 95 Bram Fischer Driver Cnr George Street, Ferndale, 2194
ARTGO: JANUARY 2022
ONGOING SHOWS

SMAC JHB SURFACE

SIMON STONE GROUP EXHIBITION FROM THE ROOI-
NEW PAINTINGS ELS AREA AT OLD LUTHERAN CHURCH,
SOLO EXHIBITION 138 DORP STREET, STELLENBOSCH
20/11/2021 UNTIL 15/01/2022 07/11/2021 UNTIL 23/01/2022
WWW.SMACGALLERY.COM

OLIEWENHUIS ART MUSEUM GROUND ART CAFFE

ĀVĀHANA – INVOCATION WINDOWS TO LIFE
SOLO-EXHIBITION BY AMITA MAKAN BY ALLY HALL
05/10/2021 UNTIL 23/01/2022 SOLO EXHIBITION
WWW.NASMUS.CO.ZA UNTIL 31/01/2022
WWW.GROUNDARTCAFFE.CO.ZA

90 W W W. A R T T I M E S . C O . Z A
ARTGO: JANUARY 2022 - FEBRUARY 2022
ONGOING SHOWS

MELROSE GALLERY THE ARTIST PROOF STUDIO

POP BODY – PLACE – SPACE
A CELEBRATION OF PAN AFRICAN 3RD YEAR STUDENT EXHIBITION
CONTEMPORARY ARTISTS 04/11/2021 UNTIL 31/01/2022
12/11/2021 UNTIL 30/01/2022 VIEW AND BUY ONLINE
WWW.THEMELROSEGALLERY.COM WWW.ARTISTPROOFSTUDIO.CO.ZA

Daor Contemporary
Coode Crescent
Port of Cape Town
(Enter from South Arm Road,
through the security booms)
www.daor.co.za
Wed-Fri 9am - 5pm info@daor.co.za
Sat 10am - 2pm +27 71 624 7130

OLIEWENHUIS ART MUSEUM

CONTAINMENT: STITCHED AESTHETICS
TO CULTURAL CONSTRAINT
06/08/2021 UNTIL 30/01/2022
WWW.NASMUS.CO.ZA

88 W W W. A R T T I M E S . C O . Z A
THE VIEWING ROOM ART GALLERY OLIEWENHUIS ART MUSEUM
FROM DESOLATED RECOLLECTIONS TO
ROOFTOP X ANTICIPATED CEREMONIAL FESTIVITIES,
09/10/2021 UNTIL 30/01/2022 CURATED FROM THE PERMANENT
WWW.THEVIEWINGROOM.CO.ZA COLLECTION OF OLIEWENHUIS ART MUSEUM
BY YOLANDA DE KOCK.
25/11/2021 UNTIL 20/02/2022
WWW.NASMUS.CO.ZA

GALLERY 2
THROUGH THE WINDOW
A COLLECTION OF VISUAL NARRATIVES
06/11/2021 UNTIL 26/02/2022
WWW.GALLERY2.CO.ZA ABE OPPERMAN GALLERY
NEW SUMMER EXHIBITION, 11 HUGUENOT ST
PRINT AUCTIONS
CALL FOR CONSIGNMENTS
FEBRUARY AUCTION

SEND YOUR IMAGES TO INFO@

PRINTAUCTIONS.CO.ZA

FOR MORE INFORMATION GO TO

WWW.PRINTAUCTIONS.CO.ZA

Gregoire Boonzaier (SA 1909 - 2005) Hand-Coloured Linocut, Figure

Amongst Trees, Signed In Pencil, 23 X 15 Sheet Size
GARY SHEAN 1977 - 2021
Words by Kate Lagan

“A life so beautifully lived, and a heart that Gary’s memorial was recently held at the Norval
loved so hard” Foundation, an institution close to his heart,
and tributes poured in from friends, family
Gary Shean passed away in Cape Town on and members of the art community. Artist and
the 30th of August 2021 at the age of 44. He close friend, Matthew Hindley, captured the
was a prominent figure in the Cape Town art essence of the man as he paid his own tribute
community and made a significant contribution to Gary: “as an artist, I am grateful to be able
to the wider South African art world having to hold the gifts he brought to my world. For
spent over a decade as an auction-house Gary, his involvement in the artworld was not
art specialist before establishing his own merely a job, but a calling. He believed in art
consultancy, Gary Shean Fine Art, in 2019. with a capital A, with all the power of his huge
romantic heart. He believed in the power of art
Gary will be remembered for his vibrant to soothe and heal, to  create an escape from
personality and his loving and sincere nature. the mundane, the routing, the troubles of the
He had an engaging passion for art and day to day.  He always made me feel like I had
people. Gary often took emerging artists the most special job in the world, one almost as
under his wing and aided them in achieving good as a rock star. A true believer, who kept
recognition in the market. His deep admiration my dreams alive through thick and thin”.
of the work of late artist Peter Clarke led to
both a professional relationship and personal His untimely death came as a shock to all who
friendship. Gary’s enthusiasm and support knew him. He leaves behind his wife, Yolande,
substantially assisted in Clarke’s emergence and daughters Emily and Tori (12 and 6). His loss
as a highly collectible and valued artist is deeply felt and his spirit will be greatly missed.
locally and internationally and in 2018 Gary
became the curator of the Peter Clarke Private
Collection.

96 W W W. A R T T I M E S . C O . Z A
Daor Contemporary
Coode Crescent
Port of Cape Town
(Enter from South Arm Road,
through the security booms)
www.daor.co.za
Wed-Fri 9am - 5pm info@daor.co.za
Sat 10am - 2pm +27 71 624 7130
Manfred Zylla (1939),
A Watchman, 4 Colour Etching,
1984. 74 x 53cm
 THE SA PRINT GALLERY
PRESENTS
SUMMER SALON
A CURATED EXHIBITION OF SOUTH AFRICAN
FINE ART PRINTS

07 DECEMBER 2021 - END OF JANUARY 2022

WWW.PRINTGALLERY.CO.ZA
109 SIR LOWRY ROAD, WOODSTOCK, CAPE TOWN