I once read somewhere that painter and poet, Banele Khoza, buys himself flowers. I cannot remember the exact context of the article, but I do remember reading it in the context of creating a practice- a discipline, and what a beautiful discipline to cultivate.I was reminded of this when looking at the work Bae, I […]
Cecil Skotnes would traverse the use of several mediums over his lifetime of creation, but the attraction of woodcutting for Skotnes was in part the rarity of practice in this medium during his studies at Wits in the late 1940s. Skotnes maintains that the word ‘woodcut’ was not even mentioned during his years at art […]
I’ve been thinking about Susana’s previous Duo choice and her meditation on why she loves this country so much. It made me think about all of the cities and homes I’ve lived in across South Africa. These ventures into geographic nostalgia lead me to thinking about how much of this place that I live in, […]
This week we looked at works by Foni Kofi and Aidon Westcott. Included in our exhibition, Grounded, which formed part of the Hermanus FynArts Festival in June, is another work by Foni Kofi. One of the interesting conversations this work gave rise to was about the history of iconographic language in Africa. For one viewer, […]
Duo returns with another discussion between Candice and Susana. This time, Susana chose a pigment print by Siemon Allen, Damaged Archive (Soweto), and Candice responded with Playing for pleasure, a linocut by Lucas Bambo. Their conversation revealed multiple layers of interpretation for the works they chose. Siemon Allen collects, organises and displays artefacts that explore […]
In previous iterations of Duo, Susana and Candice would alternate selecting two works of art and writing about the pair. In this iteration, Candice chose one work and Susana, in response, the other- a painting by Foibe Amundaba and a work on paper by Peter Clarke. They then sat down and discussed these pieces; Candice’s […]
I recently went away for a few weeks with a friend and her family. It was the first time I was able to spend close and safe time with her nephew since just after he was born. Entering the Time of Two, his vocabulary is bursting and stumbling forth; a frightening thing to have a […]
Our duo this week includes works of art by David Koloane and Paul Blomkamp.
Despite different methodologies of practice, the focus this week draws upon the comparable depictions of bustling spaces created by these artists – one a monotype and the other a drawing in charcoal.
The frenetic energy evident in both Mahlathini Street III and Highspeed Highveld high trip eleven is constructed by the strong and repetitive use of line; Paul Blomkamp’s furiously drawn lines in various colours and David Koloane’s lines in charcoal translating a strong visual sense of the heavy smog city dwellers know so well.
Highspeed Highveld high trip eleven utilises line, although frantic, in a uniform manner; the lines draw the eyes up-and-down, up-and-down in a repeated manner, somewhat reminiscent of the lights of cars and streetlights seen in late-night city watching. They lend a sense of the endless to and fro of lined up cars waiting for movement; the lines at the top a shorter, frenzied movement, working towards longer lines and a calmer movement at the bottom of the work. Utilised in a different way, the varied directional lines forcing the eyes to crisscross across the composition, Mahlathini Street III is a specific, contained site. The use of charcoal as medium softens and blends, creating a continuous sense of movement with short bursts of lines.