Friday, 19 August 2016
My work explores transience within urban spaces. It attempts to interrogate dichotomies such as construction and destruction, life and death, man made and nature, development and deterioration and the tensions created by these dichotomies. My exploration is an endeavour to understand my reality, my existence. To do this, I found refuge through examining transience and these contradictions.
Paper is central to my practice because of its fragility, it’s everyday usage, it’s recyclability, and because it is one of the most consumable commodities of our time. I make use of it as my primary medium whether it is cut, embossed or sculpted. This choice of medium refers to the fragility of the transient state of our lives and our environment. The more the paper is cut into the more fragile it becomes.
The imagery I use is drawn from my surroundings, mostly referencing construction sites, often in conjunction with natural forms. I have focused on construction because of its brutality and beauty. For me, construction and the processes around it are an apt subject matter to use as metaphor for the complexities of life’s transience. The process (of building) is often far more interesting than the goal or completed work itself, which in this context works as a truism to life.
The exhibition ends on 1 September.
Wednesday, 20 July 2016
The exhibition presents landscape photographs that describe the dynamic, 81,000 hectare Bakken region in western North Dakota. Since 2009 natural resource extraction activities in the oil field have increased at a dramatic rate and transformed this portion of the state in marked ways. For many long-term residents the rapid installation of oil pads, pipelines, roads, and commercial infrastructure has reshaped the region beyond recognition.
This series looks closely at the instances and increments in which the Bakken landscape is morphing into a different place. Rather than highlight the explosion of “man-camps,” oil jacks, and influx of temporary workers, these images draw attention to the subtler shifts that cut open and reshape a familiar territory into a new setting.
The high-paced development of the Bakken region since 2009 in response to new, horizontal drilling technologies represents a new phase in the long history of natural resource extraction in the area, which was first settled in the late nineteenth century by homesteaders and Bonanza farmers after the expansion of the Northern Pacific Railway in 1873. Prior to 2009, the area witnessed two previous oil booms and a sustained coal mining industry.
Many long-term residents describe the 2009 boom as disruptive and feel that differs substantially from earlier peaks in production. They cite the changing visual landscape as a primary source of dissatisfaction. For these individuals, the increased presence of oil companies and workers creates social and economic tensions, but these impacts do not have the psychic impact of grassland conversion, exponential increases oil pads, dust, commercial advertisements along formerly vacant roads, and informal housing communities in previously open range.
This exhibition explores these transformations in the physical landscape and presents them as an important context to the high-profile discussion of oil-boom impacts in Bakken communities. The landscape photographs show an environment cut open, reshaped, and patched over as a result of man-made industries. Eschewing the sensationalist, these photographs display the landscape in moments of repose, and attempt to highlight the quiet calm many residents perceive in the area, even as it rapidly transforms.
Tuesday, 19 July 2016
The nucleus of the group is Ritha Fenske who is our teacher. Her passion is pastels but she is expert in oils, too. She is the one who prods and extends, the reason we keep on going to her studio. She is crazy about cats and always has a cat picture on the go. But that is not her only passion. Ritha was a ‘Garret Artist’ and has maintained her interest in pure drawing and in painting religious figures and scenes.
Hazel Nunes loves Nature and excels at beach and mountain scenes. She is also an enthusiastic quilter. Hazel’s pictures of wild animals are endearing and accurate and she also enjoys painting flowers and domestic animals.
Horses in all shapes and sizes are Anne Dunne’s favourite subject to paint. In this exhibition, however, she has chosen to exhibit her landscapes and seascapes – another passion of hers. Anne began her life in Art as a sculptor and began painting as an additional interest. Now, she spends most of her time painting in oils.
Brenda Pratt enjoys making surreal interpretations of life around her. She has also painted landscapes and flowers realistically and enjoys making bold visual statements. A retired teacher, she experiments readily with technique and subject.
Patricia McCann Her passion is not only for painting, per se, but also in bringing Art to the people. She is constantly on the lookout for opportunities for artists to exhibit and display their work. Her particular passion is for still life at present but she is keen to paint any subject when she is inspired.
Thursday, 14 July 2016
artSPACE durban is looking for proposals for interesting exhibitions in our
Gallery spaces for 2017!
artSPACE durban is looking for artists to exhibit in the gallery. As you may know, artSPACE durban underwent a bit of a transformation at the beginning of 2016, changing the space from 3 gallery spaces into the Corridor space and the Middle Gallery. The spaces allow artists to exhibit a manageable amount of work, with the added feature of functioning studio spaces that are occupied by artists and other creatives and a ‘chill’ zone, which gives a different look and feel to artSPACE durban.
Friday, 8 July 2016
According to Zygmunt Bauman, a Polish sociologist, ‘contemporary society can be defined as a “Liquid Society”: one that is in constant change’. Boock’s work questions the western notion of desiring permanence; for things to stay constant, stable and controllable, when in reality, we understand that it cannot be achieved as we are transient.
Boock’s work attempts to gain a sense of permanence, by capturing people onto photographs. The use of the photograph as a ‘canvas’ already has it’s own history and context; it has a captured moment on it, to be remembered forever, or, for as long as the image or photographic paper exists. In the work, images of people have been physically ‘scarred’ into the photograph’s surface, forcing the permanent embedment of the person into the medium. The photographs have been stained, bleached or scratched to reveal the person that has been captured. The images rendered are of people that Boock has or has had a relationship with in some form, exploring the transience of relationships or her own transience. The work attempts to keep these figures in her life longer than in reality. The viewer however ‘passes through’ these images, just as Boock has with the people depicted.
Graphic images by Charlot Boock
Both exhibitions end on Thursday, 28 July at 4p.m.