A message from Karen

Hello to you all,

I am writing you this message to inform you that artSPACE durban continues to change and it is, therefore, time to thank you again for all the support in the past and wish you all the best for the future.

Claus and I have been gone now for nearly two years and I have continued working with Vee to organize exhibitions in the much smaller artSPACE durban gallery spaces and this has now come to an end.

Corne's exhibition was the last exhibition organized by Vee and myself.

We will now concentrate on our new gallery in Funchal, Madeira and I can spend more time producing art.

We will continue be in touch with you to exhibit your works in our new gallery as it is now becoming better known and the turnover increases.

We will always be part of the Durban arts community. We will always be watching you from afar as you produce new works and experiment with new ways to engage with the arts community.

See what new things are happening at 3 Millar Road on Facebook!

“Anomaly” by Corné Eksteen 2 - 22 December 2017

 

 

Artist’s Statement 

As much as contemporary art is about commentary on art itself, some of its fundamental intent remains: Art is about reflecting (in some cases even defining) our times, values and culture.

When one looks back at the legacy of art and the timeline in human history it represents, you become aware of our ever growing, ever expanding visual language: our ability to continuously develop new modes of expression and our capacity for and vigour in constantly creating new visual metaphors, incorporating imagery from an ever-changing world in new and innovative reflections of that world. Today more than ever, a good level of visual literacy is as important as a higher education in navigating a culture that is visually driven in every aspect. 

It is this highly developed visual language of the 21st century, with "dialects" of symbolism, iconography and branding that serves as primary reference for this body of work. Our visual culture is largely driven by technology.  Much of our everyday experience of the world is now filtered through a screen of some kind. Our technology is not flawless and often presents us with "glitches" or visual malfunctions.

As a starting point I am ‘capturing’ and incorporating these moments of malfunction, both accidental and intentional in the creation of a new series of portraits. Using these imperfections as a vehicle for social commentary and commentary on art itself.

 

Works in the series explore the polarities between the controlled and unpredictable. It focuses on the repurposing of intentionally corrupted imagery and questions what it means if we reclaim the “errors” in our technology and use them as tools in representing and defining ourselves.

Artist’s Bio

The interplay or relationships between gender and identity, gender and sexuality and the contradictions between the physical and emotional world, has been some of his major fields of exploration. 

His work is visually confrontational, but most often serves as a simple “question” posed to the viewer. He has presented images of castrated men (La Mort, 1998), confronting notions and understanding about gender by beckoning the viewer to confess “who they are without their genitals” He has combined the faces of male and female sitters into a single androgynous portraits (xx=xy, 2015) asking the viewer to identify the gender of the image and in so doing to expose their own gender bias understanding of the visual world. 

Eksteen, is currently living and working in Durban, South Africa.   

http://www.anomaly.durban/ 

Drawings by Haden Searles 24 - 30 November 2017

24 - 30 November 2017
Drawings by Haden Searles

“VOODOO WOMXN” created and curated by katokira 3- 23 November

“VOODOO WOMXN”

created and curated by

katokira

(aka kat kali // the artist)

3 – 23 November 2017 

katokira’s work on show includes ink and watercolour illustrations, large scale abstract and pop-art pieces, ceramics, embroidery, and more.  An eclectic, visual feast of works served up by this self-taught artist, who after a stint in London, is back in KwaZulu-Natal.  

"Serendipity" a solo exhibition by Heidi Shedlock 14 October - 2 November 2017

14 October - 2 November 2017

Overtones embedded in a bygone era bring to mind the art of quaint needlepoint brooches and tapestry. A catalyst of blended blossoms offers us a lingering dose of nostalgia when first encountering Heidi Shedlock’s paintings.  Then comes the transforming 'serendipitous' moment when portholes of intensely layered blossoms are captured in circular motion through layered forms and a choreography of expressive mark making that creates an aesthetic sensibility that is not only seen, but felt and experienced.   

Heidi is a Durban artist who has been involved in education but now paints full-time from her studio in Durban North. She intentionally seeks to nestle her arrangements safely within nurturing circular and oval formats. She believes 'serendipity' is as much about 'consciousness' as it is about valuable fortuitous discovery - "...it's about keeping your eyes open and appreciating a fleeting moment that would normally be lost…finding something when looking for something else. This antithesis can be the result of an observant mind…” 

Article by Marianne Meijer in the Durban Mercury 13.10.17

“Hues and Shades” by a solo exhibition by Raja Oshi 23 September - 12 October 2017

23 September - 12 October 2017

Raja Oshi's Artist Statement

I enjoy adding texture to my surfaces and designing the shape and discovering new adventures. It is surprising as every time you get a different and varied outcome.
 
I make my own material, since I feel like this is an essential step in the process.
I weave strips of canvas material together to make my own sort of canvas, with its own specialized texture and response to paint.
 
When I rub my cloth “tapestry” layers with cloths dipped in paint, it adds another dimension to my work. It begins to mix and overlap, different materials and layers of paint to reveal hints of colour coming through edges, layers and spaces.
 
Raja Oshi is a Pietermaritzburg-based artist.

A selection of images of works from this show are posted here: https://artworksartspace.blogspot.com

Exchange and Artists' Choice Award 2017 16 – 21 September

Exchange and Artists' Choice Award 2017

The Awards Evening starting at 6p.m.Thursday 21^st September

Join us at artSPACE durban for the sixth of our exciting art exchange exhibitions. This is an artist-orientated event. We have fun and pay tribute to ourselves as artists. With most awards, the decision is made by a panel of judges and often strangely influenced and rather baffling, but with our Artists’ Choice Award, only the participating artists can vote for the best work on show. We believe this gives a respectful ear to our artists so their voices and choices can be heard.

How it works:

Each participating artist will pay an entry fee and collect a 30 x 30 cm canvas (1 per person) from the gallery. Other media are welcome, but are required to fit into the size criteria and needs to be able to be and ready to be hung.

The exhibition will open at artSPACE durban on Saturday, 16^th September and it is up for 1 week. Voting will close at 4pm on the 21^st September with the Awards Evening starting at 6p.m.

The Theme: ‘Border(s)’

In terms of definition, the obvious one is the border between two countries, but could also be the border to the edge of a space or knowledge. It is also used in textile as a strip or even in a social context as in “bordering on an insult”.

"Light and Space" 25 August - 14 September 2017

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"Light and Space”

A Group Show of Paintings by Michelle Irving, Alison Akal, Haley Wright, and Ilma Matthews

25 August - 14 September 2017

In this crazy, busy, daunting, space we live in, we felt it was time to reflect on our personal space and the light we were reflecting within it.

Observing objects and people around us to consider how they were perceived and welcomed within the space they occupy.

"The You and I" by Ganjatun Mulla 11 – 24 August 2017

--> "The You and I" by Ganjatun Mulla

11 – 24 August 2017

  

“The You and I“ is a dynamic idea evolving over time in relation to how events and experiences can shape us and how we can counter shape the way we experience the experience.”

We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.

GANJATUN MULLA is an artist. She is best known for her expressive artistic techniques in compelling visual illustrations of her homeland and cultural roots. She has spent the most part of her life in silence, communicating solely through her art.  She believes in the empowerment of women and their struggle for independence in all those who fail to realize their potential and self-worth.

She is of Omani and Persian decent but was born and raised in Tanzania before moving to Dubai and later on South Africa. Ganjatun says her passion for art derives from the works of the surrealist painter Salvador Dali, whom she likens with her philosophical view of the world; a world that is only as real as it appears. She is quoted as saying "we live in the image of who we want to become not of who we've become. In doing so we subconsciously lose sight of the lessons from the past, the beauty of the present and the opportunities of the future." Her art has become a means of expressing this doctrine and to live each day with a sense of optimism and ambition. 

​

Ganjatun is currently living in Zimbali.

Winter Sale 1 - 9 August 2017

Winter Sale

1 August – 9 August

It is what it is. A sale in winter in Durban.

Lara Mellon, Grace Kotze, Melody French....and more.

"Sea Level" a group exhibition of miniatures 1 July - 27 July 2017

There is something very seductive about holding an exquisite, small work of fine art in the palm of one’s hand and being into that minute jewel-hued space.   SEA LEVEL will explore this......

Organized and Curated by Anthea Martin and  Catherine Stempowski 

ARTISTS PARTICIPATING : Anthea Martin, Catherine Stempowski, Pamela Benporath,
Megan Bonnetard, Marianne Meijer, Camilla Kinnear, Jane Bishop, Estelle Hudson, Stella Beth Peat, Darryl Houghton, Hermine Spies, Lorraine Wilson,  Odette Tolksdorf, Lesley Magwood Fraser, Diane Samson, Jannie van Heerden, Mariek Petzer, Steffi Steffen, Deidre Maree, Chris Reabow, Pauline Maurer, Morgan Coakley, Denise Hill,  Penny Brown, Pascale Chandler, Heidi Shedlock, Ann-Marie Nason, Laurelly Allaway, Grace Kotze, Ewok, Nicole Pletts, Zamani Makhanya and Katarina Richter

Closing on Thursday, 27 July

"Signs of Usage" by Terence King 10 - 29 June 2017

“Signs of Usage”

a solo exhibition by Terence King

10 – 29 June 2017

The exhibition comprises works selected chiefly from two extended series’ undertaken over the past several years. Rooted in observation of the physical environment and of utilitarian implements, the paintings and drawings are related in that they are intended to reflect a world of work – hence usage.

The ways in which the land is shaped by occupation, intervention, geological time, and how mundane objects of domesticity and labour come to take on a quiet monumentality, are central elements in these series.

The painting process itself, that is painterly, loosely layered and excavated brushwork used in combination with detailed, identifiable moments, aims to convey a sense of the multiple histories of familiar places and objects. The objects, mainly tools, containers and the like, and the environments, in this instance the symbol-laden hills of the interior, carry ubiquitous signs of use, such as scarring, demarcation and alteration, and are presented in simple, non-hierarchical compositions.

"Notion and Nature" by Nicholas and Miranda Crooks Extended through 8 June Extended through 8 June!!

NOTION (Nicholas)

I Improve-We Become 2017

These two-dimensional artworks comment on the way today's digital new media condition superimposes itself onto the technologies of a shadow baby boomer, or the pre-digital generations. Millennials have a perspective from the digital, a perspective of a generation growing up with the technology of keyboards, computers, cellphones instant access and an app for almost anything. The way communication has changed due to the introduction of the digital ripples through society. We need to be reminded that those of us from the 60s and before grew up without televisions, calculators, computers, cellphones, laptops, World Wide Web, Twitter, e-mails, Facebook, WhatsApp and the rest of new media technology. This chasm between analogue and digital remains a challenge, where the ideals and structures of the past are being challenged and replaced by a fuzzy logic of living and of Life. Where engaging in the process is more important than finding “the answer”.

In the latest works I have grappled with an understanding of the digital generation from my shadow baby boomer perspective. I would see the perpetuation of posting selfies as ego centric, self obsessed and narcissistic but from explanations gained in conversation with millennials where showing or sharing is sociocentric, consensus seeking , egalitarian and humanitarian. Millennials see themselves “ of service to one another”.

New technologies change society and adjusting to the introduction of new technologies is what the (humankind) techoanthropological does.

New media superimpose themselves on technologies of the past. The stone age replaced the iron age etc etc, what is different however is that new technologies are now being introduced so rapidly that they are intergenerational. The actions of a generation is the reflection the technology of the day. With rapidly changing technologies all people from older technological pasts are having to accept and embrace new technologies during their lifetime. It’s a bit like having to trade in something that still sort of works for a so called better model. It’s not that the old does not work it is the adjustment to the new that enables contact between generations.

The old idea of the self (theses) needs to change to the new media(antithesis) in order for a synthesis to emerge, although the digital has arrived and some of it’s affects are reality we are living in a transitional phase, until a new technology arrives to replace the digital we will not have a clear perspective of it.

NATURE (Miranda)

Much like a cat gets excited by a flutter of wings, she is thrilled by an intrinsic primal hunter-gatherer desire to visually immerse herself in plant forms.

The lines and shapes of plants are both exciting and captivating and I can only think that, like the smell of soil, this visual engagement produces endorphins that make us happy.

Her work is part of a series of double exposure botanicals.

"Together Apart" a group show 7 April - 4 May 2017

Reminder: the gallery is closed on Thursday, 27 April for Freedom Day!

When we are talking about living ‘together apart’ we are describing the lifestyle of two partners/siblings/relatives who do not necessarily live under one roof. Maybe what we are describing can be called a sort of tribe (NOUN
 a large group of related families who live in the same area and share a common language, religion, and customs).  

Together Apart is about two connected people with the same intense interest in art and creativity, but whose works might be different and, therefore, ‘cannot be put under one roof’, except during this exhibition!

Participating artists:

Chris de Beer and Marlene de Beer 

Heather Pattenden andMhairi Pattenden

Miranda Crooks and Nicholas Crooks

Karla Nixon and Dane Stops

Pascale Chandler and Claude Chandler

Grace Kotze and Melody French

Ian Calder and Nina Calder 

To see the images for this exhibition click here: http://artworksartspace.blogspot.com

The exhibition ends on 4 May.

Exhibition Review - The Mercury

“Olive Schreiner Revisited” a solo exhibition by Jannie van Heerden 4 - 30 March 2017

Olive Schreiner is best known for her novel: “The Story Of An African Farm”. I grew up in Cradock, Eastern Cape where Olive Schreiner lived as a teenager along with her elder brother and sister and where she worked later as a tutor on the farms: Gannahoek and Klein Gannahoek. In 1921 she was buried on the mountain Buffelskop, just outside Cradock.

As a young boy my father often took me to the Schreiner House, then derelict, where Olive lived with her siblings, and we once ascended Buffelskop to look at her grave. The legend of Olive was always with me and was realised in 2013 with my exhibition at the KZNSA Gallery, Durban: “Olive Schreiner: The Story Of An African Farm”. However in the past few years I felt that I had not done her justice and thus the revisit.

Olive was born on the Wittenberg mission station in 1855. Her first encounter with Cradock was in 1867 when as a teenager she lived with her elder brother and sister in Cross street (now part of the National English Literary Museum). She returned later to serve as a tutor on farms in the district. The landscape and its people left a deep impression upon her, and influenced her famous novel which was published under the pseudonym Ralph Iron, as women were not allowed to publish at that time. Her other best-known works are: “Thoughts On South Africa” and “Women And Labour”, long considered as the bible of the women’s movement. Olive was deeply involved in politics and was a fighter for all the oppressed peoples of South Africa, she was totally opposed to Rhodes and British imperialism.

In 1894 she married Cron, 8 years her junior and they settled on the farm Krantzplaats, Cradock district. She insisted that he took her name and he was known as Cronwright Schreiner. During this time they ascended the mountain Buffelskop, with its breathtaking view across the valley. Olive decided that this was where she wanted to be buried and acquired the plot.

Olive was excessively asthmatic and she soon had to leave the damp riverbeds of Krantzplatts and spent a lifetime searching for a suitable climate for her health, first Hanover, then Kimberley, Johannesburg and eventually Matjiesfontein. Her firstborn child lived for only 9 hours and after that she had 3 miscarriages.

Olive and Cron eventually drifted apart and she left for Europe and England in 1914.  She already knew many influential people there like Havelock Ellis and Eleanor Marx, both who influenced her outlook on life.

Olive returned to Cape Town in 1920. She died in 1921 and was buried in the family crypt. According to her wishes Cron had her body exhumed and buried in 1921 on Buffelskop.

The re-internment on Buffelskop was a very dramatic event. Eight carriers spent 2 days carrying her coffin plus those of her dead child and her dog, Nita, up the hill.

The undertaker schooling built a dome shaped sarcophagus on the pinnacle to take the coffins. According to Olive’s wishes no religious ceremony was allowed. As Cron finished his eulogy an eagle soared across the sky, to paraphrase the “The Story Of An African Farm”: “the dark plumed bird uttered its deep low cry: Immortality”

- Jannie van Heerden   

The exhibition closes on Thursday, 30 March at 4p.m.                                 

“I See In Colour” by Izolda van der Merwe 11 February - 2 March

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Izolda is inspired by everyday objects, situations and people. Growing up in rural South Africa, she was mesmerised by the beauty of the ordinary and still is today. The things we take for granted, a view as you drive, a person walking down the street. There is a sincerity in her day to day life that is portrayed in her paintings, a whimsical movement which is captured through colour and pattern. 
 

Working in mixed media Izolda’s art has been pushing the limits of different application processes. This has opened up a world of possibilities in executing technique/creating art, pushing those boundaries in growing her style of art. 

 “I See In Colour” looks at Izolda’s world and the influence nature has on her life. Being an avid gardener and collector of aloes and succulents, the geometric patterns and symmetry of the plant structures has fascinated her. There is a sense of order in their construction, which resonates with finding order in everyday life.

Great influences in her work are Hung Liu (a Chinese-born American contemporary artist) and Michael Carson (American painter). Their use of pattern and movement has added to the freedom of expanding her technique and breathing life into the canvas. Being aware of a “traditional” landscape or portrait style of painting has allowed her to transform that visualisation/surrealism of her mind into a visible reality for the viewer to partake in.

Closing on Thursday, 2 March at 4p.m.

Nibs van der Spuy and Guy Buttery performing at artSPACE durban 2 February

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NIBS VAN DER SPUY & GUY BUTTERY

LIVE AT artSPACE durban – 2^nd Feb 2017

© Deborah Roussouw

Having shared the stage together for more than 15 years now, the opportunity of catching Nibs van der Spuy and Guy Buttery performing as a duo in South Africa has become increasingly rare these days. With their demanding schedules as solo artists and with Nibs being based 6 months of the year in Portugal, the duo only manages a handful of shows together a year, if any at all. This however all changes this January and February as Guy and Nibs kick off the year with a series of concerts around their home province of KZN including a one off concert at artSPACE durban in Durban.

These two internationally renowned musicians have toured many major festivals and venues throughout Europe and the UK in promotion of their SAMA nominated album, “In the Shade of the Wild Fig”. The duo has also won the very prestigious “Standard Bank Ovation Award” at The National Arts Festival. These accolades led to further sold out performances at numerous festivals and concert halls in both South Africa and in Europe receiving rave reviews for both their live show and their recorded work. Van der Spuy and Buttery were then invited to perform with the 52 piece KZN Philharmonic Orchestra, dubbed “Africa’s greatest orchestra” and were later voted “Top Live Show of the Year” by The Cape Times.

These two virtuosos collaborated on a series of shows in the early and mid-2000’s before their respective solo careers took off with whirlwind individual touring schedules across the globe. Their performing paths crossed at a major festival in Toulouse, France, and this inspired a new combination of performances and sowed the seeds for recording a full length album together. “In The Shade of the Wild Fig” showcases their mutual interest and deep love for World Music and different folk movements featuring numerous instruments such as the cuatro, mbira, tampura, sitar and various acoustic guitars.

Their upcoming live performances will showcase their numerous recordings as well as the collected live work, which is unique to every concert. They capture the spirit of an exciting New South Africa, with its vast melting pot of influences and colour.

• Date – Thursday, 2 February

• Venue – artSPACE durban Gallery, 3 Millar Road, Durban

• Time – 7:30pm

• Price – R120

• Contact – hello@noblecoffee.co.za

Listen to their debut new album here – www.nibsvanderspuyandguybuttery.bandcamp.com

Visit their official Facebook Page here - www.facebook.com/nibsandguy